[{"id":276355,"date":"2026-09-04T12:54:24","date_gmt":"2026-09-04T16:54:24","guid":{"rendered":"https:\/\/lithub.com\/?p=276355"},"modified":"2026-09-04T12:54:24","modified_gmt":"2026-09-04T16:54:24","slug":"heres-whats-making-us-happy-this-week-sep426","status":"publish","type":"post","link":"https:\/\/lithub.com\/heres-whats-making-us-happy-this-week-sep426\/","title":{"rendered":"Here\u2019s what\u2019s making us happy <em>this<\/em> week."},"content":{"rendered":"<p>As summer comes to a close, we at Lit Hub are celebrating milestones and jumping into the deep end. What&#8217;s making us happy? Climbing mountains. We&#8217;re looking autumn square in the face and saying: <em>bring it on.\u00a0<\/em><\/p>\n<p><strong>Molly Odintz,<\/strong> for instance, is moving in with her other half. The happy couple is making designs on a fire pit. And last week, <strong>Drew Broussard<\/strong> cracked an especially tricky part of his novel-in-progress, to much rejoicing. A section that&#8217;s been bedeviling our podcasts editor for &#8220;no joke, over two years.&#8221; You might say growth is in the air.<\/p>\n<p>Also riding that back-to-school high is staffer <strong>James Folta<\/strong>, who fell for a new bookstore this week on a wedding jaunt to Hudson. <a href=\"https:\/\/atinyliteratureshop.com\/\" target=\"_blank\" rel=\"noopener\">A Tiny Literature Shop<\/a> is exactly what it sounds like. &#8220;The gimmick is everything is a <em>little<\/em> book,&#8221; says James. (Italics mine.)<\/p>\n<p>This shop specializes in mini-lit\u2014essays, novellas, etc. (&#8220;And almost every selection had a note,&#8221; James adds, &#8220;so browsing felt like getting a curated look at a cool friend&#8217;s bookshelf.&#8221;) The new shop offers bespoke gifts, for the Virgos in the house. A <a href=\"https:\/\/atinyliteratureshop.com\/products\/a-tiny-literature-book-subscription\" target=\"_blank\" rel=\"noopener\">tiny book box<\/a> and a <a href=\"https:\/\/atinyliteratureshop.com\/products\/tiny-tote-pre-order?variant=50540832522463\" target=\"_blank\" rel=\"noopener\">tiny tote<\/a> are almost too cute to handle.<\/p>\n<p>Editor <strong>Jonny Diamond<\/strong> was<em> also<\/em> inspired by a new bookstore. He and the family recently made the acquaintance of <a href=\"https:\/\/betterdaysbookshop.com\/\" target=\"_blank\" rel=\"noopener\">Better Days Bookshop<\/a> in Cairo, NY. At this Mecca, one can load up on new titles and sip, respectively, &#8220;a beer, an NA beer, a coke, and an apple juice&#8221; on the back porch. I&#8217;m told this was another delightful way to kick off fall.<\/p>\n<p>I, <strong>Brittany Allen<\/strong>, have also had paper on the brain as we slide into Virgo season. This week, I was thrilled to discover this <a href=\"https:\/\/hyperallergic.com\/inside-the-3-000-zine-library-in-a-texas-living-room\/\" target=\"_blank\" rel=\"noopener\">cool zine library<\/a> in Texas, apparently the largest of its kind.<\/p>\n<p>The <a href=\"https:\/\/www.sherwoodforestzinelibrary.org\/?ref=hyperallergic.com\" target=\"_blank\" rel=\"noopener\">Sherwood Forest Zine Library<\/a> occupies an Austin living room, and includes dozens and dozens of print missives on everything from capitalism to magick. Check out their <a href=\"https:\/\/www.sherwoodforestzinelibrary.org\/virtual-zine-library-recently-added\" target=\"_blank\" rel=\"noopener\">virtual library<\/a> if you&#8217;re in the mood for some analog inspiration.<\/p>\n<p>Speaking of old media, <strong>Oliver Scialdone<\/strong> has been collecting OVAs (Original Video Animations) on VHS as part of a lengthy archiving project. (Spreadsheets are involved.) Our community editor recently picked up a few volumes of <a href=\"https:\/\/www.crunchyroll.com\/series\/G6KE59GE6\/record-of-lodoss-war?srsltid=AfmBOoqFHA467KM-qEwHx_wThZChRTLhWkno9RQ_39tvjO4bygnGc4h6\" target=\"_blank\" rel=\"noopener\"><em>Record of Lodoss War<\/em><\/a>, a Japanese fantasy franchise that&#8217;s plotted like an RPG.<\/p>\n<p>&#8220;The visual style of 90s fantasy anime scratches this really specific aesthetic itch, and VHS is 100% the most correct format to watch it in,&#8221; says Oliver. &#8220;Most of the companies that distributed these movies and series in the US are defunct, and it\u2019s such an interesting era in the history of the medium, so it feels kind of special to find copies in the wild.&#8221; The biggest joy is apparently in the hunt.<\/p>\n<p>One more for the road, from me, <strong>Brittany again<\/strong>. Because there&#8217;s no <em>re-<\/em>generation without kissing off the old, I&#8217;ve also been closing summer with some nostalgia. For sweet, sweet <a href=\"https:\/\/blog.roughtrade.com\/a-rough-guide-to-indie-sleaze\/\" target=\"_blank\" rel=\"noopener\">indie sleaze<\/a>.<\/p>\n<p>It all started last week when I asked a friend for a binge-able book recommendation. I got back Holly Brickley&#8217;s <a href=\"https:\/\/bookshop.org\/a\/132\/9780593799109\" target=\"_blank\" rel=\"noopener\"><em>Deep Cuts<\/em><\/a>, a novel that chronicles a music-fueled situationship from its Y2K beginnings through the mid-aughts.<\/p>\n<p>Laced with fan energy and a discography that will be resonant to anyone who was duped by LCD Soundsystem&#8217;s &#8220;last&#8221; concert, this one&#8217;s an heir apparent to <a href=\"https:\/\/bookshop.org\/a\/132\/9781573225519\" target=\"_blank\" rel=\"noopener\"><em>High Fidelity<\/em><\/a>, a book it name-checks. And friend was right! The novel&#8217;s extremely fun to read, especially with playlist accompaniment. Brickley perfectly recreates the feeling of falling in love\u2014with that first good music, and that first dubious musician.<\/p>\n<p>My rabbit hole ended, happily, in this serendipitous <a href=\"https:\/\/hellgatenyc.com\/craig-robinson-jude-mikulencak-project-runway\/\" target=\"_blank\" rel=\"noopener\"><em>Hell Gate<\/em> profile<\/a> of the Williamsburg tailor who kept Interpol in fine threads. The past isn&#8217;t even past, people. That&#8217;s the moral. Autumn reminds us\u2014it&#8217;s always out with the old, then in again.<\/p>\n<p>Wishing you a weekend of fresh pages, warm hearths, and analog rejoicing.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As summer comes to a close, we at Lit Hub are celebrating milestones and jumping into the deep end. What&#8217;s making us happy? Climbing mountains. We&#8217;re looking autumn square in the face and saying: bring it on.\u00a0 Molly Odintz, for<\/p>\n","protected":false},"author":17066,"featured_media":276655,"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":[43096,43105,43109,43094,43092,43098,43445,43646,43104],"tags":[112164,23752,19494,112165,5739,17874,104055,2116,4508,103459,48273,104920,112167,112168,103461,112166,11176,41472,1344],"class_list":["post-276355","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-and-photography","category-bookstores-and-libraries","category-events","category-music","category-newsandculture","category-style","category-technology","category-the-hub","category-travel","tag-a-tiny-literature-shop","tag-analog","tag-anime","tag-better-days-bookshop","tag-bookstore","tag-bookstore-bars","tag-hell-gate","tag-high-fidelity","tag-hudson","tag-indie-sleaze","tag-nice-things","tag-nice-things-friday","tag-ovas","tag-record-of-lodoss-war","tag-rpg","tag-sherwood-forest-zine-library","tag-upstate","tag-vhs","tag-zines","book-deep-cuts","book-high-fidelity"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Tl","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/Untitled-design-31.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276355","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=276355"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276355\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276655"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276355"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276355"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276355"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276626,"date":"2026-09-04T06:30:32","date_gmt":"2026-09-04T10:30:32","guid":{"rendered":"https:\/\/lithub.com\/?p=276626"},"modified":"2026-09-04T08:58:43","modified_gmt":"2026-09-04T12:58:43","slug":"lit-hub-daily-september-4-2026","status":"publish","type":"post","link":"https:\/\/lithub.com\/lit-hub-daily-september-4-2026\/","title":{"rendered":"Lit Hub Daily: September 4, 2026"},"content":{"rendered":"<span class=\"caption\"> TODAY: In 1919, F. Scott Fitzgerald gives the manuscript of <i>This Side of Paradise <\/i>to his friend Shane Leslie to deliver to Maxwell Perkins, editor at Charles Scribner&#8217;s Sons in New York. <\/span>\n<ul>\n<li>Suzanne Roberts offers <a href=\"https:\/\/lithub.com\/how-to-get-over-the-hump-of-writing-sex\/\">advice (and prompts!) for writing about sex<\/a>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/craft-and-advice\/\">Craft<\/a><\/li>\n<li><a href=\"https:\/\/lithub.com\/is-time-even-real-does-it-even-flow\/\">How does time actually work?<\/a> Jim Al-Khalili explores the flow of physics. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/science\/\">Science<\/a><\/li>\n<li>These <a href=\"https:\/\/lithub.com\/latin-americas-agrarian-novels-chronicled-the-birth-of-a-new-world\/\">Latin American novels from the 1920s<\/a> chronicled an era of agriculture and labor. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/craftandcriticism\/literary-criticism\/\">Criticism<\/a><\/li>\n<li>Eric T. Jennings introduces you to <a href=\"https:\/\/lithub.com\/on-edmond-albius-the-enslaved-man-who-pioneered-the-pollination-of-vanilla\">Edmond Albius, the enslaved man who pioneered the cultivation of the vanilla plant<\/a>, from the Cundill Prize-shortlisted <em>Vanilla: The History of an Extraordinary Bean<\/em>. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/history\/\">History<\/a><\/li>\n<li>Chloe Benjamin recommends <a href=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/\">literary sci-fi and fantasy novels that offer hope<\/a> by Ted Chiang, Susanna Clarke, Mohsin Hamid, and more. | Lit Hub <a href=\"https:\/\/lithub.com\/category\/readinglists\/\">Reading Lists<\/a><\/li>\n<li>Marlon James\u2019 <i>The Disappearers<\/i>, Jon Ronson\u2019s <i>The Castle<\/i>, Chloe Benjamin\u2019s <i>Under Story<\/i>, and Emily Wilson\u2019s <i>Crossing the Wine Dark Sea<\/i> all feature among <a href=\"https:\/\/bookmarks.reviews\/the-best-reviewed-books-of-the-week-9-4-2026\/\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/bookmarks.reviews\/the-best-reviewed-books-of-the-week-9-4-2026\/&amp;source=gmail&amp;ust=1788550703055000&amp;usg=AOvVaw0dUaz3LaKUmr2FDkITonpD\">the best reviewed books of the week<\/a>. | <a href=\"http:\/\/bookmarks.reviews\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/bookmarks.reviews&amp;source=gmail&amp;ust=1788550703055000&amp;usg=AOvVaw1-ylc82c1ru8JxIBsG7shc\">Book Marks<\/a><\/li>\n<li>Louise Brangan traces <a href=\"https:\/\/lithub.com\/how-the-fanatical-legion-of-mary-secreted-young-girls-away-to-toil-in-irelands-magdalene-laundries\/\">the stories of girls sent to work in Ireland\u2019s Magdalene laundries<\/a>, from her Cundill Prize-shortlisted <em>The Fallen: The Lost Girls of Ireland\u2019s Magdalene Laundries and a Legacy of Silence.\u00a0<\/em>| Lit Hub <a href=\"https:\/\/lithub.com\/category\/newsandculture\/history\/\">History<\/a><\/li>\n<li>&#8220;Frank Meir has spent a lifetime running from his past, carefully concealing his heritage, though people did not seem to care.&#8221; Read from <a href=\"https:\/\/lithub.com\/the-barman-of-the-ritz\/\">Philippe Collin&#8217;s debut novel, <em>The Barman of the Ritz<\/em>.<\/a> | Lit Hub <a href=\"https:\/\/lithub.com\/category\/fictionandpoetry\/from-the-novel\/\">Fiction<\/a><\/li>\n<li>Nick Ripatrazone reports from the high school where he teaches, <a href=\"https:\/\/slate.com\/life\/2026\/09\/high-school-new-jersey-phone-ban.html\">at the dawn of the phone ban era<\/a>. | Slate<\/li>\n<li>\u201cShe is a writer of uncommon commitment to capturing the genie-soul of New Orleans. Her repetitions are the persistent attempts to meet and master its memory and essence.\u201d <a href=\"https:\/\/newrepublic.com\/article\/214313\/nancy-lemann-wasted-youths\">Walker Rutter-Bowman on Nancy Lemann\u2019s life and work<\/a>. | The New Republic<\/li>\n<li>How Ray Reipen launched an iconic rock club and <a href=\"https:\/\/thereader.mitpress.mit.edu\/the-harvard-law-student-who-sparked-bostons-underground-rock-revolution\/\">fostered Boston\u2019s sonic counterculture<\/a>. | The MIT Press Reader<\/li>\n<li>On that time <a href=\"https:\/\/aeon.co\/essays\/neuroqueer-expression-and-the-limits-of-social-tolerance\">Hans Christian Andersen crashed out<\/a> on Charles Dickens\u2019s lawn. | Aeon<\/li>\n<li>Three critics reflect on <a href=\"https:\/\/www.nytimes.com\/2026\/09\/03\/books\/review\/the-corrections-jonathan-franzen-25th-anniversary.html\">25 years of Jonathan Franzen\u2019s <em>The Corrections<\/em><\/a><em>.<\/em> | The New York Times<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Suzanne Roberts offers advice (and prompts!) for writing about sex. | Lit Hub Craft How does time actually work? Jim Al-Khalili explores the flow of physics. | Lit Hub Science These Latin American novels from the 1920s chronicled an era<\/p>\n","protected":false},"author":61,"featured_media":276631,"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-276626","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lit-hub-daily"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19XI","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/fitzgeraldthisisde.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276626","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=276626"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276626\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276631"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276626"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276626"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276626"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276372,"date":"2026-09-04T05:09:46","date_gmt":"2026-09-04T09:09:46","guid":{"rendered":"https:\/\/lithub.com\/?p=276372"},"modified":"2026-08-31T13:06:18","modified_gmt":"2026-08-31T17:06:18","slug":"is-time-even-real-does-it-even-flow","status":"publish","type":"post","link":"https:\/\/lithub.com\/is-time-even-real-does-it-even-flow\/","title":{"rendered":"Is Time Even Real? Does It Even Flow?"},"content":{"rendered":"<p>You might consider time to be such a fundamental feature of our existence that there really is nothing profound or meaningful that we <i>can <\/i>say about it. Maybe time, like space, simply is. Many have even argued time out of existence altogether. For example, if we were to split it up into three components: the past, the present and the future, then we can examine each in turn.<\/p>\n<p>Those who deny the reality of time will say something like this: The past has happened and is gone; all we have left of it is the <i>record <\/i>of past events (in our memories, or in books, photographs, or on film), all of which can only ever form a part of the present moment (when we access those records). But the events themselves <i>no longer exist<\/i>. In contrast, all there is of the future is our predictions, hopes, and beliefs about what might happen, which are again states of our minds in the present. Regardless of whether the future is predetermined or not, it has <i>yet to exist<\/i>.<\/p>\n<p>That leaves the present moment itself; surely \u201cnow\u201d is real. But although we \u201cfeel\u201d that our now is a solid, changing moment steadily sweeping through time, converting the future into the past, it is nonetheless just an instant and as such does not have any duration. The physical definition of \u201cnow\u201d is not a minute long or a second long, the time deniers will argue; it is the edge of the shadow between light and dark, between what is to happen and what has happened. It has no thickness. The constantly changing present moment is no more than a dividing line between past and future and so does not have a tangible existence of its own.<\/p>\n<p class=\"pullquote\">Einstein famously stated that \u201cthe distinction between past, present and future is only a stubbornly persistent illusion.\u201d<\/p>\n<p>Thus, if none of the three components of time exist, then there is nothing left, leaving the whole of time as illusory! Many thinkers going back two and half thousand years have argued thus.<\/p>\n<p>If this all sounds like a clever sleight-of-hand, don\u2019t worry: A number of philosophers of time, and physicists for that matter, subscribe to a diametrically opposite view, known as \u201ceternalism.\u201d This holds that all three components\u2014past, present and future\u2014are equally real! This idea, which we will examine more closely later on, emerges from an idea called the block universe, which gained prominence after Einstein put forward his first theory of relativity, in which time is regarded as the fourth dimension of spacetime. In this picture all moments in time coexist in the same way that all points in space exist. Einstein famously stated that \u201cthe distinction between past, present and future is only a stubbornly persistent illusion.\u201d<\/p>\n<p>If you don\u2019t fancy either of these radical views: that time doesn\u2019t exist at all or that all times exist, then there is a halfway house known as philosophical \u201cpresentism,\u201d which holds that while the past and future do not exist (one has happened and gone, and the other is yet to happen) the present moment is nevertheless real. A related idea is the \u201cgrowing block universe\u201d view, in which the past and the present exist while the future does not, but instead gradually comes into being.<\/p>\n<p>So, you see all options are available on the menu. But which of them is the correct one?<\/p>\n<p>In fact, just to make sure you are fully aware of the scale of the problem and level of disagreement among people who have thought long and hard about the nature of time, it might even be the case that time is what is called an \u201cemergent property\u201d of reality, a bit like the concept of temperature, that only makes sense in our everyday world of experience, but becomes meaningless when we zoom in on the fundamental concepts that underpin reality.<\/p>\n<p>The earliest arguments for the non-existence of time go back to the pre-Socratic Greek philosopher, Parmenides of Elea, in southwest Italy, who flourished in the fifth century BCE. Only fragments of his work survive, including his greatest work: a poem called <i>On Nature<\/i>, in which he describes two views of reality. The view of interest here is the first one, called <i>The Way of Truth<\/i>, in which he denies the reality of change, arguing that change is impossible and that its very notion is incoherent; rather that everything which exists is permanent and unchanging. Parmenides was no fool and presumably could clearly see change all around him, but like many of the ancient Greek thinkers he had talked himself down the rabbit hole of deductive logic from which it was hard to escape. He was certainly persuasive enough that his more famous student, Zeno, whom we will meet shortly, also held that continuous change, or a \u201cflow\u201d of time, is just an illusion.<\/p>\n<p class=\"pullquote\">Two thousand years later, Isaac Newton argued that time provides the backdrop for all change.<\/p>\n<p>Another Greek philosopher worth mentioning is Heraclitus, who was born around 500 BCE in the city of Ephesus, now in modern Turkey. Little is known about his life, but what we do know paints him as a complex character and, as far as we can tell, a rather miserable one to boot. His philosophical ideas were, like him, paradoxical and cryptic to the extent that he earned the epithets \u201cThe Philosopher of Riddles\u201d and \u201cHeraclitus the Obscure.\u201d Of interest here, however, is that his view of time stands in stark contrast to that of Parmenides. For Heraclitus was obsessed with change and viewed the world as being constantly in flux, always \u201cbecoming\u201d but never \u201cbeing.\u201d The popular notion of a river of time, flowing past us, can be traced back to him.<\/p>\n<p>That is not the only way philosophers throughout history have thought about flowing time. For instance, rather than thinking of time flowing past us as we stand on the riverbank, we can imagine that we are in a boat carried along by this river watching the world unfold. In fact, in this poetic example we would need to be facing away from the direction of travel, with our backs to the future, watching the past recede away from us, but never seeing what is coming up.