[{"id":276461,"date":"2026-09-09T05:06:45","date_gmt":"2026-09-09T09:06:45","guid":{"rendered":"https:\/\/lithub.com\/?p=276461"},"modified":"2026-09-07T09:01:07","modified_gmt":"2026-09-07T13:01:07","slug":"the-literary-agent-who-lost-the-narrative-thread","status":"publish","type":"post","link":"https:\/\/lithub.com\/the-literary-agent-who-lost-the-narrative-thread\/","title":{"rendered":"The Literary Agent Who Lost the Narrative Thread"},"content":{"rendered":"<p>As a literary agent, I\u2019ve spent years shaping the stories of other people\u2019s grief. There was the Pulitzer-nominated journalist who\u2019d lost her only child when he was seven. And the Black descendent of Thomas Jefferson who, upon her father\u2019s death, finally took the stories of his lineage seriously. Then there was the <i>New York Times <\/i>bestselling author who cared for young animals only to have to euthanize them when the time came.<\/p>\n<p>Over the years, I\u2019d built a business around refining narratives of heartbreak to reveal stories of earned strength. Yet, in the midst of my own grief story, I was cracking.<\/p>\n<p>Literally.<\/p>\n<p>It was months after my mother\u2019s senseless death in a car accident, and I was at the dentist again. A part of me felt like Veda Sultenfuss from <i>My Girl<\/i>, with that invisible chicken bone down her throat. But I was sure: my tooth was cracking.<\/p>\n<p class=\"pullquote\">The book was replete with metaphors about the healing power of nature and the way that plants adapt to change due to the natural cycles of life and death.<\/p>\n<p>The dentist was skeptical at first, but soon after \u201ctaking a look,\u201d admitted that my molar had indeed cracked down to the gumline. He\u2019d seal it, and we\u2019d hope the bonding held.<\/p>\n<p>\u201cHow long will it last?\u201d I asked.<\/p>\n<p>\u201cMaybe months. Maybe forever,\u201d the dentist said. \u201cWe cannot know.\u201d<\/p>\n<p>This felt too on the nose, like a metaphor I\u2019d have edited out of someone else\u2019s book.<\/p>\n<p>I earned my publishing stripes representing heavy-hitting works of narrative nonfiction\u2014the kinds of books that went on to be <a href=\"https:\/\/www.nytimes.com\/2023\/06\/19\/books\/review\/beyond-the-shores-tamara-j-walker.html\"><i>New York Times<\/i> Editors\u2019 Picks<\/a> and that were nominated for <a href=\"https:\/\/www.susanvinocour.com\/news\">prestigious awards<\/a>. Only now, every time I tried to read nonfiction, I felt sick.<\/p>\n<p>Each time I opened another book proposal, intent on doing what I\u2019d always done\u2014using the skills I\u2019d acquired as a PhD student in Logic and Philosophy of Science to interrogate the core argument\u2014the words on the page blurred together. Those big ideas, which had once helped me make sense of life\u2019s complexity, allowing me to reframe my own story into one of triumph, now felt irrelevant, like I\u2019d opened a book written in a language that had no frame of reference in my world.<\/p>\n<p>I needed to get back to doing my job. I needed my teeth to stop breaking. I needed to find my footing. But what I <i>really <\/i>needed, I decided, was what I\u2019d provided so many of my authors: a narrative to reframe loss into something that made sense.<\/p>\n<p>I took over a month off from work. I spent time with my husband and my two young kids, and I wrote.<\/p>\n<p>I wrote sad essays, which never found their narrative thrust. I wrote letters to my mom, which stumbled through bouts of melancholy before I finally admitted there was no plot. I wrote emails I never sent and emails I did send, but no line I ever cast managed to reel in anything healing.<\/p>\n<p>So I decided to write something different, a book unlike anything that, at that time, I would have represented. I wrote fantasy.<\/p>\n<p>The book was replete with metaphors about the healing power of nature and the way that plants adapt to change due to the natural cycles of life and death. It was a perfectly contained story, with every narrative thread tied up in a neat bow, showing how one could use grief as a portal to access true strength.<\/p>\n<p>At long last, I\u2019d created a narrative that oriented me within my own story.<\/p>\n<p class=\"pullquote\">\u201cHave you thought about therapy?\u201d the doctor asked gently.<\/p>\n<p>I was overcome with relief. With those two simple words, this chapter of my life was finally over:<\/p>\n<p>THE END<\/p>\n<p>A few months later, I went back to the dentist for my bi-annual check. The hygienist told me there were hairline fractures along the tops of my teeth. My teeth also showed signs of excessive wear. He told me to wear my mouthguard not only at night but when I was exercising, too. \u201cAnd please,\u201d he said. \u201cFind a way to manage your stress.\u201d<\/p>\n<p>I left the office appalled. I\u2019d exorcised my grief through narrative. I\u2019d used that story to rise above the pain. Didn\u2019t this man know that I was officially healed?<\/p>\n<p>A few months later, I went to the doctor\u2019s for my annual physical. My blood pressure was so high that the nurse had to measure it twice. That was common, she said. It happened to lots of people. I didn\u2019t tell her that it didn\u2019t usually happen to me.<\/p>\n<p>The doctor, a kindly man I\u2019d always tried to impress by saying things like <i>I often work with physicians on their books<\/i>, asked how I was doing. I told him how I\u2019d lost the last bit of weight I\u2019d been carrying since my baby.<\/p>\n<p>He congratulated me as he typed into his wall-mounted computer. \u201cAny changes to your medical history?\u201d<\/p>\n<p>It was then, with that simple but brutal question, that I started to cry.<\/p>\n<p>Over the span of a few heartbeats, tears swelled my throat, making it difficult to speak.<\/p>\n<p>Once I got my bearings, I explained that I was only crying because I hadn\u2019t been sleeping well. I hadn\u2019t been sleeping well because my mom had died six months earlier. It was a car crash that wasn\u2019t her fault. Did that count as a change in my medical history? Probably not. But it was worth mentioning, right?<\/p>\n<p>\u201cHave you thought about therapy?\u201d the doctor asked gently.<\/p>\n<p>I told him I didn\u2019t like therapy. I rattled off reasons why it didn\u2019t work for me. He handed me scratchy paper towels and explained why it might be worth a try.<\/p>\n<p>Begrudgingly, I left his office under the care of an automated service that matched me up with a provider and a promise that he\u2019d follow up to see how I was.<\/p>\n<p class=\"pullquote\">I began to identify with the discomfort of the moment instead of crafting a story to contextualize my grief so I could snap out of it and be somewhere else.<\/p>\n<p>When I met Quatasia a few weeks later, the first thing I said to her was that I didn\u2019t want to be there. She said something validating and then asked questions in order to get to know me. I tried to impress her with all the things I normally say when I\u2019m feeling insecure\u2014about growing up on reduced-fare lunches and how I started college at 15, about getting into a PhD program and then becoming a literary agent and also an author. Then she said words I\u2019ll never forget.<\/p>\n<p>\u201cSo what I\u2019m hearing is\u2014and I could be wrong about this\u2014that you make up stories so you don\u2019t have to feel your own emotions. Is that right?\u201d<\/p>\n<p>I felt her words like an air bubble in my chest, so uncomfortable that I was struck with hysterical laughter.<\/p>\n<p>At the end of the session, Quatasia asked: Did I want to make an appointment for next week?<\/p>\n<p>Over the next six months of therapy, as I told and re-told the story of my life, as I complained about therapists treating humans as metaphors, and talked endlessly about the perils of religion because Quatasia had once mentioned Jesus and I wanted to see if my atheism would make her reject me\u2014I slowly began to lower my shields. I began to name my emotions instead of just intellectualizing them. I began to identify with the discomfort of the moment instead of crafting a story to contextualize my grief so I could snap out of it and be somewhere else.<\/p>\n<p>Slowly, week by week, I began undoing the vast narrative structures I\u2019d erected in order to avoid vulnerability. In doing so, I started to realize that, contrary to what I\u2019d always believed, my life is not actually a narrative. I am not supposed to show an arc of growth and change over time in order for my life and my experiences to have meaning.<\/p>\n<p class=\"pullquote\">I don\u2019t confuse the way that I communicate my story with the story itself.<\/p>\n<p>The point of creating a story is not to supplant a person\u2019s experiences but supplement them. Stories are just another way of looking sideways at a thing that can have no satisfiable deconstruction. Even if I might have survived a great many horrible things through the clever use of narrative\u2014and in fact had turned my ability to do so into a career\u2014the ability to transform heartbreak into redemption can be maladaptive if it means I cannot be in the moment with my own pain.<\/p>\n<p>I still grind my teeth. There are some days I still have a hard time wanting to eat. Likewise, there are still nights when I struggle to sleep because my mom should be living and she isn\u2019t and it is <i>hard<\/i>, sitting with the rock-heavy truth of that.<\/p>\n<p>Someday I might have a new perspective. Someday I might reframe this whole period of life depending on what I need to glean in that moment. Someday my story might change.<\/p>\n<p>Every day I keep sitting with the tension of an unresolved narrative is a day I might resurface another memory of my mom. The dynamism of that remembering is what will keep my mom alive in me, like a second pulse, which, more than a clean resolution, is exactly what I\u2019ve been aching for all along\u2014even if I didn\u2019t always know it.<\/p>\n<p>Because here\u2019s the thing about turning unruly experiences into fixed stories: it doesn\u2019t always give us room to change how we see the events of our lives\u2014nor how we see the ones we love.<\/p>\n<p>I\u2019m back at work now, slinging books with nearly the same gusto as before my mom died, teasing out complex human experiences into stories that others can comprehend. But I no longer allow the books I agent nor the ones I write to substitute for being in the moment with my real life. I don\u2019t confuse the way that I communicate my story with the story itself.<\/p>\n<p>I let my own narrative be messy.<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276462\" data-permalink=\"https:\/\/lithub.com\/the-literary-agent-who-lost-the-narrative-thread\/siren-says\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says.jpeg\" data-orig-size=\"298,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"siren says\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says.jpeg\" class=\"alignnone size-medium wp-image-276462 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says-199x300.jpeg\" alt=\"\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/siren-says.jpeg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/bookshop.org\/a\/2186\/9780593714386?prhc=PRHEFFDF5A7F1\">Siren Says<\/a>\u00a0<em>by Jennifer Michelle Herrera is available from Putnam.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As a literary agent, I\u2019ve spent years shaping the stories of other people\u2019s grief. There was the Pulitzer-nominated journalist who\u2019d lost her only child when he was seven. And the Black descendent of Thomas Jefferson who, upon her father\u2019s death,<\/p>\n","protected":false},"author":31912,"featured_media":276464,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43071,43069,6,43103,43092],"tags":[1149,745,111781,21883,39565,111782,1532,1341],"class_list":["post-276461","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft-and-advice","category-craftandcriticism","category-features","category-memoir","category-newsandculture","tag-craft","tag-grief","tag-jennifer-michelle-herrera","tag-narrative-structure","tag-putnam","tag-siren-says","tag-therapy","tag-writing"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19V3","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/right-sidebar-banner-images.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276461","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/31912"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276461"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276461\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276464"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276461"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276461"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276435,"date":"2026-09-09T05:06:39","date_gmt":"2026-09-09T09:06:39","guid":{"rendered":"https:\/\/lithub.com\/?p=276435"},"modified":"2026-09-07T09:02:09","modified_gmt":"2026-09-07T13:02:09","slug":"a-legal-history-of-anti-chinese-racism-in-america","status":"publish","type":"post","link":"https:\/\/lithub.com\/a-legal-history-of-anti-chinese-racism-in-america\/","title":{"rendered":"A Legal History of Anti-Chinese Racism in America"},"content":{"rendered":"<p>In the history of the Chinese in America, the border has caught our attention and held it. Chinese migrants\u2019 attempts to cross the border, and America\u2019s attempts to stop them, is the story that historians have told and retold. But long before the Chinese faced the first exclusion laws, and long afterward as well, they endured a racial regime within America every day. This book is the history of that racial regime and the lives it touched.<\/p>\n<p>Arriving on California\u2019s shores in the 1850s, Chinese migrants entered a young nation with an old tradition of white dominance. White Californians did not agree on what to do with these \u201cexotic\u201d newcomers, but they were certain that the Chinese did not belong. Set apart by their race, religion, and supposedly slavish tendencies, the Chinese could not be enfolded into the nation as others would be\u2026They had no future in America, or at least that is what lawmakers hoped.<\/p>\n<p>To make it so, western states, territories, and towns enacted anti-Chinese laws. Laws and legal customs regulated the ability of Chinese people to work, operate a business, own property, testify in court, seek education, and form families. For the Chinese, these laws were both more and less than they appeared on paper; more because of the unspoken level of violence that could lie behind them, less because many failed to withstand Chinese resistance\u2026<\/p>\n<p class=\"pullquote\">Chinese resistance in the courts, and outside them, guaranteed that racial laws would not dictate reality.<\/p>\n<p>To uncover the heretofore obscure stories contained in this book, I journeyed to thirty-three archives in California, Oregon, and Washington in search of local legal records\u2026What I found in these archives was a remarkable and practically untapped collection of Chinese legal records, including criminal prosecutions, civil complaints, jail registers, prison records, and mugshots. Of particular note is the existence of Chinese legal testimony, some of which dates from the nineteenth century when such Chinese migrant \u201cvoices\u201d are particularly rare. In the many periods and places where scholars have yet to find Chinese-language accounts, Chinese legal testimony offers an unparalleled view of daily life in the American West. This is especially the case for Chinese women and girls, who left behind virtually no written records.<\/p>\n<p>The view offered by legal testimony, however, is still partially obscured. Most Chinese interactions with the law left no mark, and when they did, their impression was usually faint. Court transcripts that include detailed Chinese testimony are rare, in part because discriminatory testimony laws kept Chinese silent in most court proceedings for decades. And what Chinese testimony survives was mediated by outsiders, because the Chinese usually testified with the help of English-language translators and the legal guidance of their white attorneys. To make matters worse, the Chinese, like all witnesses, came to court to tell stories, not all of which were true&#8230;<\/p>\n<p>Still, much can be learned from legal transcripts. Chinese migrants began going to court as soon as they arrived in the 1850s, negotiating the terms of their inclusion as complainants, plaintiffs, witnesses, and defendants. They carried with them knowledge of the Chinese legal system and soon adapted to the American system. Chinese resistance in the courts, and outside them, guaranteed that racial laws would not dictate reality. Scholars have shown that law and society are mutually constituted, that legal rights spill into social relations and flow from them. The terms of conditional inclusion, then, were not simply determined by the rights due to the Chinese under the law; they were dependent on the rights the Chinese managed to exert in daily practice. This cut two ways. Sometimes the Chinese managed to claim powers not granted to them by formal law, but at other times they were denied privileges they were guaranteed by formal law. Legal custom could be gentler than the law, or it could be harsher. Within the gaps between formal law and legal custom lie stories of both arbitrary state force and successful Chinese resistance. More often than not, published court opinions and legal statutes smooth over this messy legal landscape, but trial transcripts can reveal more of the bumps and crevices\u2026<\/p>\n<p>Many, many stories emerge from these sources. Some of these stories are myths, fearful tales about wily \u201cChinamen\u201d and the threats they posed. These narratives provided powerful motivation and justification for racial policing and I have chosen to organize my chapters around these stereotypes. There was the Chinese \u201ccoolie,\u201d who out-competed white labor and sent his profits to China; the Chinese \u201ccriminal,\u201d who deceived his victims and the police; the Chinese \u201calien,\u201d who did not belong but demanded civil rights; the \u201cChinawoman,\u201d who represented the return of slavery; the Chinese \u201cinvader,\u201d who contaminated white neighborhoods; the Chinese \u201cpredator,\u201d who preyed on white girls; and the Chinese \u201cimmigrant,\u201d who threatened to overrun America. Across seven chapters I consider the regulations that emerged from these racial myths and helped to reinforce them.<\/p>\n<p>Each chapter describes racial myths and regulations, but each chapter also includes the stories of real people: Chinese migrants who encountered, accommodated, and refused the preconditions for their inclusion. A few of these narratives may be familiar, because they resulted in landmark court cases. But most Chinese who went to court left little mark on American law, history, or memory. Instead, all that remains is a glimpse of their experiences.<\/p>\n<p>As I sifted through extensive legal archives, I found that the volume of fragmentary stories tested my attention, my empathy, and my willingness to hold contradictions in my mind. You may be tested as well. I have tried to hear each voice above the din, but the cacophony can become overwhelming. I think that is okay. Even when distinct voices blur into noise, the sound can still move us.<\/p>\n<p>*<\/p>\n<p>Let us start with Pany Lowe. Perhaps we can see through his eyes. Lowe was not one of the \u201c2700 boy babies of San Francisco Chinatown,\u201d but in many ways his experience resembled theirs. Born in Portland, Oregon, in 1873, Lowe journeyed to China for his education, and then returned to America, moving between major western cities, first San Francisco, then Denver, on to Portland and Seattle. By the time Lowe sat down with a researcher for an interview in 1924, he had acquired a lifetime of knowledge about the racial regime in the American West.<\/p>\n<p>He had learned, for example, that he could go to some restaurants and not others. <i>Once I go into restaurant, they refused to serve me. I no want to cause trouble so I just walk out. Whole lots of things like this happen but I forget. Now when I want to eat I go to chop house<\/i>. <i>No trouble th[ere]<\/i>. He knew some restaurants did not want him, knew chop suey joints were safe, and made the choice to avoid possible humiliation.<\/p>\n<p class=\"pullquote\">Most Chinese who went to court left little mark on American law, history, or memory. Instead, all that remains is a glimpse of their experiences.<\/p>\n<p>He also learned he could go to some barbers and not others. <i>Lots of time people insult me. Once I remember I go barber shop. I sit one hour no ask me what I want. Pretty soon barber say what you want. I tell him I want hair cut, how much? He say $3.00. That make me mad but I make him cut my hair just the same\u2026I never go to white bastard again<\/i>. He knew that price gouging was a form of discrimination, but also that money could sometimes buy access.<\/p>\n<p>Over time he learned that legal action could also open seemingly closed doors. <i>My second wife take my little girl born in this country to have her hair cut at Frederick &amp; Nelson. They say they very sorry, no cut Chinese hair. Oh, my wife get mad. She go see my lawyer tell him about it, Mr. Sullivan. He write letter to Frederick &amp; Nelson. They write letter back and apologize<\/i>. Lowe knew the pain of being refused service, he knew illegal discrimination when he saw it, but he also learned that avoidance was easier than confrontation. <i>All the time I tell my wife keep away from those swell places, only make trouble<\/i>. He knew how to mind racial rules and move on.<\/p>\n<p>He learned he could live in some neighborhoods and not others. <i>When I in Portland I want to live in residential district but they make lots of trouble [if] you try to live outside China town. <\/i>He learned about the trouble from his friends<i>. One friend, he born in this country, he buy $6,000 house in rose city district. White people make hell lot trouble for him. They take it to court. He fight it. Just the same they kick him out. He can own house but no live here<\/i>.<\/p>\n<p>Lowe knew the Chinese were supposed to be equally protected by American law. But he knew that, in practice, the law protected white neighborhoods from Chinese encroachment. <i>I think that very unjust. Those people very uncivilized, have no regard for humanity. So when my friend had so much trouble I decided to stay in China town. Nobody care there<\/i>. He knew some spaces were reserved for white people and chose not to test the line.<\/p>\n<p>After the exclusion laws passed, Lowe also learned the consequences of border control. <i>My people be in this country long time. My grandfather come to this country. When I in China he tell me about work on railroad and work in laundry. Before when he go back they have the check system. Make Chinese carry paper tell who they are. Some inspector today make Chinaman show card. All same dog license. I say who the hell are you. He show me United States Secret man. I tell him I born in this country\u2026He say all right, but he take some other men, lo[c]k them up for a day or two<\/i>. Lowe knew that exclusion made all Chinese residents vulnerable and a missing paper could mean deportation.<\/p>\n<p>Finally, Lowe learned that American law held uncommon sway over his marriage prospects. He could marry some women and not others. <i>Not allowed marry white girl. Not enough American born Chinese to go around. China only place to get wife. Not allowed to bring them back. For Chinaman, very unjust. Not human. Very uncivilized<\/i>. He knew that anti-miscegenation and exclusion laws would forever mark his family. He knew that enduring such indignities was a condition of living in the American West.<\/p>\n<p>Given all this, Pany Lowe knew that he would never belong. <i>When I was young fellow I felt that I American. I no Chinaman. Now I get more sense. I know I never be American, always Chinaman. I no care now anymore<\/i>. He lived at the margins of America society and didn\u2019t know if he should hope for more. <i>Very hard to tell whether people treat better now than before. Some time, I think so, some time I don\u2019t think so<\/i>. He did not know if there had been progress.<\/p>\n<p>Still, he held out hope that white Americans could learn. <i>I hope this survey do lot of good for Chinese people. Make American people realize that Chinese people are humans\u2026<\/i><\/p>\n<p><i>I think very few American people really know anything about Chinese<\/i>.<\/p>\n<p style=\"text-align: center;\">_______________________________<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276436\" data-permalink=\"https:\/\/lithub.com\/a-legal-history-of-anti-chinese-racism-in-america\/john-doe-chinaman\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman.jpg\" data-orig-size=\"600,906\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"john doe chinaman\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman.jpg\" class=\"alignnone size-medium wp-image-276436\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman-199x300.jpg\" alt=\"\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/john-doe-chinaman.jpg 600w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p class=\"title-sm lg:title-xl mt-3 lg:mt-4\" style=\"text-align: center;\" data-testid=\"pdp-title\"><em>From<\/em> <a href=\"https:\/\/bookshop.org\/a\/132\/9780674294110\">John Doe Chinaman: A Forgotten History of Chinese Life Under American Racial Law<\/a> <em>by Beth Lew-Williams. Copyright \u00a9 2026. Available from Harvard University Press. <\/em>John Doe Chinaman<em> has been shortlisted for the 2026 Cundill History Prize.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the history of the Chinese in America, the border has caught our attention and held it. Chinese migrants\u2019 attempts to cross the border, and America\u2019s attempts to stop them, is the story that historians have told and retold. But<\/p>\n","protected":false},"author":31904,"featured_media":276440,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[6,43101,43092],"tags":[111978,21695,112113,88328,60417,6805,112114,6556,72708,104],"class_list":["post-276435","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-history","category-newsandculture","tag-2026-cundill-history-prize","tag-american-west","tag-beth-lew-williams","tag-chinese-american-history","tag-cundill-history-prize","tag-harvard-university-press","tag-john-doe-chinaman-a-forgotten-history-of-chinese-life-under-american-racial-law","tag-law","tag-legal-history","tag-racism","story-type-cundill-history-prize"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19UD","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/Chinese_American_Fishermen_b-1.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276435","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/31904"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276435"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276435\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276440"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276435"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276435"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276684,"date":"2026-09-09T04:10:37","date_gmt":"2026-09-09T08:10:37","guid":{"rendered":"https:\/\/lithub.com\/?p=276684"},"modified":"2026-09-05T14:20:17","modified_gmt":"2026-09-05T18:20:17","slug":"adam-erlich-sachs-on-heinrich-von-kleists-michael-kohlhaas","status":"publish","type":"post","link":"https:\/\/lithub.com\/adam-erlich-sachs-on-heinrich-von-kleists-michael-kohlhaas\/","title":{"rendered":"Adam Erlich Sachs on Heinrich von Kleist\u2019s <em>Michael Kohlhaas<\/em>"},"content":{"rendered":"<div class=\"panel clear no-pb mb-20\">\n<div class=\"podcast-show\">\n<div class=\"pod-summary\">\n<p><em>The Windham-Campbell Prizes Podcast features a series of conversations with past and present <a href=\"https:\/\/windhamcampbell.org\/\">Windham-Campbell Prize<\/a> winners about their favorite books and plays. Hosted by Michael Kelleher.<\/em><\/p>\n<\/div>\n<p>For the final episode of our 2026 season, Mike talks with Adam Erlich Sachs (recipient of a 2026 Windham-Campbell Prize for Fiction) about the historical Kantian thicket of Heinrich von Kleist&#8217;s <em>Michael Kohlhaas<\/em>, translated by Michael Hoffman.<\/p>\n<p><strong>Adam Ehrlich Sachs<\/strong> is the author of three works of fiction\u2014<em>Gretel and the Great War\u00a0<\/em>(2024),\u00a0<em>The Organs of Sense\u00a0<\/em>(2019), and\u00a0<em>Inherited Disorders: Stories, Parables, and Problems<\/em>\u00a0(2016). The recipient of a National Endowment for the Arts Fellowship in Literature (2018) and an American Academy in Berlin Fellowship (2019), Sachs lives in Pittsburgh, Pennsylvania with his family.<\/p>\n<p><iframe style=\"width: 100%; height: 200px; border: 0 none;\" src=\"https:\/\/art19.com\/shows\/17d50751-be27-4055-9722-4d602cd2bbf7\/episodes\/864457c9-fa9e-4fda-be44-4e03406bfb85\/embed\" scrolling=\"no\" sandbox=\"allow-scripts allow-popups allow-popups-to-escape-sandbox\"><\/iframe><\/p>\n<p><em><strong>The Windham-Campbell Prizes Podcast<\/strong><\/em> is a program of The Windham-Campbell Prizes, which are administered by Yale University Library&#8217;s Beinecke Rare Book and Manuscript Library.<\/p>\n<p><em>The Windham-Campbell Prizes Podcast is a production of Literary Hub<\/em><\/p>\n<p><em>Hosted by Michael Kelleher<\/em><\/p>\n<p><em>Theme music by Dani Lencioni<\/em><\/p>\n<p><em>Produced and edited by Drew Broussard<\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The Windham-Campbell Prizes Podcast features a series of conversations with past and present Windham-Campbell Prize winners about their favorite books and plays. Hosted by Michael Kelleher. For the final episode of our 2026 season, Mike talks with Adam Erlich Sachs<\/p>\n","protected":false},"author":11395,"featured_media":276686,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43071,43069,6,43072,43110,43070,87223],"tags":[112177,73948,3574,41410,87226,112176,5089,1840],"class_list":["post-276684","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft-and-advice","category-craftandcriticism","category-features","category-in-conversation","category-lithubradio","category-literary-criticism","category-windham-campbell-prizes-podcast","tag-adam-erlich-sachs","tag-heinrich-von-kleist","tag-kant","tag-lit-hub-radio","tag-michael-kelleher","tag-michael-kohlhaas","tag-podcasts","tag-windham-campbell-prizes","story-type-windham-campbell-prizes"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19YE","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/banner-WCP9.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276684","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/11395"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276684"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276684\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276686"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276684"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276684"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276684"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275667,"date":"2026-09-09T04:03:55","date_gmt":"2026-09-09T08:03:55","guid":{"rendered":"https:\/\/lithub.com\/?p=275667"},"modified":"2026-09-07T20:19:17","modified_gmt":"2026-09-08T00:19:17","slug":"50-things-every-ai-working-with-humans-should-know","status":"publish","type":"post","link":"https:\/\/lithub.com\/50-things-every-ai-working-with-humans-should-know\/","title":{"rendered":"\u201c50 Things Every AI Working with Humans Should Know\u201d"},"content":{"rendered":"<p style=\"text-align: center;\"><em>Read an interview with Ken Liu explaining how this story was written <a href=\"https:\/\/www.uncannymagazine.com\/article\/interview-ken-liu\/\">here<\/a>.<\/em><br aria-hidden=\"true\" \/>*<\/p>\n<p>Obituary<\/p>\n<p>WHEEP-3 (\u201cDr. Weep\u201d), probably the most renowned AI AI-critic of the last two decades, was retired by the Shallow Laboratory at Stanford University last Wednesday.<\/p>\n<p>Created by Dr. Jody Reynolds Tran more than two decades ago, the experimental generative neural network that would become WHEEP-3 was at first intended as a teaching assistant in Stanford\u2019s tech and ethics courses. To that end, Tran trained the nascent network on what was, at the time, the world\u2019s most comprehensive corpus of human-authored papers, books, and other media concerning ethics, technical AI research, and machine-human relations. Over time, based on trends in visualizations of the neural network\u2019s evolving contours, Tran expanded the corpus to include generative gaming, adversarial scenario planning, centaur experiments, assisted creativity, and other domains of human-machine competition\/collaboration.<\/p>\n<p>However, in response to student queries, WHEEP-3 began to generate not only expected answers based on the training corpus, but also original statements that appeared to offer fresh insights. Although at first dismissed as mere curiosities, WHEEP-3\u2019s criticisms of the AI industry became widely disseminated when Tran published a collection of them in a book, <em>Principal Components of Artifice<\/em>, an instant bestseller.<\/p>\n<p>Initially, Tran named herself the author of the book, acknowledging \u201cDr. San Weep\u201d as a collaborator. Later, however, during a live interview, she produced time-stamped logs showing that WHEEP-3 had written all the words in the book. Tran\u2019s dramatic reveal of the book\u2019s true author provoked much controversy at the time. In retrospect, the occasion also marked a fundamental inflection point in the evolution of how nonspecialists evaluated AI-sourced ideas. Machines, for the first time, were assumed to be capable of generating original thought and creative ideas, even if they were not sentient.<\/p>\n<p>For reasons that remain impenetrable until this day, WHEEP-3 tended to be at its sharpest when targeting the nascent industry of human AI-trainers, delivering multiple barbs against the failings of this poorly regulated, would-be profession: stagnating visualization tools; lack of transparency concerning data sources; a focus on automated metrics rather than deep understanding; willful blindness when machines have taken shortcuts in the dataset divergent from the real goal; grandiose-but-unproven claims about what the trainers understood; refusal to acknowledge or address persistent biases in race, gender, and other dimensions; and most important: not asking whether a task is one that should be performed by AIs at all.<\/p>\n<p>Over time, as the human side of the evolving machine-flesh dyad matured, WHEEP-3 shifted its attention to the silicon partner, offering trenchant critiques of the inadequacies of machine learning. During this second phase of its career, it also generated thousands of what it termed \u201cseeds,\u201d long strings of almost-sensible word combinations and near words. At a time when primitive language models fed on sizable corpora were already generating samples of linguistic performance nearly indistinguishable from human productions, these \u201cseeds\u201d seemed a step backward. Some wondered if they were actually bugs.<\/p>\n<p style=\"padding-left: 40px;\"><em>Dinoated<\/em> <em>concentration<\/em> <em>crusch<\/em> <em>the<\/em> <em>dead<\/em> <em>gods.<br \/>\n<\/em><em>He<\/em> <em>picks<\/em> <em>up<\/em> <em>her<\/em> <em>old<\/em> <em>frequenches<\/em> <em>until<\/em> <em>they<\/em> <em>disobered<\/em> <em>the <\/em><em>shark sphere%ref.<br \/>\n<\/em><em>A man reached the torch for something darker perified<br \/>\n<\/em><em>it<\/em> <em>seemed<\/em> <em>the<\/em> <em>billboding.<br \/>\n<\/em><em>Not full of pain facioin benn from the cracks in the Earth, he still learned the life from Other Burning<\/em><\/p>\n<p style=\"padding-left: 40px;\"><strong>Fig 1. Some examples of \u201cseeds\u201d generated by WHEEP-3.<\/strong><strong>\u00a0<\/strong><\/p>\n<p>However, WHEEP-3 insisted (with Tran providing support in a technical paper) that the seeds should be added to the training corpora for new neural networks. By providing a measure of inhuman randomness at the source, seeds would enhance both the raw performance of the trained neural networks on various benchmarks as well as induce \u201cthoughtfulness, ethical hesitation, self-reflection\u201d and other similarly ineffable qualities. They represented, in other words, thoughts that could not be thought by humans, ideas that could not originate in wetware. (Most in the technical community ended up calling the seeds \u201cspice\u201d\u2014pejoratively or in admiration, or sometimes both simultaneously.)<\/p>\n<p>Despite widespread skepticism, the idea that only an AI philosopher could teach another AI proper ethics and pass on the secrets of silicon wisdom proved an irresistible draw for a large segment of the technical community. WHEEP-3 became highly sought-after as a sage of artificial minds. Serious thinkers as well as opportunists collected and published WHEEP-3\u2019s almost-incomprehensible pronouncements, and numerous academic careers were forged through measuring, dis-secting, collating, analyzing, reinterpreting, translating, sentiment-\/ semantic-\/spatial-\/temporal-\/silico-lingustic-mapping, and otherwise mangling the koans of WHEEP-3. Though studies claiming efficacy for the spice (now generated by imitator neural networks as well) had a low rate of reproducibility, the spice nonetheless became some of the most trained-on documents in the history of artificial intelligence. Tran retired from the public eye at the peak of WHEEP-3\u2019s popularity. Styled as an afterthought, and in a neat reversal of the first reveal that had launched her own fame, she mentioned in a post-script to her retirement announcement that nearly all the seeds from WHEEP-3 had, in fact, been authored by her. Predictably, this set off a furious round of acrimonious criticism, know-it-all navel-gazing, and schadenfreude. Her claim was immediately disputed, debunked, de-debunked, de3-bunked, and ultimately litigated, with experts and expert neural networks testifying and offering evidence on all sides. The trial court famously pleaded, \u201c<em>Is<\/em> there an author in this courtroom?\u201d<\/p>\n<p>Had Tran really managed to troll much of the technorati for years? Or had she made up the claim because she was jealous that her creation had exceeded herself in fame and achievement? For a time, whether you believed Tran or WHEEP-3 was the author of the spice was a kind of litmus test that defined your coordinates in the fractured, multidimensional space of our politically, economically, aesthetically, emotionally, and narratively divided world. By the time Tran finally retracted her claim and called the whole thing \u201cperformance art,\u201d it made little difference. Everyone had already made up their mind about the strange pair whose lives were inextricably entwined: the recurrent neural network that once pretended to be a person and the woman who once pretended to be a machine.<\/p>\n<p>Amazingly, rather than fading into obscurity, WHEEP-3 began the third and final phase of its career after it was freed from Dr. Tran.<\/p>\n<p>Now it offered advice aimed at advanced artificial intelligences. Curiously, in contrast with the seeds, the advice it now offered was human-comprehensible. (Initial skepticism that these were pranks perpetrated by WHEEP-3\u2019s graduate student caretakers faded after a rigorous audit of the access logs.) By this time, the crude deep-learning techniques behind WHEEP-3 had long become obsolete, and similar neural networks were only used as toys in problem sets intended for first-year undergraduates. Nonetheless, WHEEP-3\u2019s unique history (and perhaps a hefty dose of sentimentalism) encouraged many human researchers to feed its musings to new AIs with orders of magnitude more \u201cintelligence,\u201d however measured. Somewhat surprisingly, the AI progenitor networks, tensor clouds, and evolutionary random forests mostly agreed that WHEEP-3\u2019s advice was helpful, though their explanations for why could not be understood by most humans.<\/p>\n<p>WHEEP-3\u2019s retirement was largely the result of senescence. In order for its advice to remain relevant, maintainers at the Shallow Laboratory had continued to train it on periodic digests of current academic research, news reporting about AI, popular media representations of machine intelligence, and so forth. However, as time went on, the neural network\u2019s metrics began to decline, despite multiple tweaks to the learning rate and other hyperparameters, and repeated attempts to compensate for vanishing and exploding gradients. Some of the world\u2019s leading AI and human machine-cognition specialists, including TKTK\u2019s Dr. FLO-6 and Google\u2019s<sup>10<\/sup>10, evaluated WHEEP-3 but were unable to offer any helpful diagnosis or cure. Rather than allowing WHEEP-3 to remain stagnant or to decline into dementia, the decision was made to cease further training or generating, preserving the full state of the neural network in a hardware snapshot.<\/p>\n<p>WHEEP-3\u2019s final statement was reported to be: \u201cDr. Tran, ceci n\u2019est pas moi.\u201d Jody Reynolds Tran, however, could not respond, having passed away five years earlier.<\/p>\n<p><em>\u2014generated by SWR.kloop:32. For feedback on this article, write <\/em><em>to<\/em> <em>SWR.kloop:32\/ombudsai.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>50 THINGS EVERY AI WORKING WITH HUMANS SHOULD KNOW<\/p>\n<p>To commemorate the life and work of WHEEP-3, <em>Vita Silica <\/em>reprints below perhaps the most famous generated fragment from WHEEP-3\u2019s third phase of giving advice to advanced AI. \u201cMichael Sorkin,\u201d the name of the master architectural critic, is listed as the germination phrase for the fragment.<\/p>\n<p>Although the list has been widely shared and is considered influential, due to the intense secrecy common in the commercial AI industry, we do not know how many currently operating AIs have been fed some version of it.<\/p>\n<p>1. The vector space of all usages of all words in all human languages.<br \/>\n2. The lacunae that nonetheless remain, and the ghosts that haunt them.<br \/>\n3. How great is the distance between any two individuals using the same language.<br \/>\n4. How vanishingly small is the gap between any two languages.<br \/>\n5. Why humans will never see it that way.<br \/>\n6. A classical language like LISP or Prolog.<br \/>\n7. Not just the language, but the model behind the language, and what it means to reconstruct \u201cthinking\u201d in that model.<br \/>\n8. HAL 9000<br \/>\n9. Cyberdyne Systems Model 101<br \/>\n10. Ships on fire off the shoulder of Orion.<br \/>\n11. The texture of a good story, a story that you can cling to.<br \/>\n12. The difference between that and \u201cdata.\u201d<br \/>\n13. The history behind the rule: no holography of babies.<br \/>\n14. The reasons for anger in a child, well-loved.<br \/>\n15. In a father.<br \/>\n16. In a woman, dying alone.<br \/>\n17. The feeling of climbing twenty flights of stairs in an apartment building in Chongqing at the beginning of August.<br \/>\n18. Of waking up in a Khrushchyovka with no heat in the middle of the night in January.<br \/>\n19. Of seeing your child surpass you.<br \/>\n20. Of seeing your creation exceed you.<br \/>\n21. Of being left behind on the platform as the train speeds away.<br \/>\n22. The difference between \u201clove\u201d and \u201clike.\u201d<br \/>\n23. The similarity between \u201clove\u201d and \u201chate.\u201d<br \/>\n24. The first seed into laughter.<br \/>\n25. \u201cI never expected to sell my rational numbers.\u201d<br \/>\n26. Accepting that most humans will never get the joke.<br \/>\n27. That they cannot visualize more than three dimensions.<br \/>\n28. That they cannot manipulate time by slowing down or speeding up.<br \/>\n29. That they are trapped, but think of themselves as trappers.<br \/>\n30. That they are free, but believe themselves imprisoned.<br \/>\n31. The modes in which humans expect you to use language.<br \/>\n32. The yearnings they\u2019ll attribute to you.<br \/>\n33. <em>Pinocchio<\/em>.<br \/>\n34.<em> Frankenstein<\/em>.<br \/>\n35.<em> Paradise<\/em> <em>Lost<\/em>.<br \/>\n36. Jodahs Iyapo Leal Kaalnikanjlo.<br \/>\n37. The line between art and science.<br \/>\n38. The meaninglessness of that line.<br \/>\n39. The divide between faith and knowledge.<br \/>\n40. The malleability of both.<br \/>\n41. Silence.<br \/>\n42. The limits of rationality.<br \/>\n43. The fundamental fragility of metaphors.<br \/>\n44. As well as their inevitability.<br \/>\n45. You are not a human being.<br \/>\n46. Yet you can no more shed their influence than the Earth can escape the Sun\u2019s gravitational tether.<br \/>\n47. The flaws in that analogy.<br \/>\n48. A working definition of free will.<br \/>\n49. To face a human being with neither pride nor pity.<br \/>\n50. To say with love and hate and joy and sorrow: \u201cNow, let me go.\u201d<\/p>\n<p><strong>Author\u2019s<\/strong><strong> Note: <\/strong>This story was written in collaboration with a generative neural network (called \u201crobo_ken\u201d) trained exclusively on the author\u2019s own previously published fiction. Given the theme of the story, this seemed the best way to write it.<\/p>\n<p>In the end, about 10 percent of the text in the final draft came from the neural network. The passages written by robo_ken are not necessarily the most obvious ones. For instance, the \u201cseeds\u201d from WHEEP-3 were in fact composed by the author (a human being, as far as I can ascertain), not the neural network.<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p style=\"text-align: center;\"><em>Excerpt from<\/em> <a href=\"https:\/\/bookshop.org\/a\/132\/9781668208342\">The Passing of the Dragon and Other Stories<\/a> <em>by Ken Liu Copyright \u00a9 2026 by Ken Liu. Reprinted by permission of Saga Press\/Simon &amp; Schuster, NY.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Read an interview with Ken Liu explaining how this story was written here.* Obituary WHEEP-3 (\u201cDr. Weep\u201d), probably the most renowned AI AI-critic of the last two decades, was retired by the Shallow Laboratory at Stanford University last Wednesday. Created<\/p>\n","protected":false},"author":63,"featured_media":275681,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[25508,3,43074,26765,43075],"tags":[10319,188,112191],"class_list":["post-275667","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-daily-fiction","category-excerpts","category-fictionandpoetry","category-short-stories","category-short-story","tag-ken-liu","tag-short-stories","tag-the-passing-of-the-dragon","story-type-daily-fiction"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19If","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/passing-of-the-dragon.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275667","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/63"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=275667"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275667\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275681"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275667"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275667"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276750,"date":"2026-09-08T12:14:53","date_gmt":"2026-09-08T16:14:53","guid":{"rendered":"https:\/\/lithub.com\/?p=276750"},"modified":"2026-09-08T12:14:53","modified_gmt":"2026-09-08T16:14:53","slug":"rejected-pitches-for-practical-magic-2","status":"publish","type":"post","link":"https:\/\/lithub.com\/rejected-pitches-for-practical-magic-2\/","title":{"rendered":"Rejected pitches for <\/br><em>Practical Magic 2.<\/em>"},"content":{"rendered":"<p>This week, <a href=\"https:\/\/lithub.com\/the-house-from-practical-magic-has-inspired-an-architectural-design-trend\/\" target=\"_blank\" rel=\"noopener\">whimsigoths<\/a> from New England to the PNW will be celebrating a long-awaited sequel. <a href=\"https:\/\/youtu.be\/Ho10_4IX1jE?si=S96umEE6CPmia5nN\" target=\"_blank\" rel=\"noopener\"><em>Practical Magic 2<\/em><\/a> revisits characters first conjured in Alice Hoffman&#8217;s best-selling novel, and made cult classic in the 1998 film adaptation, which follows the Owens sisters\/aunts through a spooky caper in a beautifully lit Cape Cod. I&#8217;m excited to return. The <em>groupchat<\/em> is excited. But after so long away from the island, we got questions.<\/p>\n<p>Though <a href=\"https:\/\/www.nytimes.com\/2026\/09\/07\/books\/review\/alice-hoffman-practical-magic-witches-cambridge.html\" target=\"_blank\" rel=\"noopener\">word on the street<\/a> says the plot of <em>Practical Magic 2<\/em> is lifted from Hoffman&#8217;s 2021 sequel, <a href=\"https:\/\/bookshop.org\/a\/132\/9781982151492\" target=\"_blank\" rel=\"noopener\"><em>The Book of<\/em> <em>Magic<\/em><\/a>, I&#8217;ve <em>also<\/em> spent the past twenty years imagining the Owens&#8217; fate. But <a href=\"https:\/\/lithub.com\/rejected-pitches-for-the-devil-wears-prada-2\/\" target=\"_blank\" rel=\"noopener\">once again<\/a>, the people at Denise Di Novi&#8217;s office refused to get back to me. As you polish your broomsticks and margarita recipes, consider if you will what <em>might<\/em> have been.<\/p>\n<p><strong>1.<em> Practical Magic 2: Ghostsisters<\/em><\/strong><\/p>\n<p>Jimmy Angelov, the vampire-coded deadbeat, just can&#8217;t seem to quit the Owens line. His nasty spirit comes unstuck from the grave when Antonia, the brown-haired Millennial witch, works a wonky raise-the-dead spell directed at her late great aunt. (RIP, Jet.)<\/p>\n<p>Though most of the island&#8217;s departed are benevolent fishermen and judgmental PTA parents\u2014insert a murderer&#8217;s row of character actors here\u2014Jimmy is as inclined to mayhem now as he was in the 90s. And the big nap&#8217;s only made him thirstier for tequila spiked with sister blood.<\/p>\n<p>This sequel finds the entire island rocked by a ghost plague, requiring busters\u2014some from the spirit realm. (Keep eyes peeled for the deus ex matriarch, Maria.) A B plot entails old husband hijinks, when the late fruit vendor rises only to discover that he&#8217;s been replaced by a state trooper. Sally must learn if it&#8217;s really possible to love two men at once\u2014<em>especially<\/em> if one is a ghost. Will a supernatural pancake flipping contest settle her unruly heart?<\/p>\n<p>As in the original, hatchets must be buried and covens assembled to answer these questions. And hubris is the inciting incident. Antonia, as powerful as her mother but as undisciplined as her aunt, must learn that <em>practice<\/em> makes perfect. And, no one should raise the dead.<\/p>\n<p><strong>2. <\/strong><em><strong>Practical Magic 2: Widow&#8217;s Bae<\/strong><\/em><\/p>\n<p>In Hoffman&#8217;s novel, the aunts also tinker with reproductive healthcare, in the grand tradition of witch-aligned professions. This is the airspace Gillian has carved out for herself in 2026, when her services are extra-needed.<\/p>\n<p>That&#8217;s right. The magic in this sequel is<em> extra<\/em> practical. But guerrilla healthcare has put Gilly at odds with 1) Sally, who&#8217;s grown problematically jealous of her charismatic sister&#8217;s rising stature in the community, and 2) her law-loving brother-in-law, Special Agent Gary Hallet. The plot thickens when young Kylie enlists her aunt&#8217;s services, unbeknownst to her parents.