<\/p>\n<p>Two thousand years later, Isaac Newton argued that time provides the backdrop for all change. And because he believed that time is absolute and external, he argued that it continues to exist and flow even when there is no change. But it seems we still need time if we are to measure change.<\/p>\n<p>However, while time may not require change in order to exist, what about the other way round: Does change require time? Well, one can easily think of examples involving things that change, but which are not necessarily changing <i>over time<\/i>. Atmospheric pressure changes when you climb to higher altitudes, the speed of a car changes when you press your foot on the accelerator pedal, the clarity of an image under a microscope changes when you use different lenses or alter their focus, and my mood changes when my football team wins or loses a match. However, in physics when we talk about changes over time we are generally referring to those quantities that vary <i>dynamically<\/i>, such that they are different at different moments of time.<\/p>\n<p>The physicist Paul Davies dismisses the notion of a flowing time thus: \u201cAttempts to \u2018graft on\u2019 a mysterious extra quality to bestow a flowing motion upon time which is simply \u2018there\u2019 is reminiscent of attempts to explain the vital quality of living organisms by adding a \u2018life force\u2019 or \u2018elan vital\u2019 to otherwise lifeless matter.\u201d While we have the strong sense that we are moving <i>through <\/i>time\u2014or conversely that time flows past us\u2014this sensation of flowing time seems to be an entirely subjective experience.<\/p>\n<p>After all, what could actually be flowing? If time flows then that would suggest it should be flowing at some rate, but what would we measure that rate against? Does time go by at a rate of one second per second? What does that even mean? And if it is our consciousness moving along some sort of static time axis, then how fast is it moving, and what (external) measure of time do we need to define this rate? The very notion of a rate of change is itself embedded within time.<\/p>\n<p class=\"pullquote\">But these states of the particle at different times are themselves just snapshots at certain instances. There is still no flowing time.<\/p>\n<p>What does modern science have to say about all this? It is one thing to argue that there is continuous change along the time axis, or that moments are organised in a certain temporal order, but quite another to pin down exactly where in our objective description of reality it is that time flows in the way we experience it. The answer is that modern science has nothing whatsoever to say about the flow of time! The flow we experience in manifest time is completely absent in physical time. The closest physics gets to the notion of flowing time is in the theory of relativity where two observers, either moving relative to each other or experiencing different strength gravitational fields, disagree on how \u2018fast\u2019 the other person\u2019s clock is ticking relative to their own.<\/p>\n<p>In general, while time is an integral part of our mathematical description of nature, nowhere in our laws or equations of physics is there any hint that it actually \u201cflows.\u201d In our everyday language we say that \u201ctime passes,\u201d \u201cthe time will arrive,\u201d \u201cthe moment has gone\u201d and so on. But we only <i>sense <\/i>that time flows. All that actually exists according to physical time is an ordered sequence of events: states of reality defined at different points (moments) on the time axis.<\/p>\n<p>Consider what we do when we wish to describe the speed of a certain process. We either count the number of events in a given interval of time, such as the number of heartbeats per minute, or the amount of change in an interval of time, such as how much weight a baby has put on in one month. Time is the measuring stick against which we quantify change.<\/p>\n<p>But if we look deeper at the equations of physics that allow us to calculate this change, we see that time comes in merely as a parameter: the symbol, <i>t<\/i>, that can take on any value. For example, a particle has a certain position, or is moving at a certain velocity, <i>at a given value of t<\/i>. These dynamical equations of motion then allow us to compute what the particle is doing at any other time, whether in its past or its future. In this way, we can see how the particle\u2019s state changes, in the sense that it is different at different times. But these states of the particle at different times are themselves just snapshots at certain instances. There is still no flowing time.<\/p>\n<p>It certainly seems that the strong sense we have of time continuously flowing from past to future is indeed just an illusion, however real it might seem to us. But while science is unable to provide a satisfactory explanation for this strong sense we have of passing time, and of a changing present moment, some physicists and philosophers think this is because there is something missing in the laws of physics.<\/p>\n<p>They may just turn out to be right.<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276378\" data-permalink=\"https:\/\/lithub.com\/is-time-even-real-does-it-even-flow\/on-time\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-scaled.jpg\" data-orig-size=\"1718,2560\" 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=\"on time\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-687x1024.jpg\" class=\"alignnone size-medium wp-image-276378 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-201x300.jpg 201w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-687x1024.jpg 687w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-768x1144.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-1031x1536.jpg 1031w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-1375x2048.jpg 1375w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-34x50.jpg 34w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/on-time-scaled.jpg 1718w\" sizes=\"auto, (max-width: 201px) 100vw, 201px\" \/><\/p>\n<p class=\"p1\" style=\"text-align: center;\"><i>From <\/i><a href=\"https:\/\/bookshop.org\/p\/books\/on-time-the-physics-that-makes-the-universe-tick-jim-al-khalili\/afdc56166c0a1fee?ean=9780691267036&amp;bkshp-astro=t\">On Time<\/a><i>. Used with the permission of the publisher, Princeton University Press. Copyright \u00a9 2026 by Jim Al-Khalili<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>You might consider time to be such a fundamental feature of our existence that there really is nothing profound or meaningful that we can say about it. Maybe time, like space, simply is. Many have even argued time out of<\/p>\n","protected":false},"author":31867,"featured_media":276380,"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":[6,43092,43444],"tags":[43606,27863,7335,112101,49588,1836,95268,23177,2751,990],"class_list":["post-276372","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-newsandculture","category-science","tag-future","tag-jim-al-khalili","tag-math","tag-on-time-the-physics-that-makes-the-universe-tick","tag-past","tag-physics","tag-present","tag-princeton-university-press","tag-science","tag-time"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19TC","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/right-sidebar-banner-images-2026-08-28T153022.939.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276372","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\/31867"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276372"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276372\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276380"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276372"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276372"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276372"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276594,"date":"2026-09-04T05:09:16","date_gmt":"2026-09-04T09:09:16","guid":{"rendered":"https:\/\/lithub.com\/?p=276594"},"modified":"2026-09-04T06:31:33","modified_gmt":"2026-09-04T10:31:33","slug":"how-to-get-over-the-hump-of-writing-sex","status":"publish","type":"post","link":"https:\/\/lithub.com\/how-to-get-over-the-hump-of-writing-sex\/","title":{"rendered":"How to Get Over the Hump of Writing Sex"},"content":{"rendered":"<p style=\"text-align: right;\"><em>This first appeared in Lit Hub\u2019s\u00a0<\/em>Craft of Writing<em>\u00a0newsletter\u2014<a href=\"https:\/\/lithub.com\/sign-up-for-the-craft-of-writing\/\">sign up here<\/a>.<\/em><\/p>\n<p>Only trouble is interesting, and what causes more trouble for us humans than our love lives? With love, we\u2019re leaping into the unknown, and it\u2019s thrilling, surprising, scary, overwhelming (and sometimes underwhelming and disappointing) all at once. Love is often unrequited, dangerous, or forbidden, and even when it\u2019s straightforward, there\u2019s still a story in it because we are mortal beings, hurtling toward an impending end, so at some point, we (or our beloved) will be left heartbroken; love\u2019s trouble always makes for a good story. There\u2019s a very successful publishing industry\u2014the romance novel\u2014dedicated to it.<\/p>\n<p>The trouble with writing about love, and its bedfellow, sex, is it\u2019s so elusive and mysterious that we often try to wrestle it into submission by assigning tired, old descriptions to it, or else we try to obfuscate what\u2019s really happening and we slap a euphemism onto it. This is why there are so many clich\u00e9s for love: Love is blind. Love at first sight. Love conquers all. Love makes the world go round. The problem is that these overused phrases say exactly nothing of this complex, mysterious emotion, which is why we must come up with new and strange ways of talking about love and lust. We may never be able to completely capture the complexities, but we must try.<\/p>\n<p><strong>Pep Talk: Getting Over the Hump of Writing Sex<br \/>\n<\/strong>When I was about six or seven, I heard the word <em>fuck<\/em> at school. I went home and asked my father what it meant. He said, \u201cIt means making love.