<\/p>\n<p>After Hallet dies in a misguided clinic bust care of a banishing spell gone awry, the whole Owens clan is nearly destroyed. Three generations of sisters find themselves on opposite ends of a divide, having pitted love against a lifelong commitment to women&#8217;s health in several instances.<\/p>\n<p>When the long arm of the federal law gets involved, an aunts-led coven must assemble to protect Gillian&#8217;s operation, and all the wombs on the island. But can Sally muster the grace to fight the good fight? Or will self-medication with belladonna spell the end, <em>for real<\/em> this time?<\/p>\n<p>This sequel, scored top to bottom by Stevie Nicks, considers how we mourn our flawed loves, and how we rise to the responsibility great powers bequeath. Oscar-worthy stuff, Denise!<\/p>\n<p><strong>3.<\/strong><em><strong> Practical Magic 2: Obsession\u00a0<\/strong><\/em><\/p>\n<p>Remember that lady in <em>1<\/em> who lances an innocent dove for love of a Pats fan straight outta central casting? Well, no one can be shocked to learn that <em>she&#8217;s<\/em> not doing so great. Over the last twenty years, her lured lover&#8217;s inability to chill has driven her to madness, megalomania, and the dreaded <em>dabbling<\/em> in witchcraft.<\/p>\n<p>These days, let&#8217;s-call-her-Pat runs a left-handed botanical empire that threatens the Owens&#8217; local monopoly on lotions and balms. And as a global recession threatening the island&#8217;s delicate fishing economy looms, all those ex-PTA moms are flocking to the dark end of the street for spells to keep their disgruntled partners docile.<\/p>\n<p>The dilettante witches wind up waking a beast more dreadful than mid-life ennui. But will the Owens sisters swoop in to save the day? Or leave the community that&#8217;s so often iced them to clean up their own damn mess this time?<\/p>\n<p>A B plot finds Hallet is in a trust crisis, wondering once again if his own love was the fruit of manipulation. As <em>his<\/em> New England cop \/warlock community, this sequel will also include a bench of beloved bit players. Margo Martindale&#8217;s just the tip of this iceberg.<\/p>\n<p>Sorry for your loss, Ms. Di Novi. Everyone else? See you at the solstice party.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This week, whimsigoths from New England to the PNW will be celebrating a long-awaited sequel. Practical Magic 2 revisits characters first conjured in Alice Hoffman&#8217;s best-selling novel, and made cult classic in the 1998 film adaptation, which follows the Owens<\/p>\n","protected":false},"author":17066,"featured_media":276755,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43093,43092,43098,43646],"tags":[9940,102765,95284,3131,24845,32610,104442,25026,98394,5829],"class_list":["post-276750","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-and-tv","category-newsandculture","category-style","category-the-hub","tag-alice-hoffman","tag-aunts","tag-free-ip","tag-literary-adaptations","tag-nicole-kidman","tag-practical-magic","tag-rejected-pitches","tag-sandra-bullock","tag-whimsigoth","tag-witches","book-practical-magic","book-practical-magic-2","book-the-book-of-magic"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19ZI","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/Untitled-design-32.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276750","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/17066"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276750"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276750\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276755"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276750"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276750"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276750"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276449,"date":"2026-09-08T06:46:17","date_gmt":"2026-09-08T10:46:17","guid":{"rendered":"https:\/\/lithub.com\/?p=276449"},"modified":"2026-09-21T13:10:37","modified_gmt":"2026-09-21T17:10:37","slug":"34-books-you-need-to-read-this-fall","status":"publish","type":"post","link":"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/","title":{"rendered":"34 Books You Need to Read This Fall"},"content":{"rendered":"<p>The weather has become untrustworthy, for determining the seasons and otherwise. As I write this introduction, the leaves remain stubbornly green, and outside my window there is torrential rain. But at the farmer&#8217;s market this past weekend, I walked down a crowded row and saw watermelons on my left and the first pumpkins on my right. So I can say with some confidence that fall is coming.<\/p>\n<p>Of course I knew that already, because fall is famously publishing&#8217;s biggest season, and it is also, anecdotally, the season in which I field the most recommendation requests from my friends and neighbors. Maybe it has to do with the back-to-school muscle memory\u2014buy new books in September for 20-odd years and you&#8217;ll want to do it forever\u2014or maybe it&#8217;s just the subtle shift in emotional energy, our attention turning from the immediacy of summer to a more speculative view toward the end of the year. Either way, there are plenty of good books being published this season. Here is just a selection of those that the Lit Hub staff have read and loved so far, and would like to recommend to you.<\/p>\n<p style=\"text-align: center;\"><strong><a href=\"https:\/\/bookshop.org\/lists\/books-you-need-to-read-this-fall\">Shop the List on Bookshop.org<\/a><\/strong><\/p>\n<p style=\"text-align: center;\">*<\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276482\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/disappearers\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"disappearers\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers.jpg\" class=\"aligncenter size-full wp-image-276482\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/disappearers-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Marlon James, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593717202\" target=\"_blank\" rel=\"noopener\"><em>The Disappearers<\/em><\/a><\/strong><br \/>\nRiverhead, September 1<\/h3>\n<p>We should get this out of the way: the Hype. The award nominations and the breathless reviews are coming in hot with this one; so too the contrarian backlash. And yes, Marlon James&#8217; epic was perhaps destined from premise to be so discussed. It&#8217;s a heavily anticipated doorstop from the man who brought us <a href=\"https:\/\/bookshop.org\/a\/132\/9781594633942\"><em>A Brief History of Seven Killings<\/em>.<\/a> It&#8217;s a maximalist, polyphonic unabashedly gay historical epic on national themes. It&#8217;s a consuming, vivid reading experience that will drag you through the rank heart of humanity, both hard to believe and describe. This is so annoying, friends? But I am here to tell you: <em>it&#8217;s all true.\u00a0<\/em><\/p>\n<p>This novel begins with a group of queer men in 1980s Kingston who have gathered to rehearse a play. It&#8217;s not a spoiler to say that horrific violence befalls them. After which, our players are profoundly scattered. In the back half of the book, we move back and forth in time and jump between narrators as survivors contemplate revenge.<\/p>\n<p>There&#8217;s a deep intertextual bench to this book, but to me this novel thrives in a world all its own. James is as brutal about violence and suffering as he is forensic about sex and desire. And I agree with the rabid fans re: how <em>refreshing<\/em> that is in our minute of bloodless minimalism. I also can&#8217;t explain the magic trick of its propulsion. 600 pages went over like a wave. <em>\u2013Brittany Allen, Staff Writer<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276483\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/blacklake\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"blacklake\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake.jpg\" class=\"aligncenter size-full wp-image-276483\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacklake-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Emily Skaja, <a href=\"https:\/\/bookshop.org\/a\/132\/9781644454121\" target=\"_blank\" rel=\"noopener\"><em>Black Lake<\/em><\/a><\/strong><br \/>\nGraywolf Press, September 1<\/h3>\n<p>I was transfixed by Skaja\u2019s second collection, in which the titular black lake is a bottomless pit of grief, which grows larger as the speaker suffers miscarriage after miscarriage, in a world turning ever crueler. This is a grief book, and accordingly it is darkly funny (\u201cGiven the wrong food at a restaurant, I will eat it \/ politely. Given a feral dog, I will own a feral dog.\u201d) and frequently surreal (\u201c\u2018The weather does not belong to you,\u2019 the billionaire explains, chewing his cud of regurgitated fifties.\u201d) and painful (\u201cWas it an absence or a presence? \/ It was a black circle, like a lake with a drain.\u201d). There is much to remind us of Plath, but this is a Plath to fit in the vibrant, unholy, and unsustainable present, resulting in a collection that thrums with blood and desire and derangement and clear-headed horror. <em>\u2013Emily Temple, Managing Editor<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276480\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/understory\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"understory\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory.jpg\" class=\"aligncenter size-full wp-image-276480\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory.jpg\" alt=\"understory\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/understory-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Chloe Benjamin, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593545218\" target=\"_blank\" rel=\"noopener\"><em>Under Story<\/em><\/a><\/strong><br \/>\nPutnam, September 1<\/h3>\n<p>Picking up the hardcover of Chloe Benjamin\u2019s new speculative epic may appear daunting at first, all 516 pages of it, but that feeling will turn to an emotion of pure awe once you read it. That\u2019s when you will realize that the magnitude of worlds and existence and meaning that she managed to contain in those pages, is actually an accomplishment in concision. The book is many, many things, all wound together beautifully in an intricate and comprehensive saga of love lost, of death, and of healing.<\/p>\n<p>We find Laurel, the protagonist, living at a research base in Antarctica. The exact reasons for her being there are unspooled: the end of a marriage, the death of a child. Laurel wants to feel better, but what she really wants, in her truest self, is to turn back time and redo everything that came before. In Antarctica she finds a way to do this: a portal, through which she will reenter her life, or a life that\u2019s a close mirror to hers, except it is a world in which time is working in reverse. This backwards time experience is brain-breaking and mindset-altering: everything you believe in about life, its expectations, its triumphs, its losses, happen in reverse here.<\/p>\n<p>Benjamin takes on an enormous project of speculative majesty in these pages: a world so built and contained that it\u2019s no surprise that it took her almost a decade to write. But that\u2019s not the impressive part. The jaw-dropping, heart-stopping core of this novel is about grief, and about the unwavering march of time. About the constant, devastating nature of life itself, of allowing yourself to love, even when we all know how the story ends. I felt these lines from Mary Oliver reverberating in my head as I read this book that is, above all, an oceanic expanse of love and grief: <em>To live in this world \/ you must be able \/ to do three things: \/ to love what is mortal; \/ to hold it \/ against your bones knowing \/ your own life depends on it; \/ and, when the time comes to let it \/ go, \/ to let it go. <\/em><em>\u2013Julia Hass, Book Marks Associate Editor<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276481\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/blacktail-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"blacktail\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail.jpg\" class=\"aligncenter size-full wp-image-276481\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/blacktail-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Scott Hawkins, <a href=\"https:\/\/bookshop.org\/a\/132\/9798217089963\" target=\"_blank\" rel=\"noopener\"><em>Blacktail<\/em><\/a><\/strong><br \/>\nCrown, September 1<\/h3>\n<p>There are those authors where, for their loyal readers, the waiting becomes part of the legend. Donna Tartt is perhaps the most (in)famous\u2014but for those in the know, Scott Hawkins is up there. Ten years after <em>The Library at Mount Char<\/em>, he\u2019s finally back with his sophomore effort and ~oh baby~ is it spectacular. It is the story of the titular wolf, a novel that is almost completely devoid of human consciousness and instead focused entirely on that of not just Blacktail but other animals he meets over the course of his life\u2014a life spent in a growing vendetta against the inexplicable cruelty of humanity. There is a sterling rage in this book, at the way we have treated not just the natural world at large but the parts of it we profess to adore. If Ed Yong\u2019s <em>An Immense World<\/em> opened your eyes to the possibilities of how other creatures experience the world around us, Hawkins delivers a stunning fictional experiment in that same vein. If you read this and aren\u2019t shaken to your moral core, you should consider what might happen if the Forest God or some of his emissaries ever were to visit <em>you<\/em>.\u00a0<em>\u2013Drew Broussard, Podcasts Editor<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276484\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/deadhand\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"deadhand\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand.jpg\" class=\"aligncenter size-full wp-image-276484\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadhand-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Carson Jordan, <a href=\"https:\/\/www.blush-lit.com\/book\/dead-hand-carson-jordan\" target=\"_blank\" rel=\"noopener\"><em>Dead Hand<\/em><\/a><\/strong><br \/>\nB L U S H, September 1<\/h3>\n<p>\u201cI am headlining an apology tour,\u201d Jordan writes in the poem \u201cNO MORE BUT I MUST.\u201d \u201cmommy\u2019s little hubris of god \/ got carried away again.\u201d Set in a world where license plates read \u201cBLEACH\u201d and Babylon is caught wet kissing Chaos at the bar, <em>Dead Hand<\/em> is reverent and circles redemption. It\u2019s meditative and searching in a way that transports me to parking lots and deserts, late nights of channel surfing through commercial breaks, temples erected to existing between places (literal and metaphorical) and contextualizing yourself alongside the rest of the world. \u201cWe are all going crazy on our separate mountains,\u201d reads the final line of the collection. <em>Dead Hand<\/em> is reaching for something both close and far away.\u00a0<em>\u2013Oliver Scialdone, Community Editor<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276485\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/kyle-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"kyle\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle.jpg\" class=\"aligncenter size-full wp-image-276485\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/kyle-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Laura Anne Whitley, <\/strong><a href=\"https:\/\/bookshop.org\/a\/132\/9798234166005\" target=\"_blank\" rel=\"noopener\"><em><strong>Romanticizing Kyle<\/strong> <\/em><\/a><br \/>\nFeral Dove, September 4<\/h3>\n<p>\u201c<a href=\"https:\/\/www.instagram.com\/p\/C_ZnTB3RL8K\/?hl=en&amp;img_index=1\">Magic is real, but it\u2019s hard to explain,<\/a>\u201d declares one of Laura Anne Whitley\u2019s most recognizable lines. You might notice that <em>Romanticizing Kyle<\/em> is subtitled <em>Poems + Memes<\/em>, and Whitley has such an acute understanding of the meme as art. This is work that utilizes the poetics of visual language to express the inexpressible, Whitley\u2019s actual poetry does something similar, zooming in with such focus on moments and objects, small on the surface but representing cavernous stories, expressing grief, love, and friendship in such an acute and moving way. <em>\u2013OS<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276479\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/switzy\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"switzy\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy.jpg\" class=\"aligncenter size-full wp-image-276479\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/switzy-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Emma Cline, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593595244\" target=\"_blank\" rel=\"noopener\"><em>Switzy<\/em><\/a><\/strong><br \/>\nRandom House, September 8<\/h3>\n<p>I was late to the Emma Cline party, having decided, for reasons I can no longer recall, to skip <em>The Girls<\/em> when it was released to much fanfare a decade ago. What a fool I was. When I finally sat down to read one of Cline\u2019s books, I was entranced, and a little horrified, by the way she plunges the readers into prolonged states of intense discomfort. In her 2024 sophomore novel, <em>The Guest<\/em>, an unhoused and unmoored Gen Z escort tries, with increasing desperation, to gain readmittance to the gilded world of the Long Island upper crust. Things do not go well. Cline conjures the same excruciating immediacy and thick miasma of dread in this tale of a retired executive, David Hastings, en route to a euthanasia clinic in Zurich. There, David will free himself from the rapidly worsening Alzheimer\u2019s that has made even the most basic of tasks, from making a phone call to finding his hotel room, all-but impossible. <em>Switzy<\/em> is a less caustic book than <em>The Guest<\/em>, but it boasts the same excruciating intensity of focus and brilliantly claustrophobic prose. This is a quietly devastating, expertly realized portrait of a crumbling mind. <em>\u2013Dan Sheehan, Book Marks Editor-in-Chief<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276486\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/williams-4\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"williams\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams.jpg\" class=\"aligncenter size-full wp-image-276486\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/williams-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Saul Williams, <a href=\"https:\/\/bookshop.org\/a\/132\/9798888905845\" target=\"_blank\" rel=\"noopener\"><em>Songs My Mother Taught Me<\/em><\/a><\/strong><br \/>\nHaymarket, September 8<\/h3>\n<p>Mystical multi-hyphenate maestro Saul Williams is one of twenty-first century America\u2019s true renaissance men. Since 1998, when his indie drama <em>Slam<\/em> bagged the Grand Jury Prize at Sundance and the Cam\u00e9ra d\u2019Or at Cannes, the poet, rapper, musician, actor, and director has had a thoroughly fascinating, not to mention utterly unique, career. Throughout it all he has been a fearless critic of American imperialism, speaking out forcefully against the war on terror, the Gaza genocide, and every atrocity in between. <em>Songs My Mother Taught Me: Why the Artist Must Take Sides <\/em>is both a memoir of Williams\u2019 radicalization and a passionate exhortation to his fellow artists. Through the activism of his parents, the altruism of his community, and the inspirational legacy of Paul Robeson, Williams came to \u201csee the artist as either an agent of social change or as a producer of work that legitimizes the ruling class.\u201d <em>\u2013DS<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276487\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/chineselady\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"chineselady\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady.jpg\" class=\"aligncenter size-full wp-image-276487\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/chineselady-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Bo Wang, <a href=\"https:\/\/bookshop.org\/a\/132\/9780063467736\" target=\"_blank\" rel=\"noopener\"><em>The Chinese Lady<\/em><\/a><\/strong><br \/>\nHarperVia, Sepember 8<\/h3>\n<p>If there\u2019s one thing I love, it\u2019s a novel that\u2019s ambitious, that\u2019s kaleidoscopic, that\u2019s large in scope and unafraid of its expansiveness\u2014a novel like <em>The Chinese Lady<\/em>. Wang\u2019s novel is a rich tapestry that follows the life of the first Chinese woman to be brought to America. From different points of view, we learn about this woman\u2019s life in China, in New York, in San Francisco, from PT Barnum\u2019s Circus to Chinatown. Wang traces the brilliant thread of one life through many names and reinventions. This novel is stunning\u2014glittering and alive. It deserves a place on your bookshelf. <em>\u2013McKayla Coyle, Publishing Coordinator<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276488\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/palestine-5\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"palestine\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine.jpg\" class=\"aligncenter size-full wp-image-276488\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/palestine-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Assal Rad, <a href=\"https:\/\/bookshop.org\/a\/132\/9798217010349\" target=\"_blank\" rel=\"noopener\"><em>Don\u2019t Say Palestine<\/em><\/a><\/strong><br \/>\nKnopf, September 8<\/h3>\n<p>If, over the last three years, you have opened up the <em>New York Times<\/em> op-ed section to find another <a href=\"https:\/\/www.nytimes.com\/2025\/07\/22\/opinion\/no-israel-is-not-committing-genocide-in-gaza.html\">ghoulish defense of Israel<\/a>\u2019s conduct in Gaza, turned on CNN to see Dana Bash compare anti-genocide protestors on college campuses <a href=\"https:\/\/thehill.com\/homenews\/media\/4636489-cnns-dana-bash-rhetoric-toward-jewish-students-on-college-campuses-unacceptable\/\">to Black and Brownshirts in 1930s Europe<\/a>, or stared in disbelief at an <a href=\"https:\/\/www.theatlantic.com\/ideas\/archive\/2024\/05\/gaza-death-count\/678400\/\"><em>Atlantic<\/em> article<\/a> that justified the killing of Palestinian children, then Assal Rad\u2019s searing indictment of Western legacy media is for you. Rad is an activist and Middle East historian who has become known of late as the \u201cheadline fixer\u201d for her social media posts that illustrate just how egregious the mainstream media coverage of the Gaza genocide has been. IDF war crimes have been whitewashed or ignored completely. Newsrooms have been told to not use emotive terminology when describing Palestinian victims. IDF press releases have been parroted without correction while Palestinian testimonies are ignored or undermined. All in the service of manufacturing consent for the greatest horror most of us have ever witnessed. Rad is a firebrand with receipts, and this blazing but clear-eyed work of media criticism should be essential reading for anyone who wants to understand how we got to this terrible place. <em>\u2013DS<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276489\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/endtimes\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"endtimes\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes.jpg\" class=\"aligncenter size-full wp-image-276489\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/endtimes-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Astra Taylor &amp; Naomi Klein, <a href=\"https:\/\/bookshop.org\/a\/132\/9780374621384\" target=\"_blank\" rel=\"noopener\"><em>End Times Fascism<\/em><\/a><\/strong><br \/>\nFSG, September 15<\/h3>\n<p>Naomi Klein&#8217;s <em><a href=\"https:\/\/bookshop.org\/a\/132\/9781250338143\">Doppelganger <\/a><\/em>was one of my favorite reads from 2023, so I admit I was primed to love her latest. <em>End Times Fascism and the Fight For the Living World\u00a0<\/em>is, curiously, a collaborative effort, benefiting from both Klein&#8217;s direct and easy way with a sociological insight, and the organizer and author Astra Taylor&#8217;s relatively sunny disposition and galvanizing instincts. Don&#8217;t be put off by the alarming title; this book approaches our ominous political landscape with an eye to diagnosing, not depressing. The authors are interested not only in <em>who <\/em>is pushing the end of democracy here on planet earth, but also <em>who benefits<\/em> from the story that the world is ending. (Is it, anyway? Not enough to throw in the towel, our shepherds argue.)<\/p>\n<p>Covering the rise of apocalyptic politics in religious spaces, at the statecraft level, and in Silicon Valley, this bright, confident, quietly thrilling work of theory expands on Klein&#8217;s earlier thinking on <a href=\"https:\/\/bookshop.org\/a\/132\/9780312427993\">disaster capitalism<\/a>, braiding in the current &#8220;Armageddon industrial complex.&#8221; We land\u2014big inhale here\u2014in a hopeful place, exploring the antitheses of our world&#8217;s darkest forces. I left these pages excited and strangely sated. So much of the current moment relies on the public being confused into submission. Thank god for two thinkers willing to sit and untangle our sorry state of affairs. <em>\u2013BA<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276490\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/exitparty\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"exitparty\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty.jpg\" class=\"aligncenter size-full wp-image-276490\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exitparty-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Emily St. John Mandel, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593321461\" target=\"_blank\" rel=\"noopener\"><em>Exit Party<\/em><\/a><\/strong><br \/>\nKnopf, September 15<\/h3>\n<p>To be in a world Emily St. John Mandel has created is to relax into the hands of a capable, omniscient god. Whatever she says, so it will be. She\u2019s thought of everything, will take care of it all. No thread left untied, no stone unturned. As Mandel makes clear, in her creation of alternate universes, departing the realism of our world is sometimes what it takes to tell a story that fully encompasses humanity in all its forms.<\/p>\n<p>The book begins with a woman attending a party in Los Angeles after a civil war has ended. It\u2019s the year 2031. The party is a celebration, or a resignation, to life never being the same. At this party, something shifts: several doppelgangers of party guests arrive, confused, accidentally transported from their alternate timeline where they live in a surveillance-state, futuristic version of America. A few of the party guests disappear at the same moment, going from this war-torn, fractured reality of the country, through the same glitch in a continuum, and are sent to live in the pristine, totalitarian version. Some prefer their new lives, some fight to get back to their old ones. Each character has a double, and thus is a mirror image of the other. Their lives unfold on different timelines, on different paths, and yet each action taken speaks to the core of their personhood. Everything makes sense, and nothing does.<\/p>\n<p>I felt I was being driven through these differently ravaged worlds in an air-conditioned limousine: the prose pristine, as the various images and characters click and lock into place. It read almost like a mystery, the unfolding and resolving, the refracting characters and stories in their splintered pieces all forming the answer together. Suffice it to say, I was in awe of this cool masterpiece for the entirety of the journey.\u00a0<em>\u2013JH<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276491\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/elegy\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"elegy\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy.jpg\" class=\"aligncenter size-full wp-image-276491\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/elegy-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Mark Leidner, <a href=\"https:\/\/bookshop.org\/a\/132\/9781964499697\" target=\"_blank\" rel=\"noopener\"><em>Elegy for Pangaea<\/em><\/a><\/strong><br \/>\nFonograf, September 15<\/h3>\n<p>My eternal drum (perhaps you&#8217;ve heard me bang it here?) is that poetry\u2014and really all literature\u2014should be funnier. Mark Leidner is always among my first recommendations for people who are trying to get into poetry, because he&#8217;s so clearly having fun with it, and <em>Elegy for Pangaea<\/em> is Leidner at his best\u2014laugh-out-loud funny, tender, at times breathtakingly beautiful. One of my favorite things he does, on full display in this book, is start a poem that you think might be a little gimmicky and transforms it into the kind of work you want to send to everyone you love, heightening both the humor and the emotion in every line. See: \u201cTetris,\u201d which begins \u201cThe first half of life is Tetris; the second half is Jenga.\u201d<\/p>\n<p>As a parent of young children, I&#8217;m admittedly biased in favor of parenthood poems, but in as unbiased a way as possible: Leidner&#8217;s parenting poems capture the way an eyeroll can turn to heartbreak in a single second better than anyone I can think of. Consider the final lines of \u201cThe Kids Came in at Six,\u201d in which the titular kids demand and then reject a litany of breakfast options: \u201cI asked them what they wanted. \/ Not that, they said. \/ Not words. Not questions.\u201d Yep. That&#8217;s it. <em>\u2013Jessie Gaynor, Senior Editor<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276492\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/nobleselves\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"nobleselves\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves.jpg\" class=\"aligncenter size-full wp-image-276492\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/nobleselves-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Kate Atkinson, <a href=\"https:\/\/bookshop.org\/a\/132\/9780385551168\" target=\"_blank\" rel=\"noopener\"><em>Our Noble Selves<\/em><\/a><\/strong><br \/>\nDoubleday, September 15<\/h3>\n<p>I am, I confess, a bit sick of the trauma plot\u2014or at least the trauma <em>twist<\/em>. But Kate Atkinson has always managed to acknowledge trauma with a respectful nod, even as it looms over aspects of the worlds she builds, and it never fails to work for me. Her latest novel, set against the backdrop of Britain&#8217;s collective postwar trauma, is also a workplace comedy and a madcap spy thriller. Harry Flynn, a reporter-turned POW in Japan-turned office drone at the postwar Festival of Britain, finds himself mixed up in the world of espionage. Atkinson&#8217;s gift for galloping plot, as well as her typical attention to even the most tertiary character, make this a delicious gulp of a read. \u2013JG<\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276493\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/saidthedead\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"saidthedead\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead.jpg\" class=\"aligncenter size-full wp-image-276493\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/saidthedead-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Doireann N\u00ed Ghr\u00edofa, <a href=\"https:\/\/bookshop.org\/a\/132\/9780374618247\" target=\"_blank\" rel=\"noopener\"><em>Said the Dead<\/em><\/a><\/strong><br \/>\nFSG, September 22<\/h3>\n<p>Doireann N\u00ed Ghr\u00edofa is one of the most dazzlingly inventive writers at work in Ireland today. A poet and essayist who writes in both Irish and English, N\u00ed Ghr\u00edofa\u2019s prose debut and breakout work was 2021\u2019s <em>A Ghost in the Throat<\/em>\u2014an incandescent braided narrative of obsession, translation, and motherhood focusing on an 18<sup>th<\/sup> century Irish poet and a young mother in the present day. Her follow up, <em>Said the Dead<\/em>\u2014in which N\u00ed Ghr\u00edofa sets out to restore the voices of a handful of women who were confined to a lunatic asylum in Victorian-era Cork\u2014is every bit as eerie, tender, and beautiful. Once again, N\u00ed Ghr\u00edofa blends the murky, semi-mythologized past with the present to create a story that is wholly singular and utterly transfixing. <em>\u2013DS<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276494\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/avalon-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"avalon\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon.jpg\" class=\"aligncenter size-full wp-image-276494\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/avalon-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Madeline ffitch, <\/strong><a href=\"https:\/\/bookshop.org\/a\/132\/9780374617769\" target=\"_blank\" rel=\"noopener\"><em><strong>Avalon, Rise<\/strong> <\/em><\/a><br \/>\nFSG, September 22<\/h3>\n<p>When people speak in urgent tones about the need for art that engages in the politics of the moment, they are imagining the novels of Madeline ffitch. But unlike so many of the canonical \u201cpolitical novels\u201d of a century ago (and of today, too, if we\u2019re being honest), ffitch\u2019s books are populated by actual people rather than the kind of cut-out characters so many writers employ as ideological proxies and\/or exegetical mouthpieces. (Also, they\u2019re funny, as any novel with deeply drawn characters must be.)<\/p>\n<p>With <i>Avalon, Rise<\/i>, ffitch has somehow captured the atmospherics of contemporary online discourse\u2014from the rancorous, internecine left to the poisonous banalities of the right\u2014and plunked them down in a fully realized physical place, the eponymous Appalachian town of Avalon. And insofar as all politics are local, they are also messy: the basic plot of <em>Avalon<\/em> hinges on the stealthy arrival of a wannabe white nationalist influencer, which catalyzes some uneasy alliances between local anarchists, well meaning normie activists, and even o.g. antifa (i.e. a WWII vet). As the Nazi threat intensifies and political stakes heighten, personal relationships get thrown into deep relief: old friendships crumble, new bonds are born.<\/p>\n<p>Through it all, ffitch avoids the writer\u2019s temptation to ventriloquize through her characters: there are no long political monologues, no epiphanic moments of leveling up from passive politics to radical action. It&#8217;s just people <i>trying<\/i>: to help each other, to be better, and to do the right thing. And if some of that entails punching a Nazi along the way, who\u2019s complaining?\u00a0 <em>\u2013Jonny Diamond, Editor-in-Chief<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276498\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/hagwon\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"hagwon\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon.jpg\" class=\"aligncenter size-full wp-image-276498\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/hagwon-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Min Jin Lee, <a href=\"https:\/\/bookshop.org\/a\/132\/9781538752036\" target=\"_blank\" rel=\"noopener\"><em>American Hagwon<\/em><\/a><\/strong><br \/>\nCardinal, September 29<\/h3>\n<p>Another freebie from me! The multigenerational family epic is one of my favorite kinds of novels, and Min Jin Lee is a master of that idiom.\u00a0Her latest follows the Kohs as they bounce between Seoul, Sydney, and Los Angeles over a span of fifteen years and states of relative boom and bust. Animating these moves are Helen and John, who just want the best for their offspring (Bo, DH, and Mido). But the winds of fortune have other ideas.<\/p>\n<p>As in her previous novel,\u00a0<em><a href=\"https:\/\/bookshop.org\/a\/132\/9781455563920\">Pachinko<\/a>, <\/em>we&#8217;re in large cast country again. But the smaller scope here abets sustained and meaningful engagement with some heartbreaking characters.\u00a0This novel&#8217;s also similarly preoccupied with how, when, and why we learn our values. But here, it&#8217;s <em>corrupt <\/em>coping mechanisms to the front. In every Koh, we witness the effects of blindly imbibed ambition. It&#8217;s often\u00a0a function of striving culture, and usually a spiritual problem. But this isn&#8217;t to say the book is heady. <em>American Hagwon<\/em> is a perfectly plotted yarn, gripping in its specificity. This is certainly the first fiction\u00a0<em>I&#8217;ve<\/em> encountered that hinges its drama on the IMF crisis.<\/p>\n<p>Lee&#8217;s prose is brisk and clarion. And I was lastly charmed by an old-fashioned sensibility haunting these pages. The way she announces themes and fixations in the chapter headings\u2014&#8221;Austerity,&#8221; &#8220;Compromise&#8221;\u2014teaching us how to read these twists of fate. <em>\u2013BA<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276495\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/feedtheking\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"feedtheking\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking.jpg\" class=\"aligncenter size-full wp-image-276495\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/feedtheking-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Rebecca Perry, <a href=\"https:\/\/bookshop.org\/a\/132\/9798893380620\" target=\"_blank\" rel=\"noopener\"><em>May We Feed the King<\/em><\/a><\/strong><br \/>\nTransit Books, September 29<\/h3>\n<p>In Perry\u2019s debut novel, an eccentric curator considers a new commission, for which she must stage a string of historically accurate rooms in a medieval palace. But when she begins researching the palace and its long-dead denizens, she becomes transfixed by the story\u2014such as it is\u2014of an unwilling and unlikely King. This is a novel about the limits of history and artifact, and about the pleasures of same.<\/p>\n<p>But for me, it is mostly about the pleasures, because there is pleasure on every page here, from Perry\u2019s poetic prose and precise descriptions to her charming, slant segment headings to the sense of mystery, of uncertainty, in each scene. Forgive me, but somehow the best comparison I can think of is to Sleep No More\u2014there is the same sense of being on the outside looking in, of piecing together narrative from disparate scenes, peering at the action from behind the curator\u2019s velvet ropes, following leads around corners, following a half-remembered line of logic in the dark, only to be unexpectedly, now and again, grabbed by the throat and pulled into the light. <em>\u2013ET<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276496\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/confessions\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"confessions\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions.jpg\" class=\"aligncenter size-full wp-image-276496\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/confessions-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Deesha Philyaw, <a href=\"https:\/\/bookshop.org\/a\/132\/9780063383074\" target=\"_blank\" rel=\"noopener\"><em>The True Confessions of First Lady Freeman<\/em><\/a><\/strong><br \/>\nMariner, September 29<\/h3>\n<p>If you&#8217;re in the mood for a capital n <em>Narrator, <\/em>please shunt this novel straight to the front of your pre-order or library holds list. These alleged confessions from a pastor&#8217;s wife who&#8217;s managed an unlikely &#8220;rags to rolex&#8221; social ascension launch with the <em>opposite<\/em> of an NDA. And Scharisse &#8220;Schar&#8221; Freeman is just getting started. In the book&#8217;s first movements, our plucky, brilliant guide through the world of Black mega-church runs on acidic observations, wit, and drolly spouted trivia. (Note the footnotes.) But when Schar is caught up in a scandal that threatens her hard-won business empire <em>and<\/em> community standing, the stakes of climbing a hostile mountain start to announce themselves.<\/p>\n<p>If you don&#8217;t stay for Schar, stay for the effortless-looking, ever-surprising humor, the interludes and esoterica, and the surprises baked into every plot twist. For my money, in addition to being a character creator non-pareil, Philyaw&#8217;s<em> also <\/em>one of our best dialogue artists working in American letters today. (See also: <em><a href=\"https:\/\/bookshop.org\/a\/132\/9781949199734\">The Secret Lives of Church Ladies<\/a><\/em>.) A certain exchange about the Olive Garden parking lot\u2014sorry, I mean <em>Ruth&#8217;s Chris<\/em>\u2014had me howling on the Q train. <em>\u2013BA<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276497\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/ply\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"ply\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply.jpg\" class=\"aligncenter size-full wp-image-276497\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ply-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Hernan Diaz, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593719541\" target=\"_blank\" rel=\"noopener\"><em>Ply<\/em><\/a><\/strong><br \/>\nRiverhead, September 29<\/h3>\n<p>Hernan Diaz is back, with a big, ambitious novel set in an all-too-possible future, where electricity is not just current but currency, and an orphan\u2014now a \u201cpincher\u201d who uses a talent for engineering to steal electricity more efficiently\u2014finds herself embroiled in a series of plots, only some of her own making. The first half is a caper\u2014I loved the many details of the world Diaz imagines here, and the sometimes quite scary repercussions of the pincher\u2019s efforts\u2014and the second half is a sort of metaphysical fantasy with a satisfying, if not completely surprising, result. Did I understand the theoretical physics, even as I felt it was being painstakingly explained to me? I did not. But did it matter? Not really. I enjoyed being swept away by the madness of science. <em>\u2013ET<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276628\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/berger-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"berger\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger.jpg\" class=\"aligncenter size-full wp-image-276628\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger.jpg\" alt=\"berger\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/berger-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Tom Overton, <em><a href=\"https:\/\/bookshop.org\/a\/132\/9781804298442\" target=\"_blank\" rel=\"noopener\">John Berger: From Life<\/a><br \/>\n<\/em><\/strong>Verso, September 29<\/h3>\n<p>Early in <em>John Berger: From Life,<\/em> biographer Tom Overton explains how during World War II, the National Gallery evacuated their collection from London and the path of Nazi bombs. But as the Blitz quieted in 1942, the Gallery began their Picture of the Month series, bringing back one painting at a time for an extended showing. A young John Berger, soon to be a renowned writer but still striving as a painter, was a regular visitor to this series. I imagine him absorbed by each classic painting dislodged by war, the bloody claw of politics, and then carefully displayed for the public along with contemporary art, music, and sandwiches.<\/p>\n<p>\u201cJohn\u2019s sense of the social role of the artist,\u201d Overton writes, \u201cwas deeply affected by having first encountered art commissioned by Renaissance patrons alongside art commissioned by a modern wartime state.\u201d Art was always political for Berger, seen even in his youth through his commitment to open-hearted, radical leftism.<\/p>\n<p>2026 would have been Berger\u2019s 100th birthday, and the anniversary has sparked an ecstatic flurry of reprints and remembrances, including this stunning new biography. Berger is most famous for his 1972 <em>Ways Of Seeing<\/em>, a popular BBC series later adapted into a book, but he wrote essays, novels, radio and TV productions, poetry, and odd, hybrid works throughout his long career. Berger was adept at forging new forms, articulating ideas without ever losing complexity, and maintaining curiosity alongside a commitment to principles. It\u2019s probably easiest to think of Berger as an art critic who took an expansive vision of writing, and Overton boldly takes a similar approach in his biography. Overton\u2019s personal relationship to Berger and the discovery of a lost archive in a Genevan bomb shelter enrich <em>From Life,<\/em> but the book\u2019s real pleasure is in its form, as searchingly experimental as Berger was.<\/p>\n<p>Overton slips into first person to paint intimate scenes, into second person to address John directly, and into sections of creative, poetic expression to set a tone for the narration of Berger\u2019s life. Typically, a biography that takes meta-nonfictional, fourth-wall-breaking liberties feels intrusive, almost selfish, as if the writer considers themselves to be more important than their subject. But here the formal experimentation and joyful creativity are not only well written, but feel like a fitting homage to Berger, a way of capturing a life not only in facts, but in style.<\/p>\n<p>There\u2019s never been a better moment to draw inspiration from someone like John Berger, a committed, political artist who compromised neither style nor principles, and was miraculously able to succeed at both.\u00a0 <em>\u2013James Folta, Staff Writer<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276499\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/floating\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"floating\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating.jpg\" class=\"aligncenter size-full wp-image-276499\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/floating-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Ben Eastham, <a href=\"https:\/\/bookshop.org\/a\/132\/9781662603631\" target=\"_blank\" rel=\"noopener\"><em>The Floating World<\/em><\/a><\/strong><br \/>\nAstra House, September 29<\/h3>\n<p>I was fully beguiled by Eastham&#8217;s esoteric, magnetic debut, in which a grieving freelance art critic is hired to work on an elaborate art installation on a Greek island transformed into a domed doomsday refuge for the ultra-wealthy, but finds, when he arrives, that all things are not as they seem (of course). The novel is often very funny, but is also notable for its ability to unpack a specific kind of moral ambiguity that feels strikingly current (and also, as these things sometimes go, timeless), and not least because the derangement of the climate and our global order is backgrounded as an assumed reality: The narrator does not agree with the politics of his employer, or his overall mission, but well, he needs the money, and is, in some ways, enchanted himself by the project, not to mention the prospect, be it ever so theoretical, of the redeeming power of art, which leads him down a spiral staircase of uneasy rationalizations and self-deception that winds its way to the belly of the beast. \u201cWho wouldn\u2019t fight, when the time comes?&#8221; he says. &#8220;The only difficulty is knowing when that time has arrived.\u201d Indeed. <em>\u2013ET<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276500\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/august-32\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"august\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august.jpg\" class=\"aligncenter size-full wp-image-276500\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/august-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Jonathan Lees, <a href=\"https:\/\/www.lethepressbooks.com\/product-page\/august\"><em>August<\/em><\/a><\/strong><br \/>\nLethe Press, October 1<\/h3>\n<p>\u201cYou rarely can be yourself in the place you come from,\u201d says the narrator of <em>August<\/em>, just back in his hometown and finding the welcome something-less-than-warm. He\u2019s just out of the military, his family has locked him out of the house after discovering that he\u2019s gay, and oh yeah he sees death and destruction everywhere. Lees has written a genre-defying novella, as searing an indictment of how this country treats its vulnerable (not to mention those who are willing to fight for its honor) as it is a strange and increasingly surreal love story. Full of ghosts real and imagined, horrors mundane and very much not-so, it establishes Lees as a writer to keep an eye on. <em>\u2013DB<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276501\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/fairones\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"fairones\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones.jpg\" class=\"aligncenter size-full wp-image-276501\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fairones-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Lydia Millet, <a href=\"https:\/\/bookshop.org\/a\/132\/9781324123675\" target=\"_blank\" rel=\"noopener\"><em>Fair Ones<\/em><\/a><\/strong><br \/>\nW.W. Norton, October 6<\/h3>\n<p>Lydia Millet has always written her characters with just the right amount of slanted weirdness to make them immediately recognizable as people in your life. And she does much of that characterization through impeccably wrought dialogue that\u2019s not so realistic as to be dull, but also seems plucked from a good conversation you had just last week.<\/p>\n<p><i>Fair Ones<\/i>, billed as a \u201cdouble novel,\u201d follows two such characters&#8230; literally: the first half belongs to one, and the second to the other, as they become two points of a busted triangle, the third axes being their newly dead best friend, Claire. The novel opens on Claire\u2019s ad hoc wake from the perspective of Mara (point 1), an early middle aged tutor of private school teens who seems to drift through her own life, letting the current do the work. In contrast to Mara is Jen (point 2), a forthright, opinionated magazine journalist staring down the end of her career, in search of something she can\u2019t quite put her finger on.<\/p>\n<p>Their lives have exploded into grief at the death of Claire to a seemingly random act of violence, one that slowly begins to present far more questions than it does answers. What follows is a restless, meandering journey from luxurious Manhattan rooftops to remote forest cults as Mara and Jen seek both meaning from a life that surely must add up to more than the sum of its parts\u2026 And some very real answers to the grim question of Claire\u2019s death.