\u201d Then he told me not to ask any more questions. Within a few days, a picture book was left out for me. <em>Where Did I Come From?<\/em> by Peter Mayle features two pudgy characters who have sex under a colorful quilt. The man looks like a pink Pillsbury dough boy. I remember thinking that everything about the book was utterly bizarre, but the unsaid rule was that I would read it, and I wouldn\u2019t ask questions. I learned that sex should be kept secret, but the truth is that our very existence depends on people having sex. It\u2019s a natural function of our human bodies, and desire is a very normal emotion, even if we\u2019re told that some forms of desire are unacceptable, even forbidden.<\/p>\n<p>But isn\u2019t desire the place where so many stories begin? Someone wants something. And then something gets in the way of that wanting, and all of a sudden, we have the conflict and we have a story.<\/p>\n<p><strong>Tips for Writing Great Sex<\/strong><\/p>\n<p><em>Exploit the Messiness<br \/>\n<\/em>Having an orgasm is wonderful, but this is rarely the sole reason we want sex, so simplifying it in this way is a sure misfire. Maybe your narrator or character wants to feel loved or make someone fall in love with her. Maybe she wants to manipulate her partner or have an adventure or defy her parents or make sure her spouse finally leaves her for good. The key in any of these cases is to be emotionally honest when presenting the conflicting emotions of desire, whether you\u2019re writing about revenge sex, break-up sex, make-up sex, dutiful sex, make-a-baby sex, forbidden sex, or even a frustrating failed sexual attempt.<\/p>\n<p><em>Talk the Right Kind of Dirty<br \/>\n<\/em>How would the characters in your piece (including your narrator) have described what was going on as it was happening? If the narrator was saying (or even thinking), \u201cFuck me harder,\u201d and you write it as \u201cMake sweet love to me,\u201d you have totally missed the mark. I\u2019ve heard people say there are no good ways to describe sex and genitalia, but actually, there are lots of ways\u2014everything from edgy, colloquial slang to scientific jargon to poetic image and metaphor, but the language must reflect the tone. And if you\u2019re writing bad sex, then maybe those clinical terms or even the disembodiment of your own body parts is needed by using \u201cthe\u201d instead of \u201cmy,\u201d as in the breasts, the thighs, the cunt. Did that last word make you uncomfortable?<\/p>\n<p>If you\u2019re going to write sex, you\u2019ll have to get over that and allow yourself the full repertoire of sex diction. There are no synonyms; each situation calls for the correct word, and that word could very well be cunt. As writers, we must be able to own every word or at least take them out on loan. Use the words that suit the tone of the piece, and that might mean quieting your inner voice, or the voice of your mother.<\/p>\n<p>Sometimes \u201cbad\u201d words make good writing. Be brave and unapologetic.<\/p>\n<p><em>Break Stereotypes<br \/>\n<\/em>One of the reasons stereotypes and clich\u00e9s ruin our writing is because they are mostly untrue. I have never seen it rain cats and dogs, just as I haven\u2019t been in the presence of an actual steaming-hot, throbbing member. (Maybe I\u2019m missing something, but the word member reminds me of a club.) Even if you\u2019re writing about stereotypically bad sex, your language should be fresh and surprising. Oscar Wilde says, \u201cEverything in the world is about sex except for sex. Sex is about power.\u201d While this may be true, don\u2019t just reinforce traditional power dynamics. We see stereotypical representations of sex everywhere in popular culture, including my childhood picture book.<\/p>\n<p>Here\u2019s the text that accompanies the picture of the couple beneath the colorful quilt: \u201cThe man wants to get as close to the woman as he can, because he\u2019s feeling very loving to her. And to get really close, the best thing he can do is lie on top of her and put his penis inside her, into her vagina.\u201d The woman is the recipient of male desire: She is the object to his subject, the vessel that he must fill with his own need. How does the woman feel? We cannot know because we only get the man\u2019s perspective. And why does this primer only show sex between a man and a woman? Why not show that men have sex with men and women have sex with women? And that people have sex with themselves. Despite what the book-ban people believe, sex is interesting and varied, and we must write it in all its complexities.<\/p>\n<p>Our essays, poems, and stories about sex should reflect just how interesting and varied sex can be.<\/p>\n<p><em>Sometimes Less Is More<br \/>\n<\/em>Write the sex scene in all its fleshy detail, but in revision, ask yourself this: Does it serve the piece? Do the sex scenes move the story forward in some important way? Or maybe, the sex is the story. However, what\u2019s left out can be sexier and more interesting than what remains. Bette Davis said, \u201cI often think that a slightly exposed shoulder emerging from a long satin nightgown packs more sex than two naked bodies in bed.\u201d If your explicit sex scene needs to be trimmed to the exposed shoulder, the ghost of those naked people will remain on the page. A digression can also imply a sex scene\u2014an internal monologue, flashback, flash-forward, or metaphor. Anton Chekhov does this in his famous short story \u201cThe Lady with the Pet Dog.\u201d What happens while we\u2019re following Gurov\u2019s internal monologue becomes obvious a few sentences later through Anna\u2019s action and dialogue. She cries and tells him he won\u2019t respect her. Then Gurov takes that famous bite of watermelon, a metaphor for what has just happened and his nonchalant reaction to it.<\/p>\n<p><strong>Writing Prompt #21: The Language of Sex<\/strong><\/p>\n<p>Think of all the words you would normally associate with sex, set your timer for five minutes, and list them\u2014the clinical, the raunchy, the romantic. When your timer goes off, set it for another fifteen minutes and write a sex scene (in poetry, memoir, or fiction\u2014you decide) without using any of the words on your list. This will force you to write about sex in a new way, reaching for fresh words to describe the sexual act. When your time\u2019s up, have a look at what you\u2019ve written. Is it the seed for a poem, story, essay, or chapter? Is it a scene that was needed in something you have already written?<\/p>\n<p><strong>Bonus Prompt: Unsexy Words for Sex<\/strong><\/p>\n<p>Do this writing exercise again, but this time, write down words you would never associate with sex, the most unsexy words you can think of, and then use those words in a sex scene. Hopefully, you will come up with a few interesting sentences you otherwise wouldn\u2019t have chosen for this scene or poem, getting you over the hump to writing great sex.<\/p>\n<p style=\"text-align: center;\">___________________________________________<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/bookshop.org\/p\/books\/52-writing-prompts-inspiration-for-the-creative-writer-suzanne-roberts\/9ca3b170bf349053\/?aid=132!\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276595\" data-permalink=\"https:\/\/lithub.com\/how-to-get-over-the-hump-of-writing-sex\/9781496239563-1\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-scaled.jpg\" data-orig-size=\"1707,2560\" 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;1&quot;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"9781496239563 (1)\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-683x1024.jpg\" class=\"alignnone wp-image-276595 size-medium\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-200x300.jpg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-683x1024.jpg 683w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-768x1152.jpg 768w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-1024x1536.jpg 1024w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-1365x2048.jpg 1365w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/9781496239563-1-scaled.jpg 1707w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/a><br \/>\n<em>Adapted from <\/em><a href=\"https:\/\/bookshop.org\/p\/books\/52-writing-prompts-inspiration-for-the-creative-writer-suzanne-roberts\/9ca3b170bf349053\/?aid=132!\">52 Writing Prompts: Inspiration for the Creative Writer<\/a><em>\u00a0by Suzanne Roberts\u00a0by\u00a0permission\u00a0of the University of Nebraska Press. \u00a9 2026 Suzanne Roberts Available wherever books are sold or from the Univ. of Nebraska Press\u00a0<a href=\"tel:(800)%20848-6224\" target=\"_blank\" rel=\"noopener\">800.848.6224<\/a>\u00a0and at\u00a0<a href=\"http:\/\/nebraskapress.unl.edu\/\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=http:\/\/nebraskapress.unl.edu&amp;source=gmail&amp;ust=1788526857415000&amp;usg=AOvVaw3YfzOR7rEseSOXpb-JDcNz\">nebraskapress.unl.edu<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This first appeared in Lit Hub\u2019s\u00a0Craft of Writing\u00a0newsletter\u2014sign up here. Only trouble is interesting, and what causes more trouble for us humans than our love lives? With love, we\u2019re leaping into the unknown, and it\u2019s thrilling, surprising, scary, overwhelming (and<\/p>\n","protected":false},"author":31934,"featured_media":276596,"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":[43071,43069,11],"tags":[112140,70841,11340,112141,67126,29215,14293],"class_list":["post-276594","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craft-and-advice","category-craftandcriticism","category-fullwidth-slider","tag-52-writing-prompts-inspiration-for-the-creative-writer","tag-romance-writing","tag-sex-writing","tag-suzanne-roberts","tag-the-craft-of-writing","tag-university-of-nebraksa-press","tag-writing-prompts"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Xc","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/priscilla-du-preez-R2uNyGmeM4-unsplash-1.