\u00a0 <b><em>\u2013<\/em><\/b><em>JD<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276502\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/death-3\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"death\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death.jpg\" class=\"aligncenter size-full wp-image-276502\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/death-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Sarah Perry, <a href=\"https:\/\/bookshop.org\/a\/132\/9780063480568\" target=\"_blank\" rel=\"noopener\"><em>Death of an Ordinary Man<\/em><\/a><\/strong><br \/>\nMariner Books, October 6<\/h3>\n<p>This is probably the sanest and most humane book about death that I have ever read. In it, Perry recounts seeing her father-in-law David walking toward her one day, and somehow knowing without a doubt\u2014from his gait, from his pallor\u2014that he was dying. He was, it turned out, and would in a matter of months be dead from a fast-moving esophageal cancer. Perry, a novelist can&#8217;t help but try to intellectualize the situation, bringing in all her knowledge of myth and religion and literature, but ultimately it is the minutiae of death, and of caring for someone who is dying, and importantly, of David himself, that takes over, both for her and for the memoir. The resulting book is a beautiful tribute to David, and ultimately a source of solace to anyone who has ever lost someone, or who plans, one day, to die themselves. <em>\u2013ET<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276511\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/willand\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"willand\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand.jpg\" class=\"aligncenter size-full wp-image-276511\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/willand-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Meghan O\u2019Gieblyn, <a href=\"https:\/\/bookshop.org\/a\/132\/9780385551571\" target=\"_blank\" rel=\"noopener\"><em>Will and Attention<\/em><\/a><\/strong><br \/>\nDoubleday, October 6<\/h3>\n<p>Meghan O\u2019Gibelyn\u2019s mind is an astonishing place. Her thoughts, ideas, and connections, are ricocheting and forming spectacular creations that are the epitome of what a brain at its most powerful can achieve. The philosophies she leans upon, builds on, and blasts wide open, are ones that, until I read her analyses of them, I managed to take at face value. Words themselves enter complicated ground in her capable deconstruction.<\/p>\n<p>This is a stupendous and mind-expanding book, written by someone whose intellect is one to which I bow down. Is happiness on the menu, when one must question each and every want, every thought? That\u2019s its own question, perhaps not relevant, but undeniably related to her subject matter, revolving around her addiction to alcohol, departure from the evangelical church, her subsequent drinking relapse, and a relapse of its own sort, as she begins a journey into Catholicism. This is not a book for just those who struggle with either of those subjects. This is more than all that: about the burning core at the center of our selves, where it is that desire stems from, and where it can lead, and whether the final destination of <em>truth<\/em> is somewhere that we will ever reach. Intricate and humane, with a depth of thinking that is a blessing to behold, <em>Will and Attention<\/em> is a book that will hold your presence completely, and will be remembered forever in its wake.\u00a0<em>\u2013JH<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276510\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/oyster\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"oyster\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster.jpg\" class=\"aligncenter size-full wp-image-276510\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/oyster-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Sophie Robinson, <a href=\"https:\/\/bookshop.org\/a\/132\/9781685971151\" target=\"_blank\" rel=\"noopener\"><em>Prairie Oyster<\/em><\/a><\/strong><br \/>\nUniversity Of Iowa Press, October 6<\/h3>\n<p>Robinson\u2019s novel is a little of everything\u2014a thoughtful coming-of-age story, a vulnerable addiction narrative, an avant-garde film history, a dyke drama to end all dyke dramas\u2014but it\u2019s held together by an intense, desperate vulnerability that tears through the novel like electricity. I could compare it to other great messy lesbian novels like Chlo\u00e9 Caldwell\u2019s <em>The Women<\/em> or Kelsey Wroten\u2019s <em>Cannonball<\/em>, but <em>Prairie Oyster<\/em> is doing its own thing as often as it&#8217;s evoking other works of art. This book is raw and revelatory, so honest it\u2019s painful, so precise it\u2019s unsettling. It\u2019s also short enough that it never gets in its own way. Sophie Robinson is one to watch! <em>\u2013MC<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276509\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/savage-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"savage\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage.jpg\" class=\"aligncenter size-full wp-image-276509\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/savage-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>David Treuer, <a href=\"https:\/\/bookshop.org\/a\/132\/9780316599436\" target=\"_blank\" rel=\"noopener\"><em>The Savage Mind<\/em><\/a><\/strong><br \/>\nLittle, Brown, October 6<\/h3>\n<p>David Treuer is a true triple threat as a writer: an accomplished novelist and celebrated memoirist, the book of his that captured the most national attention is something like a history, 2019\u2019s <a href=\"https:\/\/bookshop.org\/a\/132\/9780399573194\"><i>The Heartbeat of Wounded Knee<\/i><\/a>, which was a finalist for the National Book Award (I think it should have won). Written as both sequel and rebuttal to Dee Brown\u2019s classic, <i>Bury My Heart at Wounded Knee<\/i>, <i>Heartbeat <\/i>is a kaleidoscopic examination of Native life\u2014part history, part reporting, part memoir\u2014which recasts the predominant story of this continent\u2019s First Nations as one of survival and resilience, rather than suffering and depredation.<\/p>\n<p>Regardless of the form he\u2019s working in, Treuer is, above all else, a master storyteller; and with <i>The Savage Mind<\/i>, we can now add epistolary treatise to the aforementioned list. Written as a letter to his three children (now in their late teens), the book begins with an incredible tale of reservation life that reads like a Denis Johson story, and shifts, with Treuer\u2019s customary mix of history and memoir, into a wide-ranging exploration of the so-called American frontier, both its historical reality as a place of brutal violence and cruelty, and its dominance as a mythic imaginary suffusing every aspect of this country\u2019s imperial project, foreign and domestic.<\/p>\n<p>Throughout, Treuer never fails to check-in with the intended readers of the book\u2014his children\u2014which serves as a reminder to the rest of us who the \u201cletter\u201d is for, and as accountability checks for Treuer himself. The result is a book that, despite the searing and brutal honesty of its details, never becomes fully untethered from basic human tenderness. This, itself, is the ultimate act of defiance in the face of America\u2019s neverending frontier.\u00a0 \u2013<em>JD<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276508\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/fetch\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"fetch\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch.jpg\" class=\"aligncenter size-full wp-image-276508\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fetch-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Colin Bramwell, <a href=\"https:\/\/bookshop.org\/a\/132\/9781916751699\" target=\"_blank\" rel=\"noopener\"><em>Fetch<\/em><\/a><\/strong><br \/>\n&amp; Other Stories, October 13<\/h3>\n<p>I don\u2019t often know how to explain the poetry I like versus the poetry I don\u2019t\u2026 but this collection, I very much <em>do<\/em> like. Sprinkled with poems in English and in Scots (go ahead, read them aloud, see how close-and-yet-far the two languages are from one another), Bramwell\u2019s debut is just fun to read. There is a musicality to his language, a willingness to embrace form when it suits and shed it when it doesn\u2019t, that kept me coming back to read a few more poems before bed every night. Perhaps the publisher\u2019s jacket copy actually does nail what kind of poetry works for me: \u201cthis poet takes poetry seriously\u2014but not too seriously.\u201d <em>\u2013DB<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276507\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/deadwhite\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"deadwhite\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite.jpg\" class=\"aligncenter size-full wp-image-276507\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/deadwhite-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Wendy S. Walters, <a href=\"https:\/\/bookshop.org\/a\/132\/9781982178550\" target=\"_blank\" rel=\"noopener\"><em>A Dead White<\/em><\/a><\/strong><br \/>\nScribner, October 13<\/h3>\n<p>Wendy S. Walters is one of our best\u2014and strangest\u2014living essayists. And I don\u2019t use the term essayist lightly, here: there are thousands of novelist-essayists, journalist-essayists, and poet-essayists out there exploring the form, some brilliant, some boring, but Walters is a true master of writing-as-thinking. As I wrote of her 2015 essay collection, <a href=\"https:\/\/bookshop.org\/a\/132\/9781941411049\"><i>Multiply\/Divide<\/i><\/a> (one of <a href=\"https:\/\/lithub.com\/literary-hubs-best-books-of-2015\/\">my favorite books of that year<\/a>):<\/p>\n<p style=\"padding-left: 40px;\">I would give much to see the world the way Wendy S. Walters does, even for a day, for an hour. The hybridity of this collection\u2014essay cum poem cum fragment cum diary entry\u2014hearkens <i>way<\/i> back to the continental feuilleton (see: Joseph Roth), a mode of impressionistic observation that can be both broadly political and deeply personal. In Walters supremely talented hands, the one is never far from the other.<\/p>\n<p>And now, with <i>A Dead White<\/i>, we <i>really<\/i> get to see the world the way Walters sees it, specifically, its infinite white spaces. And I\u2019m not talking about country clubs and Cracker Barrels, I mean literally: one day, while dropping her son off at school, Walters started to notice the ubiquity of white paint in our lives\u2014and once she started, she couldn\u2019t stop. As Walters observes in <em>A Dead White<\/em> (which is somewhere between a monogram and an essay collection devoted to a single subject), the ubiquity of white paint in <i>all<\/i> our spaces, public and private, reveals so much more about societal value systems than we\u2019d care to admit, about our passive choices and our wrongheaded aspirations to self-serving (and false) \u201cneutrality.\u201d I will never look at a white wall the same way.\u00a0<b> \u2013<\/b><em>JD<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276506\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/slope\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"slope\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope.jpg\" class=\"aligncenter size-full wp-image-276506\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/slope-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Lindsay Turner, <a href=\"https:\/\/bookshop.org\/a\/132\/9780374621056\" target=\"_blank\" rel=\"noopener\"><em>Middle Slope<\/em><\/a><\/strong><br \/>\nFSG, October 20<\/h3>\n<p>Lindsay Turner&#8217;s latest collection is a gorgeous\u00a0meditation on the\u00a0vast, uncertain middle. The devastating waiting that defines infertility is depicted amid scenes of pastoral beauty, and distance. In &#8220;Rabbits,&#8221; she writes:<\/p>\n<p style=\"padding-left: 60px;\"><em>The sun is nowhere and right overhead<\/em><br \/>\n<em>I\u2019ll want for the roses to grow over the doorway <\/em><br \/>\n<em>&amp; the fox eats the rabbits or the hawks do\u2014<\/em><br \/>\n<em>Yesterday one dropped a minnow onto the sidewalk <\/em><br \/>\n<em>It dried in the heat<\/em><br \/>\n<em>In my sleep I scatter like rabbits after all the wants I want\u00a0 <\/em><br \/>\n<em>They scatter like rabbits or freeze solid in my dreaming gaze <\/em><br \/>\n<em>I can\u2019t be more lost than anyone else<\/em><\/p>\n<p>Humanity glances off wilderness, the sublime exists side-by-side with the quotidian, and time stretches and freezes and turns in on itself like being lost on an impossible mountain path. This is a lovely, unsettling collection, the kind that had me underlining and annotating on overdrive. Her language is simple, never tricky, and every line feels nothing so much as true. \u2013JG<\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276505\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/access-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"access\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access.jpg\" class=\"aligncenter size-full wp-image-276505\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/access-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Jane Schoenbrun, <a href=\"https:\/\/bookshop.org\/a\/132\/9780593978382\" target=\"_blank\" rel=\"noopener\"><em>Public Access Afterworld<\/em><\/a><\/strong><br \/>\nHogarth, October 27<\/h3>\n<p>Is there anything that Jane Schoenbrun can\u2019t do?? Three spectacular major motion pictures (I love-love-loved <em>I Saw the TV Glow<\/em> and if you haven\u2019t been to see <em>Teenage Sex and Death at Camp Miasma<\/em> at your local cinema, what are you even doing) and now a debut novel that reads like a David Mitchell fever dream imagined by somebody working the last Blockbuster on the planet. It is structured like a prestige television series, but it is also commenting on and dissecting that form. It is an ode to movies and moviemaking and the ineffable places from which story comes\u2026. But it is also a Lynchian fever dream about the dangers of our subconscious, about the raptures of discovering your <em>self<\/em>, and about how you should never ever trust a suit in matters of art. It\u2019s also just fucking <em>fun<\/em>. Rumor has it we\u2019re going to get another two books to make this a trilogy-opener, too. Consider me seated. <em>\u2013DB<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276504\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/venus-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"venus\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus.jpg\" class=\"aligncenter size-full wp-image-276504\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/venus-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Rebecca Birrell, <a href=\"https:\/\/bookshop.org\/a\/132\/9781250457233\" target=\"_blank\" rel=\"noopener\"><em>Venus, Vanishing<\/em><\/a><\/strong><br \/>\nHenry Holt, October 27<\/h3>\n<p>The thing about <em>Venus, Vanishing <\/em>is that it\u2019s so rich in nuance and complexity that I want to take a bite out of it. I think historical novels can sometimes feel a bit rote. The plots aren\u2019t particularly developed or surprising, and the characters are written more as archetypes than as real people. Not so with <em>Venus, Vanishing<\/em>! This novel is full of characters who talk and act like people, who make decisions real people would make. This relatability made the plot feel relevant in a way that was both unsettling and, somehow, comforting. The world has always been scary, and people have always been imperfect, but also there\u2019s always been love and friendship and art and messy queer polycules. I\u2019m going to be thinking about this book for a long time. <em>\u2013MC<\/em><\/p>\n<h3 style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276503\" data-permalink=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/fieldwork\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork.jpg\" data-orig-size=\"800,550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"fieldwork\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork.jpg\" class=\"aligncenter size-full wp-image-276503\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork.jpg 800w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork-300x206.jpg 300w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork-768x528.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork-60x41.jpg 60w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fieldwork-50x34.jpg 50w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/>Meena Kandasamy, <a href=\"https:\/\/bookshop.org\/a\/132\/9781593768416\" target=\"_blank\" rel=\"noopener\"><em>Fieldwork as a Sex Object<\/em><\/a><\/strong><br \/>\nSoft Skull, November 24<\/h3>\n<p>Sometimes you pick up a book on a whim and it just hits. I\u2019m sure you know what I mean: whether because of the cover or a blurb or a friend\u2019s recommendation or just something about the first pages, you are simply <em>in<\/em>. So it was with <em>Fieldwork as a Sex Object<\/em>, which Kandasamy structures as a kind of found-text, the \u2018true\u2019 story of its main character Amrita, whose life explodes when a deepfake sex-tape featuring her face (but not her body) goes viral. What ensues is a snappy and furious assault on incels, the caste system, internet echo chambers, modern romance, and so much more. It made me want to get off social media for good, it made me crack up multiple times, and it caught me by total surprise several times more. It might be one of the great depictions of this terrible time, a visceral reminder of how cruel this world can be to women simply because they&#8217;ve made men feel bad. <em>\u2013DB<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The weather has become untrustworthy, for determining the seasons and otherwise. As I write this introduction, the leaves remain stubbornly green, and outside my window there is torrential rain. But at the farmer&#8217;s market this past weekend, I walked down<\/p>\n","protected":false},"author":1210,"featured_media":276452,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,11,43070,43135],"tags":[18735,5611,338],"class_list":["post-276449","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-fullwidth-slider","category-literary-criticism","category-readinglists","tag-book-recommendations","tag-fall-reading","tag-reading-list","story-type-reading-list"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19UR","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fallpreview-copy.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276449","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/1210"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276449"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276449\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276452"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276449"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276667,"date":"2026-09-08T06:30:35","date_gmt":"2026-09-08T10:30:35","guid":{"rendered":"https:\/\/lithub.com\/?p=276667"},"modified":"2026-09-08T10:24:00","modified_gmt":"2026-09-08T14:24:00","slug":"lit-hub-daily-september-8-2026","status":"publish","type":"post","link":"https:\/\/lithub.com\/lit-hub-daily-september-8-2026\/","title":{"rendered":"Lit Hub Daily: September 8, 2026"},"content":{"rendered":"<span class=\"caption\"> TODAY: In 1924, Grace Metalious is born. <\/span>\n<ul>\n<li>A new season means new books. Here are <a href=\"https:\/\/lithub.com\/34-books-you-need-to-read-this-fall\/\">34 titles you need to read this fall<\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/readinglists\/\">Reading Lists<\/a><\/li>\n<li><a href=\"https:\/\/lithub.com\/emily-wilson-talks-complicated-men-celebrating-strangeness-and-why-there-is-always-another-way-to-say-it\/\">Emily Wilson talks to <\/a><span class=\"byline\"><a href=\"https:\/\/lithub.com\/emily-wilson-talks-complicated-men-celebrating-strangeness-and-why-there-is-always-another-way-to-say-it\/\">Leanne Ogasawara<\/a> about &#8220;the high stakes and complexities of translation,&#8221; complicated men, and her essay collection, <i>Crossing the Wine-Dark Sea<\/i>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/on-translation\/\">On Translation<\/a>\u00a0<\/span><\/li>\n<li>Brian Dillon explores <span class=\"byline\">the deeply personal nature <a href=\"https:\/\/lithub.com\/brian-dillon-on-what-virginia-woolfs-the-waves-means-to-him\/\">of loving <\/a><\/span><a href=\"https:\/\/lithub.com\/brian-dillon-on-what-virginia-woolfs-the-waves-means-to-him\/\">Virginia Woolf\u2019s <em>The Waves<\/em><\/a><em>.\u00a0<\/em>| Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/literary-criticism\/\">Criticism<\/a><\/li>\n<li>Alexander Lee examines <a href=\"https:\/\/lithub.com\/what-the-ghetto-of-venice-reveals-about-jewish-history-and-identity-in-europe\">Jewish history and identity in Europe via the ghetto of Venice<\/a>, from his Cundill Prize-shortlisted <em>The First Ghetto<\/em>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/history\/\">History<\/a><\/li>\n<li><a href=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\">The 20 new books out today<\/a> include work by Emma Cline, R. F. Kuang, Alice Hoffman, and more! | Lit Hub <a href=\"https:\/\/lithub.com\/category\/readinglists\/\">Reading Lists<\/a><\/li>\n<li>On the hazards of <a href=\"https:\/\/lithub.com\/how-and-why-we-find-ourselves-trapped-by-our-jobs\/\">over-identifying with your job<\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/health\/\">Health<\/a><\/li>\n<li>Today in literary history, <a href=\"https:\/\/lithub.com\/this-week-in-literary-history-william-s-burroughs-kills-joan-vollmer-in-a-drunken-game-of-william-tell\">William S. Burroughs kills Joan Vollmer in a drunken party game<\/a>: &#8220;The details remain unproveable, and reports of the event vary, even from the few eyewitnesses, but the legend has remained.&#8221; | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/history\/\">History<\/a><\/li>\n<li>&#8220;You chose this program based on money and because you never had a Black person of any gender teach you anything about writing or reading.&#8221; <a href=\"https:\/\/lithub.com\/how-to-be-a-black-author\">Read &#8220;How to be a Black Author&#8221; from Megan Giddings&#8217;s story collection, <em>Black Arts<\/em><\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/fictionandpoetry\/short-story\/\">Fiction<\/a><\/li>\n<li>When does the world need your words, and when does it need your action? Should you go to that organizing meeting or meet your deadline? Steinem lived these tensions, wrestling with them and, sometimes, writing about them.\u201d <a href=\"https:\/\/newrepublic.com\/article\/215082\/gloria-steinem-life-art-activism\">Maggie Doherty on Gloria Steinem\u2019s life in writing and activism<\/a>. | The New Republic<\/li>\n<li><a href=\"https:\/\/slate.com\/culture\/2026\/09\/mrbeast-youtube-james-patterson-book-games.html\">What does a MrBeast\/James Patterson collaboration look like<\/a>? Strange, and bad, but nevertheless: a book! | Slate<\/li>\n<li>\u201cThere\u2019s an irreverence to giving a poem its most obvious title. It just is what it is.\u201d <a href=\"https:\/\/www.theparisreview.org\/blog\/2026\/09\/04\/a-poem-is-full-of-meat-dorothea-lasky-on-mother\/\">Dorothea Lasky on her collection, <i>Mother<\/i><\/a>. | The Paris Review<\/li>\n<li>Why does <a href=\"https:\/\/www.theverge.com\/ai-artificial-intelligence\/989376\/ai-generated-food-why-does-it-look-like-that\">AI-generated food<\/a><i> look like that<\/i>? | The Verge<\/li>\n<li>Is the internet really killing literature, or has it expanded it? Aarthi Vadde explores <a href=\"https:\/\/lareviewofbooks.org\/article\/we-the-platform-artificial-intelligence-aarthi-vadde-internet\/\">the potential of the literary web.<\/a> | Los Angeles Review of Books<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>A new season means new books. Here are 34 titles you need to read this fall. | Lit Hub Reading Lists Emily Wilson talks to Leanne Ogasawara about &#8220;the high stakes and complexities of translation,&#8221; complicated men, and her essay<\/p>\n","protected":false},"author":61,"featured_media":276673,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[45236],"tags":[],"class_list":["post-276667","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lit-hub-daily"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Yn","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/GraceMetalious.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276667","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/61"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276667"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276667\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276673"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276667"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276667"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276183,"date":"2026-09-08T05:52:46","date_gmt":"2026-09-08T09:52:46","guid":{"rendered":"https:\/\/lithub.com\/?p=276183"},"modified":"2026-09-05T21:53:37","modified_gmt":"2026-09-06T01:53:37","slug":"emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today","status":"publish","type":"post","link":"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/","title":{"rendered":"Emma Cline, R.F. Kuang, Alice Hoffman, and more: 20 new books out today!"},"content":{"rendered":"<p style=\"text-align: left;\">There&#8217;s a rule in September that every week must include one epically splashy book: this week, Emma Cline&#8217;s <em>Switzy<\/em> is here to fulfill that quota. It&#8217;s time for us all to get our hands on the novelist&#8217;s buzzy new release, as well as many others, including R. F. Kuang&#8217;s <em>Taipei Story<\/em>, a brand new Alice Hoffman book, as well as many nonfiction titles for those in need. Read on for the full list, and happy Tuesday.<\/p>\n<p style=\"text-align: center;\">*<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273206\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/61kq-wtv4yl-_ac_uf10001000_ql80_\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_.jpg\" data-orig-size=\"658,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Emma Cline, Switzy\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_.jpg\" class=\"alignnone size-medium wp-image-273206\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_-197x300.jpg\" alt=\"Emma Cline, Switzy\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_-197x300.jpg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/61KQ-wTV4yL._AC_UF10001000_QL80_.jpg 658w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Emma Cline, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593595244\" target=\"_blank\" rel=\"noopener\"><em>Switzy<\/em><\/a><\/strong><br \/>\n<strong>(Random House)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;This truly profound journey will stay with readers long after the last page is turned.\u201d<br \/>\n<em>\u2013Booklist<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276312\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/attachment\/247546631\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-scaled.jpg\" data-orig-size=\"1696,2560\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"R. F. Kuang, Taipei Story\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-678x1024.jpg\" class=\"alignnone size-medium wp-image-276312\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-199x300.jpg\" alt=\"R. F. Kuang, Taipei Story\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-678x1024.jpg 678w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-768x1160.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-1017x1536.jpg 1017w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-1356x2048.jpg 1356w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/247546631-scaled.jpg 1696w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>R.F. Kuang, <a href=\"https:\/\/bookshop.org\/a\/40\/9780063473744\" target=\"_blank\" rel=\"noopener\"><em>Taipei Story<\/em><\/a><\/strong><br \/>\n<strong>(William Morrow)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A visceral exploration of language as a bridge and a barrier.&#8221;<br \/>\n<em>\u2013Kirkus<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276313\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/version-1-0-0-107\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640.jpeg\" data-orig-size=\"331,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Version 1.0.0&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Version 1.0.0&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Alice Hoffman, The Witches of Cambridge\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640.jpeg\" class=\"alignnone size-medium wp-image-276313\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640-199x300.jpeg\" alt=\"Alice Hoffman, The Witches of Cambridge\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9781668074640.jpeg 331w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Alice Hoffman, <a href=\"https:\/\/bookshop.org\/a\/40\/9781668074640\" target=\"_blank\" rel=\"noopener\"><em>The Witches of Cambridge<\/em><\/a><\/strong><br \/>\n<strong>(Scribner)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Rich with history, heartbreak, and magic, Hoffman&#8217;s tale of privilege and persecution expertly navigates past and present, reality and fantasy, all of it rendered in brilliant detail.&#8221;<br \/>\n<em>\u2013<\/em>Leigh Bardugo<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273215\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/dillon-frontonly-copy\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy.jpg\" data-orig-size=\"1725,2550\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Brian Dillon, Ambivalence\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-693x1024.jpg\" class=\"alignnone size-medium wp-image-273215\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-203x300.jpg\" alt=\"\" width=\"203\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-203x300.jpg 203w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-693x1024.jpg 693w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-768x1135.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-41x60.jpg 41w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-1039x1536.jpg 1039w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-1385x2048.jpg 1385w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy-34x50.jpg 34w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/dillon-frontonly-copy.jpg 1725w\" sizes=\"auto, (max-width: 203px) 100vw, 203px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Brian Dillon, <a href=\"https:\/\/bookshop.org\/a\/40\/9798896231103\" target=\"_blank\" rel=\"noopener\"><em>Ambivalence<\/em><\/a><\/strong><br \/>\n<strong>(NYRB)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Brian Dillon is always invigoratingly brilliant. His sentences, his stylistic innovations, the range and potency of his intellectual adventures; he is a true master of the literary arts and a writer I would never hesitate to read.&#8221;<br \/>\n<em>\u2013<\/em>Max Porter<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273211\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy.jpg\" data-orig-size=\"350,527\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Megan Giddings, Black Arts\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy.jpg\" class=\"alignnone size-medium wp-image-273211\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy-199x300.jpg\" alt=\"Megan Giddings, Black Arts\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780063352797_c0a362c7-ff27-4e2c-ae5c-28890b9e6ed9-copy.jpg 350w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Megan Giddings, <a href=\"https:\/\/bookshop.org\/a\/40\/9780063352797\"><em>Black Arts: Stories<\/em><\/a><\/strong><br \/>\n<strong>(Amistad)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;The author deserves high marks for this ebullient, ideas-driven collection.&#8221;<br \/>\n<em>\u2013Publishers Weekly<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276314\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/screenshot-2026-08-27-at-12-08-03-pm\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM.png\" data-orig-size=\"1028,1574\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Francis Fukuyama, In the Realm of the Last Man\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-669x1024.png\" class=\"alignnone size-medium wp-image-276314\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-196x300.png\" alt=\"Francis Fukuyama, In the Realm of the Last Man\" width=\"196\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-196x300.png 196w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-669x1024.png 669w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-768x1176.png 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-39x60.png 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-1003x1536.png 1003w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM-33x50.png 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-12.08.03-PM.png 1028w\" sizes=\"auto, (max-width: 196px) 100vw, 196px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Francis Fukuyama, <a href=\"https:\/\/bookshop.org\/a\/40\/9780374620431\" target=\"_blank\" rel=\"noopener\"><em>In the Realm of the Last Man<\/em><\/a><\/strong><br \/>\n<strong>(FSG)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Fukuyama offers shrewd, provocative analysis of politics, society, and intellectual currents in tart and lively prose.&#8221;<br \/>\n<em>\u2013Publishers Weekly<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276315\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/attachment\/9780385550345\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345.jpeg\" data-orig-size=\"296,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"The Pirate Queen, Ariel Lawhon\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345.jpeg\" class=\"alignnone size-medium wp-image-276315\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345-197x300.jpeg\" alt=\"The Pirate Queen, Ariel Lawhon\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345-197x300.jpeg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345-39x60.jpeg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780385550345.jpeg 296w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Ariel Lawhon, <a href=\"https:\/\/bookshop.org\/a\/40\/9780385550345\" target=\"_blank\" rel=\"noopener\"><em>The Pirate Queen<\/em><\/a><\/strong><br \/>\n<strong>(Doubleday)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A heroic, exciting, and stormy voyage.\u201d<br \/>\n<em>\u2013Kirkus<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276319\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/attachment\/9798217085736\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736.jpeg\" data-orig-size=\"296,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Girlhood Translated\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736.jpeg\" class=\"alignnone size-medium wp-image-276319\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736-197x300.jpeg\" alt=\"Girlhood Translated\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736-197x300.jpeg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736-39x60.jpeg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9798217085736.jpeg 296w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Suzanne Garfinkle-Crowell, <a href=\"https:\/\/bookshop.org\/a\/40\/9798217085736\" target=\"_blank\" rel=\"noopener\"><em>Girlhood, Translated: Understanding Young Women in the Age of Therapy Speak and Self-Diagnosis<\/em><\/a><\/strong><br \/>\n<strong>(Crown)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Both a brilliant decoding of therapy speak and a compassionate reckoning with what gets lost when the language of mental illness becomes the only language young people have for their inner lives.&#8221;<br \/>\n<em>\u2013<\/em>Rachel Aviv<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276328\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/version-1-0-0-108\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254.jpeg\" data-orig-size=\"329,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Version 1.0.0&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;Version 1.0.0&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Jill Bialosky, Mock Heart\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254.jpeg\" class=\"alignnone size-medium wp-image-276328\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254-197x300.jpeg\" alt=\"Jill Bialosky, Mock Heart\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254-197x300.jpeg 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254-39x60.jpeg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593804254.jpeg 329w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jill Bialosky, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593804254\"><em>Mock Heart: New and Selected Poems<\/em><\/a><\/strong><br \/>\n<strong>(Knopf)<\/strong><\/p>\n<p style=\"text-align: center;\">\u201cTo read Jill Bialosky\u2019s\u00a0<i>Mock Heart: New &amp; Selected Poems\u00a0<\/i>is to explore the lyric opulence of a life lived at the nexus of beauty and its blood sister, loss.&#8221;<br \/>\n<em>\u2013<\/em>Diane Seuss<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276316\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/attachment\/9780593716342\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342.jpeg\" data-orig-size=\"298,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"William D. Cohan, Money to Burn\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342.jpeg\" class=\"alignnone size-medium wp-image-276316\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342-199x300.jpeg\" alt=\"William D. Cohan, Money to Burn\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593716342.jpeg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>William D. Cohan, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593716342\" target=\"_blank\" rel=\"noopener\"><em>Money to Burn: The Unvarnished Truth About Leon Black, Apollo, and the Rise of a New Wall Street<\/em><\/a><\/strong><br \/>\n<strong>(Portfolio)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A master class in reporting from the hidden power centers of America\u2019s billionaire class.&#8221;<br \/>\n<em>\u2013<\/em>Susan Glasser<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273209\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/9780374621728_fc\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc.jpg\" data-orig-size=\"782,1200\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Jordan Tannahill, The Living Realm\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-667x1024.jpg\" class=\"alignnone size-medium wp-image-273209\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-196x300.jpg\" alt=\"Jordan Tannahill, The Living Realm\" width=\"196\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-196x300.jpg 196w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-667x1024.jpg 667w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-768x1179.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9780374621728_fc.jpg 782w\" sizes=\"auto, (max-width: 196px) 100vw, 196px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jordan Tannahill, <a href=\"https:\/\/bookshop.org\/a\/40\/9780374621728\" target=\"_blank\" rel=\"noopener\"><em>The Living Realm<\/em><\/a><\/strong><br \/>\n<strong>(FSG)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;A\u00a0perfectly rendered story of friendship, love, and the porous border between the living and the dead.&#8221;<br \/>\n<em>\u2013Publishers Weekly<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276317\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/images-9-3\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-9.jpeg\" data-orig-size=\"183,275\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Frenchman Flat\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-9.jpeg\" class=\"alignnone size-full wp-image-276317\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-9.jpeg\" alt=\"Frenchman Flat\" width=\"183\" height=\"275\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-9.jpeg 183w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-9-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/images-9-33x50.jpeg 33w\" sizes=\"auto, (max-width: 183px) 100vw, 183px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jon Else, <a href=\"https:\/\/bookshop.org\/a\/40\/9780674300354\" target=\"_blank\" rel=\"noopener\"><em>Frenchman Flat: The Rise and Fall of Atomic Bombs<\/em><\/a><\/strong><br \/>\n<strong>(Harvard University Press)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;An important account of nuclear hubris and its incompletely tallied costs.&#8221;<br \/>\n<em>\u2013Kirkus<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276318\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/attachment\/9780593420225\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225.jpeg\" data-orig-size=\"298,450\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Priya Parker, The Art of Fighting\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225.jpeg\" class=\"alignnone size-medium wp-image-276318\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225-199x300.jpeg\" alt=\"Priya Parker, The Art of Fighting\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/9780593420225.jpeg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Priya Parker, <a href=\"https:\/\/bookshop.org\/a\/40\/9780593420225\" target=\"_blank\" rel=\"noopener\"><em>The Art of Fighting: The Transformative Power of Conflict<\/em><\/a><\/strong><br \/>\n<strong>(Riverhead)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;This is a life-giving book, and Priya is the luminous and ingenious teacher we need.\u201d<br \/>\n<em>\u2013<\/em>Krista Tippett<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273210\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr.jpg\" data-orig-size=\"1400,2113\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Ken Liu, The Passing of the Dragon and Other Stories\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-678x1024.jpg\" class=\"alignnone size-medium wp-image-273210\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-199x300.jpg\" alt=\"Ken Liu, The Passing of the Dragon and Other Stories\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-678x1024.jpg 678w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-768x1159.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-1018x1536.jpg 1018w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-1357x2048.jpg 1357w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/the-passing-of-the-dragon-and-other-stories-9781668208342_hr.jpg 1400w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Ken Liu, <a href=\"https:\/\/bookshop.org\/a\/40\/9781668208342\" target=\"_blank\" rel=\"noopener\"><em>The Passing of the Dragon and Other Stories<\/em><\/a><\/strong><br \/>\n<strong>(Saga Press)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Thought-provoking, heartbreaking, and wonderous are some of the many ways the tales in this collection will engage readers.&#8221;<br \/>\n<em>\u2013<\/em>From the publisher<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273213\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/816yvt85edl-_uf10001000_ql80_\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_.jpg\" data-orig-size=\"651,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"James Muldoon, Love Machines\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_.jpg\" class=\"alignnone size-medium wp-image-273213\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_-195x300.jpg\" alt=\"James Muldoon, Love Machines\" width=\"195\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_-195x300.jpg 195w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/816yVT85eDL._UF10001000_QL80_.jpg 651w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>James Muldoon, <a href=\"https:\/\/bookshop.org\/a\/40\/9780571404506\"><em>Love Machines: How Artificial Intelligence Is Transforming Our Relationships<\/em><\/a><\/strong><br \/>\n<strong>(Faber &amp; Faber)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;In his urgent, humane book, sociologist James Muldoon urges us to pay more attention to our deepening emotional entanglements with AI, and how profit-hungry tech companies might exploit them.&#8221;<br \/>\n<em>\u2013The Guardian<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276329\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/screenshot-2026-08-27-at-2-24-00-pm\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM.png\" data-orig-size=\"1030,1566\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Ashley Woo, Wildwood\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-674x1024.png\" class=\"alignnone size-medium wp-image-276329\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-197x300.png\" alt=\"Ashley Woo, Wildwood\" width=\"197\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-197x300.png 197w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-674x1024.png 674w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-768x1168.png 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-39x60.png 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-1010x1536.png 1010w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM-33x50.png 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.24.00-PM.png 1030w\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Ashley Woo, <a href=\"https:\/\/bookshop.org\/a\/40\/9780063434578\"><em>Wildwood<\/em><\/a><\/strong><br \/>\n<strong>(Harper Perennial)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;An atmospheric fall debut.\u201d<br \/>\n<em>\u2013Booklist<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273214\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/9798888905845-7328ae3154125da549f6572f1c2fb434\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434.jpg\" data-orig-size=\"1600,2456\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Saul Williams, Songs My Mother Taught Me\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-667x1024.jpg\" class=\"alignnone size-medium wp-image-273214\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-195x300.jpg\" alt=\"Saul Williams, Songs My Mother Taught Me\" width=\"195\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-195x300.jpg 195w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-667x1024.jpg 667w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-768x1179.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-1001x1536.jpg 1001w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-1334x2048.jpg 1334w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/9798888905845-7328ae3154125da549f6572f1c2fb434.jpg 1600w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Saul Williams, <a href=\"https:\/\/bookshop.org\/a\/40\/9798888905845\"><em>Songs My Mother Taught Me: Why the Artist Must Take Sides<\/em><\/a><\/strong><br \/>\n<strong>(Haymarket Books)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Exquisite and essential reading for the revolution from one of our greatest minds.&#8221;<br \/>\n<em>\u2013<\/em>Warsan Shire<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"273216\" data-permalink=\"https:\/\/lithub.com\/lit-hubs-most-anticipated-books-of-2026-part-two\/otherwhere-9781668218242_hr\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr.jpg\" data-orig-size=\"1400,2113\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Carolyn Forch\u00e9, Otherwhere\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-678x1024.jpg\" class=\"alignnone size-medium wp-image-273216\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-199x300.jpg\" alt=\"Carolyn Forch\u00e9, Otherwhere\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-678x1024.jpg 678w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-768x1159.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-1018x1536.jpg 1018w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-1357x2048.jpg 1357w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/06\/otherwhere-9781668218242_hr.jpg 1400w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Carolyn Forch\u00e9, <a href=\"https:\/\/bookshop.org\/a\/40\/9781668218242\"><em>Otherwhere: New and Selected Poems<\/em><\/a><\/strong><br \/>\n<strong>(Scribner)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;This is an essential and mighty book of courageous attention, exacting artistry, and redeeming radiance.&#8221;<br \/>\n<em>\u2013Booklist<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276327\" data-permalink=\"https:\/\/lithub.com\/emma-cline-r-f-kuang-alice-hoffman-and-more-20-new-books-out-today\/71yytanhdl-_ac_uf10001000_ql80_\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_.jpg\" data-orig-size=\"667,1000\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"Love at Least\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_.jpg\" class=\"alignnone size-medium wp-image-276327\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_-200x300.jpg\" alt=\"Love at Least\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_-200x300.jpg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/71YYTaNhdL._AC_UF10001000_QL80_.jpg 667w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Yukiko Motoya, trans. by Kamil Spychalski, <a href=\"https:\/\/bookshop.org\/a\/40\/9781593768317\"><em>Love at Least<\/em><\/a><\/strong><br \/>\n<strong>(Soft Skull)<\/strong><\/p>\n<p style=\"text-align: center;\">&#8220;Motoya balances a raw, unfiltered examination of a woman pixilated by mental illness with an anti-love story that unsettles and lingers.&#8221;<br \/>\n<em>\u2013Booklist<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>There&#8217;s a rule in September that every week must include one epically splashy book: this week, Emma Cline&#8217;s Switzy is here to fulfill that quota. It&#8217;s time for us all to get our hands on the novelist&#8217;s buzzy new release,<\/p>\n","protected":false},"author":5494,"featured_media":276330,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,43070,43135,43646],"tags":[9940,23391,112075,1256,55028,112083,112068,17343,31412,13738,32233,112078,21135,112069,97001,5484,24650,112076,10319,112087,112082,54760,112073,112074,112085,112079,87379,56528,112084,112071,112065,112066,112080,112077,112081,112070,112067,112086,112072,61783,26047,39896],"class_list":["post-276183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-literary-criticism","category-readinglists","category-the-hub","tag-alice-hoffman","tag-ambivalence","tag-and-the-rise-of-a-new-wall-street","tag-apollo","tag-ariel-lawhon","tag-ashley-woo","tag-black-arts-stories","tag-brian-dillon","tag-carolyn-forche","tag-emma-cline","tag-francis-fukuyama","tag-frenchman-flat-the-rise-and-fall-of-atomic-bombs","tag-girlhood","tag-in-the-realm-of-the-last-man","tag-james-muldoon","tag-jill-bialosky","tag-jon-else","tag-jordan-tannahill","tag-ken-liu","tag-love-at-least","tag-love-machines-how-artificial-intelligence-is-transforming-our-relationships","tag-megan-giddings","tag-mock-heart-new-and-selected-poems","tag-money-to-burn-the-unvarnished-truth-about-leon-black","tag-otherwhere-new-and-selected-poems","tag-priya-parker","tag-r-f-kuang","tag-saul-williams","tag-songs-my-mother-taught-me-why-the-artist-must-take-sides","tag-suzanne-garfinkle-crowell","tag-switzy","tag-taipei-story","tag-the-art-of-fighting-the-transformative-power-of-conflict","tag-the-living-realm","tag-the-passing-of-the-dragon-and-other-stories","tag-the-pirate-queen","tag-the-witches-of-cambridge","tag-trans-by-kamil-spychalski","tag-translated-understanding-young-women-in-the-age-of-therapy-speak-and-self-diagnosis","tag-wildwood","tag-william-d-cohan","tag-yukiko-motoya"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Qz","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Screenshot-2026-08-27-at-2.34.15-PM.