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276594","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\/31934"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276594"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276594\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276596"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276594"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276594"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276594"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276521,"date":"2026-09-04T05:09:01","date_gmt":"2026-09-04T09:09:01","guid":{"rendered":"https:\/\/lithub.com\/?p=276521"},"modified":"2026-09-02T21:32:33","modified_gmt":"2026-09-03T01:32:33","slug":"10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future","status":"publish","type":"post","link":"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/","title":{"rendered":"10 Literary Science Fiction and Fantasy Novels That Offer Hope for the Future"},"content":{"rendered":"<p>During graduate school, I finished the novel that found me an agent\u2014but when my agent submitted it to publishers, all twenty of them turned the manuscript down. Truthfully, it was closer to a collection of loosely-linked short stories, and the feedback from editors was consistent: <i>Pretty sentences. But nothing really happens.\u00a0<\/i><\/p>\n<p>This is not to impugn books in which little happens! I love those books, which is why I tried to write one. As a teenager, I revered realist literary fiction, stories whose epiphanies emerged from quiet, interpersonal moments\u2014stories that needed no pyrotechnics to move me as a reader. I wanted to write like that, and to be taken seriously in the way of those writers. I feared allegations of sentimentality, avoided melodrama, and wrote characters so faint that even my agent once delicately suggested that a protagonist \u201cget a hobby.\u201d<\/p>\n<p>Of course, I was devastated when my novel-in-stories died on submission. After I recovered, though, I saw the truth of the feedback. Many writers do a beautiful job with subtle fiction. I just wasn\u2019t one of them. I thought, too, of the books that shaped my brain as a young reader, like <i>A Wrinkle of Time<\/i> and <i>His Dark Materials<\/i>: epic science fiction and fantasy that introduced me to other worlds while also paying close attention to prose and character. What if I tried to write a book like <i>that<\/i>?<\/p>\n<p>My first two novels are ultimately realist, though each has a speculative element. <i>The Anatomy of Dreams<\/i> follows two dream researchers working beneath a charismatic but ethically-questionable professor. In <i>The Immortalists<\/i>, four siblings visit a fortuneteller who claims to be able to tell anyone their date of death. But <i>Under Story<\/i>, in which a divorced couple discover a time-bending parallel universe, is the first time I committed fully to genre fiction.<\/p>\n<p>I felt intimidated. To write about our world well is challenging enough; to write well about an imaginary world is a different, riddle-strewn gauntlet. There were so many issues to brainstorm, so many problems to solve and reversals to think through. By the end of the day, I was often so mentally exhausted that I struggled to think of words. But the process was thrilling, too. I wrote the first draft over five years, immersing myself in its worldbuilding, crosshatching real science with invented elements. I wanted to be meticulous enough that readers could give themselves permission to believe\u2014to do a magic trick so airtight that it would feel real even to me.<\/p>\n<p>But I didn\u2019t want the worldbuilding to overshadow the heart of the novel: the story of a single couple\u2019s grief and healing, their under story. In many ways, it\u2019s the story of my healing from years of chronic pain, though there isn\u2019t a migraine in the book. Still, <i>Under Story<\/i> is about the devastation of a life that breaks down and the miracle of the life that blooms from those ashes. It is a tribute to the fact that existence is always both\/and, not either\/or: pain and pleasure, loss and love.<\/p>\n<p>In early interviews, I\u2019ve been asked whether I received any pushback from my publisher about the cross-genre nature of the novel. I\u2019m glad to be able to say that I haven\u2019t. In the past, genre titles and authors were often shunted into discrete lanes\u2014but I have the sense that this changing. Perhaps it has to do with the success of films like Christopher Nolan\u2019s <i>Inception <\/i>or TV like Zal Batmanglij and Brit Marling\u2019s <i>The OA<\/i>, both of which are high-concept and beautifully-executed. Or maybe it relates to the fact that the real world feels increasingly surreal, even genre-bending itself. Our political system vacillates between absurdism and horror. Developments in AI drag us, willingly or unwillingly, into a technological landscape that often feels like science fiction. (I am among the unwilling; I refuse to believe that my life would be better if I\u2019d just outsource my mind.) In this context, science fiction and fantasy offer a mirror as well as a line of hope. Perhaps it isn\u2019t too late to change our trajectory\u2014and perhaps alternate visions of the world, and of the future, can give us ideas.<\/p>\n<p>Below are some of the literary-leaning science fiction and fantasy titles that inspired me along the way.<\/p>\n<p style=\"text-align: center;\">*<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276522\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/ficciones\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones.jpg\" data-orig-size=\"600,900\" 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=\"ficciones\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones.jpg\" class=\"alignnone size-medium wp-image-276522 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones-200x300.jpg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ficciones.jpg 600w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jorge Luis Borges,<a href=\"https:\/\/bookshop.org\/p\/books\/ficciones-jorge-luis-borges\/45fdfb07a4fe2c39?ean=9780802130303&amp;bkshp-astro=t\"><i> Ficciones<\/i><\/a><\/strong><\/p>\n<p>These fantastical stories have elements of many different genres, from the magical realism with which Borges is often associated to detective narratives. Borges is rigorously imaginative: I love the almost lawyerly intensity with which he argues his inventions, as though daring us not to believe him. In \u201cTl\u00f6n, Uqbar, Orbis Tertius,\u201d he lays out an \u201cundocumented country\u201d with a blend of intellectual intensity and sheer playfulness, from that country\u2019s language (\u201cThere is no word corresponding to the noun <i>moon<\/i>, but there is a verb <i>to moon<\/i> or <i>to moondle<\/i>\u201d) and views on literature (\u201cThe concept of plagiarism does not exist; it has been established that all books are the work of one single writer, who is timeless and anonymous\u201d) to its phenomenon of <i>hr\u00f6nir<\/i> (\u201csecondary\u201d versions of lost objects that spring into being \u201ca little larger than the originals\u201d) and theories about time: one school of thought \u201cdeclares that the <i>whole of time <\/i>has already happened and that our life is a vague memory of dim reflection, doubtless false and fragmented, of an irrevocable process. Another school has it that the history of the universe, which contains the history of our lives and the most tenuous details of them, is the handwriting produced buy a minor god in order to communicate with a demon.\u201d How can you not be alternately enlightened and delighted?<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276523\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/the-ones-who-walk-away-from-omelas\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas.jpg\" data-orig-size=\"600,904\" 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=\"the ones who walk away from omelas\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas.jpg\" class=\"alignnone size-medium wp-image-276523 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas-199x300.jpg\" alt=\"\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas-199x300.jpg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/the-ones-who-walk-away-from-omelas.jpg 600w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Ursula K. LeGuin, <a href=\"https:\/\/bookshop.org\/p\/books\/the-ones-who-walk-away-from-omelas-a-story-ursula-k-le-guin\/eddd692bc3f8cfb0?ean=9780062470973&amp;bkshp-astro=t\">\u201cThe Ones Who Walk Away from Omelas\u201d<\/a><\/strong><\/p>\n<p>I don\u2019t know that a perfect novel exists (they are simply too big, too inherently textured), but I do believe that a perfect short story is possible, because \u201cThe Ones Who Walk Away from Omelas\u201d is one of them. At five pages, it is astoundingly economical and metaphorically genius: a fable about capitalism, to my mind, though you can read it in so many ways.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276525\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/stories-of-your-life-and-others\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others.jpeg\" data-orig-size=\"600,925\" 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=\"stories of your life and others\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others.jpeg\" class=\"alignnone size-medium wp-image-276525 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others-195x300.jpeg\" alt=\"\" width=\"195\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others-195x300.jpeg 195w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others-39x60.jpeg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others-32x50.jpeg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/stories-of-your-life-and-others.jpeg 600w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Ted Chiang, <a href=\"https:\/\/bookshop.org\/p\/books\/arrival-stories-of-your-life-mti-ted-chiang\/19ef7ff52935ebc7?ean=9781101972120&amp;bkshp-astro=t\"><i>Stories of Your Life and Others<\/i><\/a><\/strong><\/p>\n<p>Ted Chiang\u2019s short stories feel like thought experiments, each considered with exceptional meticulousness and integrity. They are scientifically engaged but not dry, morally curious but not pedantic. The titular novella at the heart of this collection (\u201cStory of Your Life\u201d) is one of my favorite pieces of writing\u2026 ever. As someone who is fascinated by aliens but continually frustrated by how often alien narratives end in war or violence, I was captivated by the way that Chiang braids time and language while imagining a new species. I still think of this piece as the gold standard when it comes to soulful science fiction.