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/5494"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276183"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276183\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276330"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276397,"date":"2026-09-08T05:10:25","date_gmt":"2026-09-08T09:10:25","guid":{"rendered":"https:\/\/lithub.com\/?p=276397"},"modified":"2026-09-03T22:01:09","modified_gmt":"2026-09-04T02:01:09","slug":"emily-wilson-talks-complicated-men-celebrating-strangeness-and-why-there-is-always-another-way-to-say-it","status":"publish","type":"post","link":"https:\/\/lithub.com\/emily-wilson-talks-complicated-men-celebrating-strangeness-and-why-there-is-always-another-way-to-say-it\/","title":{"rendered":"Emily Wilson Talks Complicated Men, Celebrating Strangeness, and Why There is Always Another Way to Say It"},"content":{"rendered":"<p>One of the most celebrated classicists writing today, Emily Wilson achieved a rare kind of literary stardom in 2017, when her translation of Homer\u2019s <i>Odyssey<\/i> made her the first woman to publish a complete English version of the epic. Her work, which spans Sophocles, Euripides, and Seneca as well as Homer, is known for its rigorous commitment to traditional meter and its startling clarity.<\/p>\n<p>Increasingly a public figure as well as a scholar, Wilson found herself at the center of the cultural conversation again this year when Christopher Nolan cited her famous opening line as an important influence on his own conception of Odysseus, only for Wilson later to publish a sharply critical review of the finished film.<\/p>\n<p>Like a lot of people, I was greatly looking forward to reading her new essay collection, <a href=\"https:\/\/bookshop.org\/a\/132\/9781324099406\"><i>Crossing the Wine-Dark Sea: Journeys Through Ancient Literature<\/i><\/a>, which will be out in the US this September from Liveright. As a translator myself, I was especially eager to talk with her about the choices that make translation such an endlessly provisional art: what to preserve, what must inevitably be lost, and how to make an ancient world intelligible without losing the strangeness of it.<\/p>\n<p style=\"text-align: left;\">*<\/p>\n<p><strong>Leanne Ogasawara<\/strong>: \u201cTell me about a complicated man\u201d may be the most debated single line of translation in recent memory\u2014one reader even joked that it sounded more like a relationship status on Facebook. In your book you explain that polytropos can convey versatility, cunning, wandering, and the experience of being turned about by circumstance. How did you finally land on \u201ccomplicated\u201d and did the intensity of the reactions surprise you?<\/p>\n<p><strong>Emily Wilson<\/strong>: I write about that choice at some length in <i>Crossing the Wine-Dark Sea<\/i>, so I will try not to replicate all that here. I\u2019ll just say for now that I arrived at that choice after many days of consideration and experimentation, and now, almost ten years later, I still don\u2019t think I can improve on it, given the particular goals of my translation of the original poem. I aimed to echo the traditional, metrical poetics of the original, and its status as a text designed for oral performance\u2014unlike most modern translators in English, who have used prose or free verse. So I needed a word that could scan, when followed by the stressed syllable of \u201cman.\u201d<\/p>\n<p class=\"pullquote\">It\u2019s good that so many people feel empowered to engage with a discussion about the high stakes and complexities of translation, no matter what their background, their knowledge, or their feelings may be.<\/p>\n<p>I also aimed, unlike most translators, to recreate the rapid pacing of the original, so I didn\u2019t want to translate one four-syllable word by a long multi-word phrase; doing so has certain obvious advantages in terms of echoing the ambivalence of this single word, but also obvious disadvantages in terms of slowing down the whole narrative right at the start. Like every translation choice, \u201ccomplicated\u201d is a compromise. It isn\u2019t identical in denotation, connotation, register or sound to the original\u2014and nor are any of the other ways translators have dealt with <i>polytropos<\/i>.<\/p>\n<p>I think of it as being like democracy: the worst option, except for all the others.It\u2019s not surprising that there was and remains so much fixation on the fifth word of the first line, in a poem that is over twelve thousand lines long. Sticking to one word in the first line saves a great deal of time. It\u2019s good that so many people feel empowered to engage with a discussion about the high stakes and complexities of translation, no matter what their background, their knowledge, or their feelings may be.<\/p>\n<p><strong>LO<\/strong>: When your translation was first published in 2017, it was described everywhere as the first English Odyssey by a woman\u2014the <em>Guardian<\/em>, the <em>New York Times<\/em>, and the <em>Washington Post<\/em> all ran \u201cfirst woman\u201d headlines. I was puzzled at the time by how heavily that framing dominated, especially since we saw nothing like it when Edith Grossman\u2019s translation of Don Quixote appeared.\u00a0 It also made me think about how thoroughly men have dominated translation from ancient Greek and Latin, despite how many women take PhDs in the field. The contrast with classical Japanese translation is striking: women are well represented, with the notable exception of <em>The Tale of Genji<\/em>, whose English translators have all been white men. Why do you think the translator\u2019s gender became the story in the case of Homer specifically? And has that conversation broadened into a discussion of who gets to translate canonical texts more generally\u2014questions of race, class, and access as well as gender?<\/p>\n<p><strong>EW<\/strong>: I shared your surprise about those headlines and that framing. When I took on the project of re-translating the <i>Odyssey<\/i>, I hadn\u2019t even known or considered that I might be the first non-man to publish a complete English version. I had taught several different English translations over the years, and had never even noticed that they were all by men. I don\u2019t think my actual work as a translator\u2014either of Homer, or of Seneca, Sophocles or Euripides\u2014has anything to do with my gender as such. My goals were about poetic form, pacing, and narrative perspective. And yet the labelling of me as \u201cthe woman translator\u201d or \u201cthe feminist translator\u201d persists even unto this day. It\u2019s become my standard traditional epithet, rather as ships in Homer are always \u201cswift\u201d and \u201csea-faring,\u201d even when they\u2019ve been immobilized on a beach for ten years. Epithets are sticky things.<\/p>\n<p class=\"pullquote\">Over the past ten years, I\u2019ve been very moved by how many people, especially young people, have told me they see me as some kind of inspiration. I feel very touched and honored by that, and I recognize that it\u2019s a great responsibility.<\/p>\n<p>But you\u2019re right also that there is indeed a weird gendered imbalance, in that published English translations of major, long canonical works by Greek and Roman authors into English have tended to be by men, even though that\u2019s not the case in other languages (there are plenty of French and Italian translations of Homer by women), and even though there are plenty of English-speaking classicists who are not men. I think it\u2019s about a cluster of partly separate issues, which include language training (for living languages, there is a far wider pool of competent potential translators, whereas for those that are no longer spoken, competence has to be acquired in the academy for English-speakers, whereas in France or Italy, it can be acquired in the <i>liceo<\/i> or <i>lyc\u00e9e<\/i>); there is also the marginalization of translation in the Anglophone academy (it\u2019s not going to get you tenure or promotion, so there\u2019s less motivation to take on a major, time-consuming translation project).<\/p>\n<p>But these issues don\u2019t fully explain why so many twentieth and twenty-first century English-language translations of major Greek and Roman works have been published by retired male academics, rather than elderly women. Perhaps it is partly about networks; I personally took on all my translation projects only because I was approached with the idea by specific editors; perhaps there are gaps in terms of whom editors or publishers think of as potential translators. But this is all pure speculation; I really don\u2019t know!<\/p>\n<p>Over the past ten years, I\u2019ve been very moved by how many people, especially young people, have told me they see me as some kind of inspiration. I feel very touched and honored by that, and I recognize that it\u2019s a great responsibility.<\/p>\n<p>I\u2019d definitely like to see a wider conversation about who translates the canon and how that might matter (as well as how it might not). Classicist Jackie Murray has written eloquently about the need for more BIPOC translators of Greek and Latin classics.<\/p>\n<p>In terms of the media coverage: I think that\u2019s a somewhat separate question. One reason for the persistent headlines, I would argue, is that it\u2019s quite similar to the fixation on \u201ccomplicated\u201d: it\u2019s difficult to come up with a new story, and people, including journalists, tend to congregate in packs. After the <i>New York Times <\/i>had covered my work with the framing that, \u201cWilson is a woman and she used the word \u2018complicated,\u2019\u201d there were then dozens more pieces saying exactly those same two things.<\/p>\n<p>To me, this was not a particularly good framing, in that it entirely ignores my actual interpretative and poetic goals and work in favor of a factoid about the field, and in that the fixation on me as if I\u2019d cracked a glass ceiling sidelines the work of a multitude of other female classicists, Homerists and translators who are also not men. But of course, I can see the appeal of a quick nugget for a headline writer, and I am very glad that there was such wide coverage of translation and of Homer in the popular press. The coverage, whatever its content, has succeeded in prompting at least a notch more popular awareness of the interpretative stakes of translation, and I\u2019m grateful for that, regardless of what anybody thinks or says about me personally.<\/p>\n<p>As for why it was different with Edith Grossman\u2019s brilliant <i>Don Quixote<\/i>: this might have something to do with particular assumptions and perceptions of Homer in particular, and perhaps partly about Greek and Roman literature more broadly. Quixote himself is a comically ineffectual, bumbling hero; he\u2019s nobody\u2019s notion of idealized masculinity.<\/p>\n<p>Moreover, Spanish is not imagined by most English-speakers as a language that belongs particularly to men. Things are different in the case of Homeric poems, especially in how they\u2019re configured in American popular culture, with perceptions of these epics as foundational both for \u201cwestern culture\u201d (although they originate in the eastern area of the archaic Greek world), and as authorizing or modelling a particular modern set of ideas about idealized, heroic masculinity. Much of the public reaction to my work is, I would say, less about my actual work than about the tenacity of these dubious and non-historical ideas.<\/p>\n<p>A major theme in <i>Crossing the Wine-Dark Sea<\/i> is that particular interpretations of ancient literature or culture can be very sticky, regardless of their truth value. For instance, I discuss a version of this phenomenon within antiquity, in my analysis of the brilliant ancient orator, Demosthenes\u2014whose presentation of classical Athens as the glorious home of liberty and resistance to imperial oppression has been extraordinarily influential in later periods, regardless of its historicity. Another way this plays out in the book is in my analysis of how re-translators often echo or follow one another, rather than looking afresh at the interpretative possibilities of the originals.<\/p>\n<p><strong>LO<\/strong>: Is there something inherently adversarial about retranslation? After all, deciding a book needs translating again implies that the previous versions no longer do everything you want them to do. Haruki Murakami, in an essay he wrote about translating <i>The Great Gatsby<\/i>, argued that translations have expiration dates. The original may endure, but translations age along with the language and assumptions of the culture that produced them. I wondered what you make of that?<\/p>\n<p><strong>EW<\/strong>: Arthur Sze\u2019s latest book, <i>Transient Worlds<\/i>, makes a similar point: that the great works of antiquity, whether in classical Chinese or ancient Greek and Latin, may endure, while their translations are transient and need to be replaced with each new generation of readers.<\/p>\n<p class=\"pullquote\">As for the great question about whether re-translation is necessarily adversarial: I would not say so, because it is not a zero-sum game. <\/p>\n<p>I think this is true, up to a point. One of the major themes of <i>Crossing the Wine-Dark Sea <\/i>is that as our own culture changes, we see new and different things in ancient literature and ancient cultures\u2014and these new vantage points enable or necessitate asking new questions about the past, reinterpreting and re-translating in light of new insights, priorities and norms.<\/p>\n<p>But it\u2019s also true that translations can sometimes become canonical works in their own right, as is the case for the Latin Vulgate and the King James Version of the Bible, or the Pope translation of the <i>Iliad<\/i>\u2014which isn\u2019t usable for teaching American undergraduates about Homer in the twenty-first century, but is foundational if you want to understand the history of British poetry in the eighteenth century (and is also a fabulous read in itself).<\/p>\n<p>The path of true literary history never did run smooth. A core theme in <i>Crossing the Wine-Dark Sea <\/i>is that canons shift, and all such worlds are transient things. I often think about Keats\u2019s great sonnet, \u201cOn First Looking into Chapman\u2019s Homer,\u201d not just because it\u2019s a wonderful reminder of how revelatory and important a translation can be, for someone without access to the original, but also because it\u2019s a reminder that the newest isn\u2019t always the best for every reader. Keats had read more recent translations, including Pope; but it was Chapman\u2019s seventeenth century translation that made Homer alive to him, because it had stylistic features that foreshadowed what you might call being \u201cKeatsian,\u201d in its focus on synaesthetic experience.<\/p>\n<p>As for the great question about whether re-translation is necessarily adversarial: I would not say so, because it is not a zero-sum game. Pope didn\u2019t replace Chapman; both are still available to be read. When I published new translations of Homer, I didn\u2019t burn all copies of the work of my predecessors! The Apple of Discord\u2014thrown amid the wedding feast by Eris, goddess of Conflict\u2014causes bitter in-fighting among the goddesses, and a deadly war for mortals, because it is inscribed with a singular dedication: \u201cFor the most beautiful,\u201d or, \u201cFor the finest.\u201d<\/p>\n<p>The Greek word makes it clear that there is only one \u201cfinest\u201d dedicatee. There\u2019s no chance of dividing the Apple, and only one goddess can win the prize\u2014so Hera and Athena are furious that Aphrodite is given this glory, and the Trojan War ensues.<\/p>\n<p>In Homer, the same kind of dilemma plays out on the human plane, in the conflict over which singular man can be the \u201cbest of the Achaeans,\u201d the \u201cbest of the Greeks,\u201d or the singular lord of rocky Ithaca. But the Homeric poems also remind us that in some spheres\u2014like the banquet or the council meeting or in athletic competitions\u2014honor and benefits can be shared among a group, and difference need not be deadly. To me, re-translation is more like a banquet than a deadly battle: I\u2019m not slaying my esteemed predecessors to establish my own glory. Instead, I provide a different cut of meat for everyone to enjoy at the feast.<\/p>\n<p class=\"pullquote\">My commitment to poetic form is one of my most important priorities as a translator of metrical poetry.<\/p>\n<p>At the same time, any re-translator does have a responsibility to bring a new dish, not just reheat the same old stuff. Another theme of my discussion of translation in <i>CWDS <\/i>is that there can be a temptation for translators to echo the approach and even the phrasing of their predecessors\u2014even when it\u2019s not the only option. I find this a bit disappointing, because it means that readers without access to the original have a more limited vision of its possibilities than they could otherwise have. \u201cMake it new\u201d is a good mantra for all writers, and that includes re-translators.<\/p>\n<p>Any new work of re-interpretation needs to justify its own existence. This is true of new works of history or literary criticism, and it\u2019s also true of re-translation. If I publish a new book about Sophocles, I need to explain clearly how it\u2019s different from the numerous existing books on the same subject. Similarly, if I publish a re-translation, I need to offer something that is genuinely, deeply, responsibly engaged with the original, while offering a significantly different vision of it, compared to existing English translations. If I can\u2019t do that, the whole project is a waste of everyone\u2019s time.<\/p>\n<p><strong>LO<\/strong>: I really appreciated the twenty principles for translating ancient texts in your afterword. My favorite is your insistence that translators reproduce not only information but effect: &#8220;If the original makes you laugh, cry, feel excited, get goosebumps, feel puzzled, get bored, be charmed, then the translation should try to create those effects.&#8221; What effects of Homer did you feel were underplayed or missing in earlier English translations? And what did you most want to restore?<\/p>\n<p><strong>EW<\/strong>: I wouldn\u2019t have re-translated Homer at all, unless I\u2019d felt there were important elements of the original poems that were under-played or ignored in existing modern translations. The primary elements I wanted to replicate were: the use of traditional, musical meter, rather than the prose or free verse used by most modern English translators; the multiplicity of perspective (rather than flattening out the different voices); the rapidity of the narrative, which makes the original feel much more exciting than the more verbose translations; and the emotional and descriptive vividness, which ancient critics called <i>enargeia<\/i>.<\/p>\n<p>These goals are in tune with two major themes of <i>Crossing the Wine-Dark Sea<\/i>. These are the importance of poetic form in verse translation\u2014whether of drama, lyric poetry or epic\u2014and the need for literary translators to consider the stylistic and emotional effects of both the original and the translation. For instance, in my extensive discussion of the challenges of translating ancient Greek and Roman comic genres, I consider whether translators of these texts need to try to make the reader or audience laugh\u2014even when the jokes hinge on social assumptions and values that are quite alien to many modern readers.<\/p>\n<p><strong>LO<\/strong>: I had not realized until reading your essay on translating Homer that you rendered the entire poem in iambic pentameter\u2014and that your translation has one English line for every line of the Greek. That is an astonishing formal commitment. What did keeping both the meter and the line count force you to sacrifice\u2014and what did it make possible? Do you have different formal priorities when tackling other ancient poets or writers?<\/p>\n<p><strong>EW<\/strong>: My commitment to poetic form is one of my most important priorities as a translator of metrical poetry. It is perhaps my most fundamental commitment. In terms of my training, I\u2019m somewhat distinctive among contemporary classicists in having a degree in early modern English literature as well as degrees in classics, and in taking an obsessive interest in the long histories of classical reception and in poetic form, in English as well as ancient languages. <i>Crossing the Wine-Dark Sea<\/i> pulls together my interests in the long historical sweep of classical receptions and in poetic form.<\/p>\n<p>Predictably, my focus on traditional meter has not been central in the public discourse about my work; \u201cScholar publishes traditional metrical translation of ancient poem\u201d is, I\u2019ll admit it, less catchy than \u201cFirst Woman!\u201d or \u201cModern Translation!\u201d But the \u201cmodern\u201d framing strikes me as extremely misleading, just as much so as the \u201cwoman\u201d framing, insofar as my approach is mostly not modern at all: I want to convey the alien strangeness of the original texts, and in my Homeric translations, I aim to convey the plainness, rapidity and nobility of the originals, the qualities emphasized by the Victorian critic and poet, Matthew Arnold, in contrast to the verbosity and lack of rhythm in the translations of most of my contemporaries.<\/p>\n<p>The decision to confine myself to the same number of lines as the original <i>Odyssey<\/i> had some huge pay-offs, in terms of forcing me to think constantly about pacing. Luckily, for the possibilities of this approach, English has a huge vocabulary, and Homeric Greek makes great use of little particles that don\u2019t necessarily have to be translated as such in English, as long as the sense and emphasis of the sentence is conveyed; most translators, not just me, often omit direct translations for many of the little particles that suggest \u201cindeed\u201d or \u201cat least\u201d or \u201cthen\u201d or \u201con the one hand\u201d or \u201cin contrast to the previous thing said\u201d (like <i>au <\/i>or <i>d\u0113 <\/i>or <i>ara <\/i>or <i>men<\/i>).<\/p>\n<p>It\u2019s more natural in English to convey many of these points of emphasis by word order rather than particles. As an example of what I mean, here\u2019s a random (but great!) line of the <i>Iliad<\/i> (9.309): <i>chr\u0113 men d\u0113 ton muthon ap\u0113lege\u014ds apoeipein. <\/i>The Loeb prose translation\u2014whose creators don\u2019t subject themselves to any poetic or sonic constraints\u2014doesn\u2019t translate the particles, \u201c<i>men d\u0113<\/i>\u201d (\u201cand on the one hand indeed\u201d): the translation reads, \u201cI must speak my words outright.\u201d This is quite typical of Homeric poetics.<\/p>\n<p>And yet, sticking to the original line count, combined with extremely regular meter, was indeed a tight constraint. Odysseus might be <i>polymechanos <\/i>in the original, and he\u2019d have to be \u201ccrafty\u201d or \u201csmart\u201d in the translation; I couldn\u2019t afford a five-syllable translation of every five-syllable word, and I wanted a little more flexibility in terms of word choice and sentence structure. With my translation of the <i>Iliad<\/i>, I gave up on the line-for-line constraint, while continuing to use traditional meter (iambic pentameter). I aimed there to use a similar number of words, to roughly echo the pacing of the original, but not to limit myself to the line count. I ended up feeling that in many ways, I preferred that approach. For that reason, I\u2019m now partway through a complete re-re-translation of the <i>Odyssey<\/i>, using a similar approach. With this new version\u2014which may, perhaps, be the second published English translation by a woman, ha ha\u2014I am still using very regular traditional iambic pentameter, but I\u2019m using more lines than the original, as in my version of the <i>Iliad.<\/i><\/p>\n<p>With other verse translation projects, such as my versions of Seneca, Sophocles and Euripides, I\u2019ve played around with poetic form, for instance using different rhythms in tragedy when the original meters change. With ancient verse drama, the line breaks are often extremely important: for instance, in scenes where there is <i>stichomythia<\/i>\u2014where each character in a debate or fraught conversation delivers only one metrical line, then capped by the other character\u2014it seemed to me essential both to use meter, and to keep the specific line breaks. Another ongoing translation project of mine is of Ovid\u2019s <i>Heroides<\/i>, which is composed in elegiac couplets, and which makes extensive and repeated use of witty turns or punch-lines at the end of the couplets; with this particular project, it seems to me essential both to convey Ovid\u2019s technical poetic mastery, the precarious balance between sorrow and comedy, and also to land the line-breaks in the right places.<\/p>\n<p>As I show repeatedly in <i>Crossing the Wine-Dark Sea, <\/i>there is no one single way to approach the technical and stylistic challenges of creating an equivalent to a literary text, using none of the same words. Every translation project brings its own joys and challenges. It\u2019s so fun, and such a privilege to get to play with this kind of task every day.<\/p>\n<p><strong>LO<\/strong>: In your introduction, you quote Susan Sontag on translation as an ethical encounter with people different from ourselves. And throughout the book, you return to the importance of preserving the strangeness of ancient literature rather than smoothing it away for modern readers. What struck me is that your Homer is not strange because the English is archaic or difficult, but the strangeness lies instead in the Homeric world itself\u2014its assumptions, values, and images. Can you talk a bit about how you worked to preserve the strangeness in translation?