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276526\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/piranesi-3\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi.jpeg\" data-orig-size=\"600,900\" 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=\"piranesi\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi.jpeg\" class=\"size-medium wp-image-276526 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi-200x300.jpeg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi-200x300.jpeg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/piranesi.jpeg 600w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276527\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/jonathan-strange-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange.jpeg\" data-orig-size=\"600,900\" 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=\"jonathan strange\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange.jpeg\" class=\"alignnone size-medium wp-image-276527 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange-200x300.jpeg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange-200x300.jpeg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/jonathan-strange.jpeg 600w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Susanna Clarke, <a href=\"https:\/\/bookshop.org\/p\/books\/piranesi-susanna-clarke\/878ecea84a8eca72?ean=9781635577808&amp;bkshp-astro=t\"><i>Piranesi <\/i><\/a>and<a href=\"https:\/\/bookshop.org\/p\/books\/jonathan-strange-mr-norrell-susanna-clarke\/17fb21a170a18ab8?ean=9781635576726&amp;bkshp-astro=t\"><i> Jonathan Strange &amp; Mr. Norrell<\/i><\/a><\/strong><\/p>\n<p>There is something I need to confess. The first time I started <i>Jonathan Strange &amp; Mr. Norrell<\/i>, I stopped after seventy-five pages. Despite the fact that it had been emphatically recommend by friends who know my taste\u2014and despite the fact that I loved the writing\u2014I lost speed during a section on naval magic and feared that the rest of the book would have more military content than tends to hold my interest. Years later, though\u2014after I fell in love with <i>Piranesi<\/i>, Clarke\u2019s second novel\u2014I knew that I had to give <i>Strange &amp; Norrell<\/i> another chance. I can hardly stomach the thought of what I would have missed otherwise. This is a top-five-favorite novel for me; it is almost nine hundred pages, and I would have gladly read twice as many. Strange and Norrell is part political and academic satire, part sincere expression of belief in magic and mystery and art. It\u2019s also technically dazzling, even risky (Jonathan Strange, not only a major but a <i>titular <\/i>character, is introduced after 200 pages\u2014<i>in a footnote<\/i>), full of heart, and very funny.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276528\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/southern-reach\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach.jpg\" data-orig-size=\"600,798\" 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=\"southern reach\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach.jpg\" class=\"alignnone size-medium wp-image-276528 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach-226x300.jpg\" alt=\"\" width=\"226\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach-226x300.jpg 226w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach-45x60.jpg 45w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach-38x50.jpg 38w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/southern-reach.jpg 600w\" sizes=\"auto, (max-width: 226px) 100vw, 226px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Jeff VanderMeer, <i><a href=\"https:\/\/bookshop.org\/p\/books\/area-x-the-southern-reach-trilogy-annihilation-authority-acceptance-jeff-vandermeer\/a7e0acb1510c41ea?ean=9780374261177&amp;bkshp-astro=t\">The Southern Reach<\/a> <\/i>Series<\/strong><\/p>\n<p>Vandermeer\u2019s eerie series has been described as \u201ceco-horror\u201d and \u201ccli-fi,\u201d relatively new terms that reflect how current these books feel, despite their fantastical elements. They document investigations into the fictional Area X, a portion of American coastline where nature is behaving strangely. To say anything else would be to spoil the wild ride of this series, which is outrageously inventive, often trippy, and genuinely fresh. I\u2019ve never read anything like it.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276529\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/exit-west-4\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west.jpg\" data-orig-size=\"600,936\" 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=\"exit west\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west.jpg\" class=\"alignnone size-medium wp-image-276529 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west-192x300.jpg\" alt=\"\" width=\"192\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west-192x300.jpg 192w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west-38x60.jpg 38w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west-32x50.jpg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/exit-west.jpg 600w\" sizes=\"auto, (max-width: 192px) 100vw, 192px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Mohsin Hamid, <a href=\"https:\/\/bookshop.org\/p\/books\/exit-west-a-novel-mohsin-hamid\/421266449ef45e6f?ean=9780735212206&amp;bkshp-astro=t\"><i>Exit West<\/i><\/a>\u00a0<\/strong><\/p>\n<p><i>Exit West <\/i>imagines the refugee crisis with a powerful magical realist twist. Saeed and Nadia live in an unnamed country tormented by civil war\u2014and meanwhile, there are rumors of mysterious doors, portals that lead to other places. The fusing of realist horror with a fantastical device allows for a kind of prismatic re-seeing in the way of a parable. At the same time, Hamid employs a lightness of touch, and moments of humor, even when his characters are enduring the unendurable. Grief is always with these characters, but they have not allowed it to rob them of the capacity for other emotional experiences. When I finished <i>Exit West<\/i>, I thought of a famous line by Samuel Beckett\u2014\u201cI can\u2019t go on, I\u2019ll go on\u201d\u2014and how true it feels to human being.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276530\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/vita-nostra\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra.jpeg\" data-orig-size=\"265,400\" 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=\"vita nostra\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra.jpeg\" class=\"alignnone size-medium wp-image-276530 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra-199x300.jpeg\" alt=\"\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/vita-nostra.jpeg 265w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Marina and Sergey Dyachenko, translated by Julia Meitov Hersey, <a href=\"https:\/\/bookshop.org\/p\/books\/vita-nostra-a-novel-marina-sergey-dyachenko\/852acebe715e070a?ean=9780063054158&amp;bkshp-astro=t\"><i>Vita Nostra<\/i><\/a><\/strong><\/p>\n<p>My friend Brittany Cavallaro gives me some of the best book recommendations, because she knows that what I crave most is immersion. Reading <i>Vita Nostra<\/i>\u2014written by a Ukrainian couple and set in Russia\u2014means being immersed in a metaphysical magic school: rain and streetlights and clanking radiators, enigmatic professors and strange gold coins, overnight trains, the smell of damp leaves, mortal danger, and the kind of mind-bending that reminds you how little we know of reality after all. The novel follows\u00a0teenager Sasha Samokhina&#8217;s matriculation at the Institute of Special Technologies. The Institute&#8217;s professors teach something utterly mystifying: for years, neither Sasha nor her classmates can figure out exactly what it is. While reading <i>Vita Nostra<\/i>, I felt like a fellow student at the Institute, studying their materials, experiencing my own metamorphosis. The full reveal is as satisfying as any fantasy concept I&#8217;ve encountered.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276531\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/never-let-me-go-4\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go.jpeg\" data-orig-size=\"600,925\" 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=\"never let me go\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go.jpeg\" class=\"alignnone size-medium wp-image-276531 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go-195x300.jpeg\" alt=\"\" width=\"195\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go-195x300.jpeg 195w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go-39x60.jpeg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go-32x50.jpeg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/never-let-me-go.jpeg 600w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Kazuo Ishiguro, <a href=\"https:\/\/bookshop.org\/p\/books\/never-let-me-go-kazuo-ishiguro\/48790021311d89fc?ean=9781400078776&amp;bkshp-astro=t\"><i>Never Let Me Go<\/i><\/a><\/strong><\/p>\n<p>My first novel, <i>The Anatomy of Dreams<\/i>, was inspired by this one. I was so arrested by Kathy\u2019s voice\u2014that sense of trouble under calm water, nostalgia pressured by melancholy\u2014that some light turned on in my brain. I\u2019ll be the first to say that Ishiguro did it better: <i>Never Let Me Go<\/i> explores issues of science, ethics, and creativity to heartbreaking effect. Ishiguro often blends literary and genre elements, from the off-kilter fantasy of THE BURIED GIANT to the noirish WHEN WE WERE ORPHANS. Indeed, the way he plays with memory makes it seem like a not-quite-realist genre of its own, wavy at the edges and unnervingly malleable.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276533\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/ambiguity-machines\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines.jpg\" data-orig-size=\"259,400\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Christopher Rowe&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=\"ambiguity machines\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines.jpg\" class=\"alignnone size-medium wp-image-276533 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines-194x300.jpg\" alt=\"\" width=\"194\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines-194x300.jpg 194w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines-32x50.jpg 32w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/ambiguity-machines.jpg 259w\" sizes=\"auto, (max-width: 194px) 100vw, 194px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Vandana Singh, <a href=\"https:\/\/bookshop.org\/p\/books\/ambiguity-machines-and-other-stories-vandana-singh\/68e74769379641c3?ean=9781618731432&amp;bkshp-astro=t\"><i>Ambiguity Machines and Other Stories<\/i><\/a><\/strong><\/p>\n<p>Singh, also a physicist (!), was born in New Delhi, and in many of her stories, Indian myths and landscapes fuse with otherworldly ones. There is also a distinctly environmental lens that reminds me of Robin Wall Kimmerer: in one story, a newly-invented energy grid is based on fungal networks. Another story imagines a planet whose beings relate through the concept of kinship.\u00a0Each story contains a novel&#8217;s worth of plot and character, and the prose is gorgeous\u2014lush but precise, musical and surprising. For some reason, despite how deeply reading makes me feel, I rarely cry while doing it; but one of these short stories made me weep on the beach at a family vacation. Yet I find hope in them, too. \u201cRequiem,\u201d the final story in\u00a0<i>Ambiguity\u00a0Machines<\/i>, follows an anti-corporate uprising in which animals partner with humans. Singh&#8217;s collection reminds me that there is hope to be found in collectivity, and that imagination is as powerful a tool as any.<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276534\" data-permalink=\"https:\/\/lithub.com\/10-literary-science-fiction-and-fantasy-novels-that-offer-hope-for-the-future\/under-story-2\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story.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=\"under story\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story.jpeg\" class=\"alignnone size-medium wp-image-276534 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story-199x300.jpeg\" alt=\"\" width=\"199\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story-199x300.jpeg 199w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story-40x60.jpeg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story-33x50.jpeg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/under-story.jpeg 298w\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" \/><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/bookshop.org\/a\/2186\/9780593545218?prhc=PRHEFFDF5A7F1\">Under Story<\/a>\u00a0<em>by Chloe Benjamin is available from Putnam.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>During graduate school, I finished the novel that found me an agent\u2014but when my agent submitted it to publishers, all twenty of them turned the manuscript down. Truthfully, it was closer to a collection of loosely-linked short stories, and the<\/p>\n","protected":false},"author":31923,"featured_media":276536,"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":[43069,6,43070,43135,43445],"tags":[112122,112128,28564,24743,37215,2890,112124,2889,1567,112127,8553,29018,49687,112123,8688,16230,112125,111905,35949,46237,112126],"class_list":["post-276521","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-literary-criticism","category-readinglists","category-technology","tag-the-ones-who-walk-away-from-omelas","tag-ambiguity-machines-and-other-stories","tag-chloe-benjamin","tag-exit-west","tag-ficciones","tag-jeff-vandermeer","tag-jonathan-strange-and-dr-norrell","tag-jorge-luis-borges","tag-kazuo-ishiguro","tag-marina-and-sergey-dyachenko","tag-mohsin-hamid","tag-never-let-me-go","tag-piranesi","tag-stories-of-your-life-and-others","tag-susanna-clarke","tag-ted-chiang","tag-the-southern-reach-series","tag-under-story","tag-ursula-k-leguin","tag-vandana-singh","tag-vita-nostra"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19W1","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/sci-fi-reading-list.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276521","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\/31923"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276521"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276521\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276536"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276521"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276521"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276521"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276611,"date":"2026-09-04T05:08:47","date_gmt":"2026-09-04T09:08:47","guid":{"rendered":"https:\/\/lithub.com\/?p=276611"},"modified":"2026-09-03T21:45:05","modified_gmt":"2026-09-04T01:45:05","slug":"what-should-you-read-next-here-are-the-best-reviewed-books-of-the-week-9-4-2026","status":"publish","type":"post","link":"https:\/\/lithub.com\/what-should-you-read-next-here-are-the-best-reviewed-books-of-the-week-9-4-2026\/","title":{"rendered":"What Should You Read Next? Here Are the Best Reviewed Books of the Week"},"content":{"rendered":"<p>Marlon James\u2019\u00a0<em>The Disappearers<\/em>, Jon Ronson\u2019s\u00a0<em>The Castle<\/em>, Chloe Benjamin\u2019s\u00a0<em>Under Story<\/em>, and Emily Wilson\u2019s\u00a0<em>Crossing the Wine Dark Sea<\/em>\u00a0all feature among the best reviewed books of the month.<\/p>\n<p style=\"text-align: center;\">Brought to you by\u00a0<a href=\"https:\/\/bookmarks.reviews\/\" target=\"_blank\" rel=\"noopener noreferrer\">Book Marks<\/a>, Lit Hub\u2019s home for book reviews.<\/p>\n<p style=\"text-align: center;\">*<\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/bookmarks.reviews\/category\/fiction\/\" target=\"_blank\" rel=\"noopener\"><strong>Fiction<\/strong><\/a><\/p>\n<p><a href=\"https:\/\/bookshop.org\/a\/40\/9780593717202\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-136771 size-medium aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/The-Disappearers-197x300.jpg\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/The-Disappearers-197x300.jpg 197w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/The-Disappearers-33x50.jpg 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/The-Disappearers.jpg 658w\" alt=\"The Disappearers\" width=\"197\" height=\"300\" data-attachment-id=\"136771\" data-permalink=\"https:\/\/bookmarks.reviews\/5-reviews-you-need-to-read-this-week-8-13-2026\/the-disappearers\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/The-Disappearers.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;,&quot;alt&quot;:&quot;&quot;}\" data-image-title=\"The Disappearers\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/The-Disappearers.jpg\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>1.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9780593717202\" target=\"_blank\" rel=\"noopener\"><em>The Disappearers<\/em><\/a>\u00a0by Marlon James<br \/>\n(Riverhead)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>13 Rave \u2022 2 Positive \u2022 2 Mixed<br \/>\nRead a profile of Marlon James\u00a0<a href=\"https:\/\/lithub.com\/marlon-james-on-finally-writing-a-novel-that-draws-from-his-life\/\" target=\"_blank\" rel=\"noopener\">here<\/a><\/strong><\/p>\n<p>\u201cA harrowing, hilarious, magnificent novel that will stand the test of time \u2026 He invents his own literary language, horny yet tender, punctuated by puns and music and elegant flourishes. He jolts the narrative sideways and backwards, thumping his suspense line like an expert bassist \u2026 His defiant queer epic belongs to us all.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Hamilton Cain (<a href=\"https:\/\/www.bostonglobe.com\/2026\/08\/26\/arts\/marlon-james-disappearers\/\" target=\"_blank\" rel=\"noopener\"><em>The Boston Globe<\/em><\/a>)<\/p>\n<p><a href=\"https:\/\/bookshop.org\/a\/40\/9780593545218\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-136923 size-medium aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/0e46f250fdd572ebf53eb72c5a49b06a-199x300.gif\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/0e46f250fdd572ebf53eb72c5a49b06a-199x300.gif 199w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/0e46f250fdd572ebf53eb72c5a49b06a-33x50.gif 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/0e46f250fdd572ebf53eb72c5a49b06a.gif 429w\" alt=\"Under Story\" width=\"199\" height=\"300\" data-attachment-id=\"136923\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/under-story\/under-story-a-gma-book-club-pick-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/0e46f250fdd572ebf53eb72c5a49b06a.gif\" data-orig-size=\"429,648\" 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=\"Under Story\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/0e46f250fdd572ebf53eb72c5a49b06a.gif\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>2.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9780593545218\" target=\"_blank\" rel=\"noopener\"><em>Under Story<\/em><\/a>\u00a0by Chloe Benjamin<br \/>\n(G.P. Putnam\u2019s Sons)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>6 Rave \u2022 2 Positive \u2022 1 Pan<\/strong><\/p>\n<p>\u201cThe novel\u2019s success hinges on your ability to suspend your disbelief as profoundly as you draw upon your capacity to love. With the portals and time travel, the story requires an open mind. Even with such a fantastical plot, Benjamin draws complex, deeply human characters \u2026 Benjamin could have written a far shorter novel. Some may say that less is more. But\u00a0<em>Under Story<\/em>\u00a0isn\u2019t meant to be a minimalist work \u2026 Expands our expectations of living.