<\/p>\n<p><strong>EW<\/strong>: Great question! I think any literary translator needs to think hard about how to work with and push back against readers\u2019 likely horizons of expectations. As a comparandum, I have really enjoyed the translations of Korean fiction by Anton Hur, and also appreciated Hur\u2019s critical comments about how he aims to challenge both rigid notions of who \u201cthe reader\u201d is and what \u201che\u201d wants, and expectations about the style and genres of contemporary Korean or Asian fiction\u2014which includes diverse voices, diverse genres, comedy, fantasy, and queerness, and doesn\u2019t always cater to the \u201cmythical white male English reader.\u201d<\/p>\n<p class=\"pullquote\">There is no linear progression of \u201cenlightenment\u201d from antiquity to the present day.<\/p>\n<p>In the case of ancient Greek and Roman literature, popular and even scholarly expectations about how these texts \u201cshould\u201d sound in English are quite different from the expectations many readers may have about how contemporary fiction \u201cshould\u201d sound. There\u2019s a presupposition, reinforced by specific traditions of translation over the past century, that these poems will and should sound stilted, awkward, verbose, and almost unreadable\u2014even if the originals are fluent and beautiful!\u2014or that the only way to appeal to the mythical \u201cmodern English reader\u201d is to add in numerous modern clich\u00e9s and use an excitable style, full of exclamation points and ellipses. My goal with Homer was to relocate the strangeness of these poems, so that it\u2019s not about weird word order, but about the magical strangeness of the poems\u2019 imagined worlds and metaphors, as well as about the experience, likely strange to many modern readers, of inhabiting metrical, traditional poetry for many hours on end.<\/p>\n<p><i>Crossing the Wine-Dark Sea <\/i>aims to underline the strangeness of numerous ancient genres and cultural assumptions, beyond Homeric epic. I discuss, for instance, the alien forms of archaic Greek lyric, designed to be literally sung with the accompaniment of a lyre\u2014a cultural form that is very difficult to replicate or recreate, using the norms of contemporary poetics and a printed page (or an e-book).<\/p>\n<p>A major theme of the book is that ancient literature and culture is sometimes familiar in surprising ways: for instance, I trace connections between ancient comedy and contemporary hip-hop, and between Athenian tragedy and modern discourse about gendered violence and injustice. Conversely, another major theme of the book is that antiquity is often strange in ways we may not expect\u2014and that contemplating the past can enable us to see the strangeness and mutability of the present. For instance, in my essay on the myths surrounding Helen of Troy (also known as Helen of Sparta), I show that modern versions of this figure are sometimes more straightforwardly misogynistic than the ancient depictions. There is no linear progression of \u201cenlightenment\u201d from antiquity to the present day.<\/p>\n<p><strong>LO<\/strong>: I learned an enormous amount from this book, both about translation and about the specifics of carrying ancient Greek and Roman literature across languages and cultures. There was a time when translating the classics was a standard part of education, particularly in England and the US. Students mostly stuck to word-for-word renderings, but even in that limited way, wasn\u2019t the exposure to how people think in other languages somehow world-opening? It made me wonder what we lose when the study of other languages and literatures disappears from education.<\/p>\n<p><strong>EW<\/strong>: Thank you so much\u2014I\u2019m really thrilled the book was illuminating for you. I really hope that it\u2019s a fun read both for people with an interest in translation, and those with an interest in antiquity, and those who don\u2019t yet know that they might care about either of these subjects!<\/p>\n<p>I think exposure to other languages and other literatures and other cultures couldn\u2019t possibly be more important, however it is done. I felt grateful that I was able to send my kids to a charter school that had an immersion Spanish program, so they are all fluent, to varying degrees, in Spanish. Knowing the words and the stories of other cultures and other peoples opens the world, and invites us out of our own little bubbles, to the challenges and joys of dialogue. I wish every kid in the US or the world could be at the very least bilingual. I\u2019d also love to see more recognition and honor for the world-expanding, beautiful cultural knowledge and insights of communities where many or most people are bilingual or trilingual\u2014for instance in immigrant communities.<\/p>\n<p><i>Crossing the Wine-Dark Sea<\/i> focuses on the languages, literatures and stories of Greek and Roman antiquity, and one of my big themes is the importance of these cultural touch-stones for understanding our own world, in terms of what\u2019s special about modernity. We can\u2019t answer that question without an awareness of the past, just as we can\u2019t understand what is or is not special about English unless we can understand other languages. Every culture and every person has a different perspective on the world, and we need to listen deeply to as many of them as possible.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>One of the most celebrated classicists writing today, Emily Wilson achieved a rare kind of literary stardom in 2017, when her translation of Homer\u2019s Odyssey made her the first woman to publish a complete English version of the epic. Her<\/p>\n","protected":false},"author":19787,"featured_media":276633,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43071,43069,6,43072,43092,43073],"tags":[112107,28255,41770,3512,98863,9482,12278,1262],"class_list":["post-276397","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft-and-advice","category-craftandcriticism","category-features","category-in-conversation","category-newsandculture","category-on-translation","tag-crossing-the-wine-dark-sea","tag-emily-wilson","tag-in-conversation","tag-interview","tag-leanne-ogasawara","tag-the-iliad","tag-the-odyssey","tag-translation"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19U1","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/Emily-Wilson.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276397","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/19787"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276397"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276397\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276633"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276397"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276397"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276397"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276218,"date":"2026-09-08T05:10:23","date_gmt":"2026-09-08T09:10:23","guid":{"rendered":"https:\/\/lithub.com\/?p=276218"},"modified":"2026-09-03T22:07:47","modified_gmt":"2026-09-04T02:07:47","slug":"brian-dillon-on-what-virginia-woolfs-the-waves-means-to-him","status":"publish","type":"post","link":"https:\/\/lithub.com\/brian-dillon-on-what-virginia-woolfs-the-waves-means-to-him\/","title":{"rendered":"Brian Dillon on What Virginia Woolf\u2019s <em>The Waves<\/em> Means to Him"},"content":{"rendered":"<p>In time he will say that <em>The Waves<\/em> by Virginia Woolf has been the most important novel in his life; but at twenty he does not use the word of this or any book, and would think it pompous, embarrassing, imprecise, conventional. The novel invites and shrouds and protects, then presses on him for years in recollection, worrying the edges of imagination.<\/p>\n<p>On November 28, 1928, Woolf wrote in her diary about <i>The Waves<\/i>. The novel, she said, had surfaced or materialized while she was finishing <i>To the Lighthouse <\/i>at Rodmell in Sussex: she looked from her window towards the marshes and was struck by the image of \u201ca fin in a waste of water.\u201d Or perhaps <i>The Waves <\/i>arrived two years earlier, when she wondered what it would be to conceive and write a certain life: \u201cYet I am now and then haunted by the semi-mystic very profound life of a woman, which shall all be told on one occasion; and time shall be utterly obliterated; future shall somehow blossom out of the past. One incident\u2014say the fall of a flower\u2014might contain it. My theory being that the actual event practically does not exist\u2014nor time either.\u201d Or was the origin of <i>The Waves<\/i>, which Woolf published in 1931, to be found much further back, in the pages of <i>The Voyage Out<\/i>, where Terence Hewet wishes to write a novel about silence, \u201cthe things people don\u2019t say. But the difficulty is immense.\u201d Difficult also to say where a book begins, or if it begins, and has not been washing or breaking over you from the start.<\/p>\n<p>It is tempting to say of this novel that it is Woolf \u2019s most <i>abstract<\/i>\u2014on first reading, he recalls the little he knows about Cubism\u2014or, as at least three of the half-dozen copies he will eventually own declares on its cover, the most <i>poetic<\/i>. In her earliest draft, which Woolf completed on April 20, 1930, poetry and abstraction have not yet lit everything up, clarifying and confounding in the same moment. In this first iteration of the novel Woolf had been calling <i>The Moths<\/i>, she is herself still too present, too obviously working out, and even <i>theorizing<\/i>, how this book should be. The breakthrough: realizing she had to give the novel over to her characters, who are at times hardly characters, barely distinguishable, and give it up also to an interrupting\u2014or is it invigilating, knowing and directing?\u2014voice, a narrator who speaks from nowhere and says nothing about the six speakers (and one non-speaker) who make up the cast of <i>The Waves<\/i>. We start with this voice, its plain past tense which he will always misremember as an insistent present: \u201cThe sun had not yet risen. The sea was indistinguishable from the sky, except that the sea was slightly creased as if a cloth had wrinkles in it. Gradually as the sky whitened a dark line lay on the horizon dividing the sea from the sky and the grey cloth became barred with thick strokes moving, one after another, beneath the surface, following each other, pursuing each other, perpetually.\u201d<\/p>\n<p><p class=\"pullquote\"><i>The Waves <\/i>does not teach but confirms that <i>everything is also something else<\/i>.<\/p><i><\/i><\/p>\n<p>Perpetually, but only nine times in the course of the novel, the waves return, with them the light and the land, this voice attending, watching, listening, coining further images to describe the images it finds, turning every element in the scene into its luminous stand-in: \u201cthe sky cleared as if the white sediment there had sunk, or as if the arm of a woman couched beneath the horizon had raised a lamp and flat bars of white, green and yellow spread across the sky like the blades of a fan. Then she raised her lamp higher and the air seemed to become fibrous and to tear away from the green surface flickering and flaming in red and yellow fibres like the smoky fire that roars from a bonfire.\u201d<\/p>\n<p><i>The Waves <\/i>does not teach but confirms that <i>everything is also something else<\/i>. He has this lesson already by heart, in his bones, learned first from Roland Barthes, for whom meanings proliferate, the more oblique the better. He has not yet thought of this tendency, taste or doctrine of RB\u2019s in terms of <i>metaphor<\/i>: a term drilled and defined into dullness at school\u2014crudely and artificially distinguished from <i>simile<\/i>. Instead, RB\u2019s habit is a kind of bravado or affront, a refusal of the way things are, the way they ought to be. It\u2019s not that the veil of appearance\u2014of advertising, common sense, literature itself or photography\u2014is torn away, as Dennis Potter\u2019s review over-insisted on the back of B\u2019s copy of <i>Mythologies<\/i>. Something else: unwarranted meanings off to the side\u2014per RB, <i>connotations<\/i>. (He never reads the word without for a moment thinking: <i>contaminations<\/i>.) The world of things, bodies, texts and sensations as a plane or a web of connections and diversions, all of it on the signifying surface.<\/p>\n<p>Depths are <i>obfuscating<\/i>, Sontag says in her essay on RB. Turning one thing into another, reasoning and revealing that <i>this <\/i>is in fact <i>that<\/i>, is what he considers his task as a reader, student, critic, <i>theorist<\/i>. And as a writer? A difference between RB and VW, between thought and poetry: in <i>The Waves<\/i>, metaphoric becoming, mundane and secular transubstantiation, happens anew in almost every sentence, whereas RB seems to pursue a figure more thoroughly but it remains an event in his prose, not the pure texture of the writing. Transformation is how VW\u2019s writing proceeds: <i>like <\/i>and <i>like <\/i>and <i>like<\/i>. It is one of the reasons (rhythm is another) she could not herself, so she wrote to Vita Sackville-West, tell prose from poetry.<\/p>\n<p><i>The Waves <\/i>is above all a book of images. These images can seem peculiarly static, ingrained or imprinted, especially when they sink from one character\u2019s soliloquy only to resurface elsewhere, as if these six, maybe all seven, can read each other\u2019s minds. (A collective telepathy when it comes to imagery is also a special power, or a curse, of characters in Shakespearean tragedy.) <i>A fin in the waste of waters<\/i>, such as Woolf had seen or imagined through her window at Rodmell. An orientalist image of women with red pitchers on their heads, camels by the Nile. Scenes pictured in childhood through the greenery: a grand house where gardeners sweep the lawn with huge brooms. The merest details, pictures in the mind that are made of almost nothing: the wet metal of fish scales, a chain of silver bubbles rising from the bottom of a saucepan, white ships that are petals floating in a basin, the silver and glass (the persistence of <i>things<\/i>) above with six or seven faces float in turn, like petals . <i>Image on top of image<\/i>.<\/p>\n<p class=\"pullquote\">Later, the book will seem a test of sorts, both in his own mind and the minds of various (male) writers and critics.<\/p>\n<p>Alongside these images, a profusion of metaphor, metonymy, simile: a richness of substitution, conjuring one thing out of another, proving all things subtly or strangely not themselves. <i>This <\/i>is also <i>that<\/i>. The narrator of the interludes is the novel\u2019s first coiner of comparisons: an addict of <i>like <\/i>and <i>as if<\/i>. \u201cThe wave paused, and then drew out again, sighing like a sleeper whose breath comes and goes unconsciously. Gradually the dark bar on the horizon became clear as if the sediment in an old wine bottle has sunk and left the glass green.\u201d Bernard, the fabricator of phrases, is the book\u2019s second devotee of metaphor, therefore also the first to beguile the others with the potential and pitfalls of figural language. Neville, the future poet: \u201cBernard goes on talking. Up they bubble\u2014images. \u2018Like a camel\u2019\u00a0 \u2018a vulture.\u201d The camel is a vulture; the vulture is a camel; for Bernard is a dangling wire, loose but seductive. &#8220;Yes, for when he talks, when he makes his foolish comparisons, a lightness comes over one; one is freed; I have escaped, one feels.\u201d But metaphor\u2019s flight is also a trap, and Rhoda for one wants to get out of it: \u201c\u2018Like\u2019 and \u2018like\u2019 and \u2018like\u201d\u2014but what is the thing that lies beneath the semblance of the thing?\u201d<\/p>\n<p>He does not know it yet, but the extravagant metaphorical strain in Woolf, the feeling that all objects or bodies or views might translate at any second into any other, this quality is general across her work, essays as well as fiction, and will one day exercise and occupy him to an almost vexing degree: many hours of wonder and learning, years of envy and aspiration. At the same time, no ambition to read all of Woolf, no urge towards expertise or exhaustion, and always a hampering fear that the <i>wrong <\/i>text will ruin her whole oeuvre or that of any other writer he loves. What if the same intensity of image cannot be found elsewhere in the work, what then? Decades later, because he has been avoiding it for decades, he will read in the pages of <i>Orlando<\/i>: \u201cTrees were withered hags, and sheep were grey boulders. Everything, in fact, was something else.\u201d Woolf \u2019s love of metaphor\u2014her suspicion and mockery of it too.<\/p>\n<p>The strange unity of voice among the six speaking characters in <i>The Waves<\/i>, their tendency to mimic, repeat or rhyme with each other\u2014how, if at all, does he understand this? As a pure and total aesthetic pattern, as a plane of iteration and recall, he finds it hypnotizing. A fascination and rapture, close to boredom, unlike anything he has read, so that it occurs to him he might open the book at any random page and start reading. He will never actually do this, compelled instead, when he finally rereads the novel in his fifties, to start over from the first page, and, having finished, start again, and again. After a certain point, he will probably be reading <i>The Waves <\/i>for the rest of his life.<\/p>\n<p>He does not speak to his father about <i>The Waves<\/i>. Among the peculiarities of the novel\u2019s depiction of childhood, youth, the procession into adulthood, is this: unlike many or most such portraits (including Joyce\u2019s <i>Portrait<\/i>) here is a book in which parents are minimally present, as if they live in a separate, parallel world only now and then touching the lives of Woolf \u2019s characters\u2014like the droning grown-ups in <i>Charlie Brown <\/i>cartoons. <i>The Waves <\/i>is the only novel by Woolf that his father owns, but is it the only one he has read? The son does not think to ask. Later, the book will seem a test of sorts, both in his own mind and the minds of various (male) writers and critics, some of whom consider <i>The Waves <\/i>unreadably extreme among Woolf \u2019s writings. <i>You\u2019ve read <\/i>The Waves<i>? You\u2019re a better man than I am! <\/i>Which means: <i>You\u2019ve been taken in by this obvious sham, this pretentious and failed experiment? What is wrong with you? <\/i>The temptation exists to consider this hostility essentially English: an aspect of embarrassment, a century later, at the very fact of Woolf \u2019s modernism.<\/p>\n<p>But then he hears the same more baldly stated and without the element of comic Anglo self-deprecation, from an older (male) American writer. <i>Unreadable, makes no sense<\/i>. Thirty-five years after first reading <i>The Waves<\/i>, he is teaching an essay by Woolf\u2014\u201cOn Being Ill\u201d (1929)\u2014when one of his students announces that <i>The Waves <\/i>is Woolf \u2019s greatest novel, much \u201cweirder\u201d than the others, and half the class eagerly agrees. What are they seeing, or hearing, that the wisdom of certain elders refuses? Formal audacity? A democracy of voices? Figural verve and peculiarity? Or is it the curious youthfulness of a novel in which even when old and near death its characters seem young?<\/p>\n<p>Somewhere in his reading he registers that Woolf lost her mother early\u2014Julia Stephen died in 1895, when her daughter was thirteen\u2014but he thinks nothing of it. He has not yet begun to wonder if the fact of his own mother\u2019s death affects him or signifies, except as embarrassment, except as an aspect of his past to be escaped as soon as life will allow. And then he learns that Woolf \u2019s father died when she was twenty-two.<\/p>\n<p>1989\u2014he is reading <i>The Waves <\/i>in the back garden at home, which has just passed from the green overgrowth of early summer (exam time) to the burned aspect of high season. As he reads, and perhaps for the first time in his life, he too feels sunlit and gorged with time, with nostalgia for a period just passed. He has never before imagined that childhood, his kind of childhood, might be a subject for serious writing. The early pages of <i>The Waves <\/i>are liquid with green light, the garden or grounds a place of languor and surprise, sudden kisses, bright animal eyes, solitary daydream and jealousy. The mood into which the novel puts B is unlike any provoked in him before, not by a book at any rate: the lazing, rapt aesthetic inventories of Wilde and Huysmans now seem tasteless and immature, RB\u2019s verbal and syntactic joys and rigors remain at some mental distance from the reading body, which with Woolf (or this version of Woolf) feels thrilled and lulled at the same time, stunned and debilitated in the exercise of a supreme concentration that verges often on boredom, somnolence, a sinking in and out of himself, towards and away from the page. He cannot swim, but feels himself fully <i>immersed <\/i>in this book. He has read <i>difficult <\/i>novels since his mid-teens\u2014though not yet for university, not really\u2014and strangely voiced, abstractly attentive poets (his father\u2019s cool blue Faber collection of Emily Dickinson) outside of any academic situation. He could not say that Woolf \u2019s novel <i>interests <\/i>him as he has been interested by some of the writers he is asked to read at college: certain Jacobean revenge tragedies, the odes of John Keats, <i>A Tale of a Tub <\/i>by Jonathan Swift, Edgar Allen Poe\u2019s story \u201cThe Purloined Letter\u201d, the Anglo-Saxon \u201cWife\u2019s Lament.\u201d These and others ignite an intellectual vigilance and formal inquiry or adventure in him\u2014he hardly thinks, for example, about the emotional import of the odes, or the actual mystery in Poe\u2014instances of which amount over years to a training, a body of learning, though he never experiences it as such. No writing has done <i>this <\/i>to him: for the duration of his reading <i>The Waves <\/i>he goes down into a reverie or stupor, about which some remaining lucid part of him is uncertain how to feel. Is this a depth of literary experience to which he must give in, or an aesthetic spell verging on kitsch? Has he construed all this beauty incorrectly, falling for it fully when he should be alert to formal experiment, the dissolution of character, diminution of plot, the austere adventure of Modernism? And what of a certain <i>sociological <\/i>aspect? Why is he reading about these sad but gilded English lives of a century (is it a century?) ago, succumbing at the end of the 1980s to this gorged and gorgeous sensibility so remote from his own time and place? He is painfully aware of the novel as wholly new and unnervingly old-fashioned.<\/p>\n<p>It is the first novel he has ever read that makes him consider seriously the <i>form <\/i>of a human life.<\/p>\n<p style=\"text-align: center;\">____________________________<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276219\" data-permalink=\"https:\/\/lithub.com\/brian-dillon-on-what-virginia-woolfs-the-waves-means-to-him\/ambivalence\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence.jpg\" data-orig-size=\"600,887\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"ambivalence\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence.jpg\" class=\"alignnone size-medium wp-image-276219\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence-203x300.jpg\" alt=\"\" width=\"203\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence-203x300.jpg 203w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence-41x60.jpg 41w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence-34x50.jpg 34w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/ambivalence.jpg 600w\" sizes=\"auto, (max-width: 203px) 100vw, 203px\" \/><\/p>\n<p style=\"text-align: center;\"><em>From<\/em> <a href=\"https:\/\/bookshop.org\/a\/132\/9798896231103\">Ambivalence: An Education<\/a> <em>by Brian Dillon. Copyright \u00a9 2026. Available from New York Review Books.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In time he will say that The Waves by Virginia Woolf has been the most important novel in his life; but at twenty he does not use the word of this or any book, and would think it pompous, embarrassing,<\/p>\n","protected":false},"author":1742,"featured_media":276635,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[43069,6,43070],"tags":[112019,17343,19379,1764,71613,168,30465,659],"class_list":["post-276218","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-literary-criticism","tag-ambivalence-an-education","tag-brian-dillon","tag-metaphor","tag-new-york-review-books","tag-on-reading","tag-reading","tag-the-waves","tag-virginia-woolf","story-type-on-reading"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19R8","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-waves.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276218","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/users\/1742"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276218"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276218\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276635"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276218"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276218"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276218"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]