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Lauren LeBlanc (<a href=\"https:\/\/www.nytimes.com\/2026\/08\/29\/books\/review\/under-story-chloe-benjamin.html\" target=\"_blank\" rel=\"noopener\"><em>The New York Times Book Review<\/em><\/a>)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-136918 aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/3fcf06fc7dca9fcb1e91330ebe5a5d14-197x300.gif\" sizes=\"auto, (max-width: 197px) 100vw, 197px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/3fcf06fc7dca9fcb1e91330ebe5a5d14-197x300.gif 197w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/3fcf06fc7dca9fcb1e91330ebe5a5d14-33x50.gif 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/3fcf06fc7dca9fcb1e91330ebe5a5d14.gif 426w\" alt=\"Agrippa: A Novel of Ancient Rome's Descent Into Dictatorship Cover\" width=\"197\" height=\"300\" data-attachment-id=\"136918\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/agrippa\/agrippa-a-novel-of-ancient-romes-descent-into-dictatorship-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/3fcf06fc7dca9fcb1e91330ebe5a5d14.gif\" data-orig-size=\"426,648\" 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=\"Agrippa: A Novel of Ancient Rome&amp;#8217;s Descent Into Dictatorship Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/3fcf06fc7dca9fcb1e91330ebe5a5d14.gif\" \/><\/p>\n<p style=\"text-align: center;\"><strong>3.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9780385552387\" target=\"_blank\" rel=\"noopener\"><em>Agrippa<\/em><\/a>\u00a0by Robert Harris<br \/>\n(Doubleday)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>5 Rave \u2022 3 Positive \u2022 2 Mixed \u2022 1 Pan<\/strong><\/p>\n<p>\u201cImaginative \u2026 Thrilling \u2026 A swift-paced romp through a few crucial decades of Roman history, breathing life into a figure who played a central role in the story of the late republic.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Michael F. Bishop (<em>The Wall Street Journal<\/em>)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-136947 aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/90bb5ebe2ce357d8db392cd7c47b3440-200x300.gif\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/90bb5ebe2ce357d8db392cd7c47b3440-200x300.gif 200w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/90bb5ebe2ce357d8db392cd7c47b3440-33x50.gif 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/90bb5ebe2ce357d8db392cd7c47b3440.gif 432w\" alt=\"Asmodeus\" width=\"200\" height=\"300\" data-attachment-id=\"136947\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/asmodeus\/asmodeus-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/90bb5ebe2ce357d8db392cd7c47b3440.gif\" data-orig-size=\"432,648\" 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=\"Asmodeus Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/90bb5ebe2ce357d8db392cd7c47b3440.gif\" \/><\/p>\n<p style=\"text-align: center;\"><strong>4.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9781644454107\" target=\"_blank\" rel=\"noopener\"><em>Asmodeus<\/em><\/a>\u00a0by Rita Indiana<br \/>\n(Graywolf)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>2 Rave \u2022 2 Positive \u2022 1 Mixed<\/strong><\/p>\n<p>\u201c[A] dark fantasy \u2026 The poetry and musical lyrics are all masterfully translated by Obejas, a respected novelist in her own right. Indiana presents music (and story) as a venue for addressing the problems that plague this viscerally squalid, gritty, and painful world.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Sara Mart\u00ednez (<a href=\"https:\/\/www.booklistonline.com\/products\/9825892\" target=\"_blank\" rel=\"noopener\"><em>Booklist<\/em><\/a>)<\/p>\n<p><a href=\"https:\/\/bookshop.org\/a\/40\/9798896230816\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-136943 size-medium aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/94d6fe0ba5e7b937675385aa3d8f73b2-188x300.gif\" sizes=\"auto, (max-width: 188px) 100vw, 188px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/94d6fe0ba5e7b937675385aa3d8f73b2-188x300.gif 188w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/94d6fe0ba5e7b937675385aa3d8f73b2-31x50.gif 31w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/94d6fe0ba5e7b937675385aa3d8f73b2.gif 405w\" alt=\"I Liked Rex\" width=\"188\" height=\"300\" data-attachment-id=\"136943\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/i-liked-rex\/i-liked-rex-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/94d6fe0ba5e7b937675385aa3d8f73b2.gif\" data-orig-size=\"405,648\" 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=\"I Liked Rex Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/94d6fe0ba5e7b937675385aa3d8f73b2.gif\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>5.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9798896230816\" target=\"_blank\" rel=\"noopener\"><em>I Liked Rex<\/em><\/a>\u00a0by Diane Williams<br \/>\n(NYRB Classics)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>1 Rave \u2022 1 Positive \u2022 1 Mixed<\/strong><\/p>\n<p>\u201cDelightful characters, curious images, and love affairs gone awry animate this minimalist metafictional collection \u2026 These deceptively simple stories eschew linear plots to home in on arresting images and phrases that reveal their characters\u2019 complex and resonant inner lives: \u2018The loss of paradise keeps happening,\u2019 reflects a recent divorc\u00e9. This is one to savor.\u201d<\/p>\n<p style=\"text-align: right;\"><a href=\"https:\/\/www.publishersweekly.com\/9798896230816\" target=\"_blank\" rel=\"noopener\"><em>\u2013Publishers Weekly<\/em><\/a><\/p>\n<p style=\"text-align: center;\"><strong>**<\/strong><\/p>\n<p style=\"text-align: center;\"><a href=\"https:\/\/bookmarks.reviews\/category\/non-fiction\/\" target=\"_blank\" rel=\"noopener\"><strong>Nonfiction<\/strong><\/a><\/p>\n<p><a href=\"https:\/\/bookshop.org\/a\/40\/9781594634208\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-136855 size-medium\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/8ed6e9f1969e21df216d17d288e2f061-199x300.gif\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/8ed6e9f1969e21df216d17d288e2f061-199x300.gif 199w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/8ed6e9f1969e21df216d17d288e2f061-33x50.gif 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/8ed6e9f1969e21df216d17d288e2f061.gif 429w\" alt=\"The Castle\" width=\"199\" height=\"300\" data-attachment-id=\"136855\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/the-castle-adventures-in-a-world-of-unraveling-men\/the-castle-adventures-in-a-world-of-unraveling-men-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/8ed6e9f1969e21df216d17d288e2f061.gif\" data-orig-size=\"429,648\" 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 Castle: Adventures in a World of Unraveling Men Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/8ed6e9f1969e21df216d17d288e2f061.gif\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>1.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9781594634208\" target=\"_blank\" rel=\"noopener\"><em>The Castle: Adventures in a World of Unraveling Men<\/em><\/a>\u00a0by Jon Ronson<br \/>\n(Riverhead)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>7 Rave \u2022 3 Positive \u2022 1 Mixed<\/strong><\/p>\n<p>\u201cThis is his first book in 11 years and it\u2019s as good a read as any of his previous big hits. A Jon Ronson book is never clear-cut, there are no neat finishes or satisfying conclusions.\u00a0<em>The Castle<\/em>\u00a0is no different. But like all of his writing, this book will open new insights for you, and it will linger long after you\u2019ve closed the final chapter \u2026 A great attempt to unpick modern masculinity and to see what is prompting a real mental health crisis in men. Only when we understand it will we be able to address it.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Sinead Gibney (<a href=\"https:\/\/www.irishtimes.com\/culture\/books\/review\/2026\/08\/25\/the-castle-by-jon-ronson-a-great-attempt-to-unpick-modern-masculinity-in-the-digital-age\/\" target=\"_blank\" rel=\"noopener\"><em>The Irish Times<\/em><\/a>)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-136920 aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/american-scoundrel-9781668031575_lg-199x300.jpg\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/american-scoundrel-9781668031575_lg-199x300.jpg 199w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/american-scoundrel-9781668031575_lg-33x50.jpg 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/american-scoundrel-9781668031575_lg.jpg 265w\" alt=\"American scoundrel\" width=\"199\" height=\"300\" data-attachment-id=\"136920\" data-permalink=\"https:\/\/bookmarks.reviews\/5-reviews-you-need-to-read-this-week-14\/american-scoundrel-9781668031575_lg\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/american-scoundrel-9781668031575_lg.jpg\" data-orig-size=\"265,400\" 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=\"american-scoundrel-9781668031575_lg\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/08\/american-scoundrel-9781668031575_lg.jpg\" \/><\/p>\n<p style=\"text-align: center;\"><strong>2.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9781668031575\" target=\"_blank\" rel=\"noopener\"><em>American Scoundrel: Roy Cohn\u2019s Dark Journey from Joe McCarthy to Donald Trump<\/em><\/a>\u00a0by Kai Bird<br \/>\n(Scribner)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>7 Rave \u2022 2 Positive<\/strong><\/p>\n<p>\u201cI gobbled up every page \u2026 A bounteous cornucopia of midcentury sleaze and uneasily addictive for just that reason \u2026 As ugly and lurid as this saga is,\u00a0<em>American Scoundrel<\/em>\u00a0is consistently riveting, full of astonishing twists, ballsy plots, and eleventh-hour escapes from justice, like the legal version of the exploits of some Old West outlaw who is forever eluding the sheriffs by the skin of his teeth.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Laura Miller (<a href=\"https:\/\/slate.com\/culture\/2026\/08\/roy-cohn-donald-trump-book-mccarthy-gay-aids-rosenberg-kai-bird-american-scoundrel.html\" target=\"_blank\" rel=\"noopener\"><em>Slate<\/em><\/a>)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-136337 aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/05\/Crossing-the-Wine-Dark-Sea-199x300.jpg\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/05\/Crossing-the-Wine-Dark-Sea-199x300.jpg 199w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/05\/Crossing-the-Wine-Dark-Sea-33x50.jpg 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/05\/Crossing-the-Wine-Dark-Sea.jpg 394w\" alt=\"Crossing the Wine-Dark Sea\" width=\"199\" height=\"300\" data-attachment-id=\"136337\" data-permalink=\"https:\/\/bookmarks.reviews\/5-reviews-you-need-to-read-this-week-5-28-2026\/crossing-the-wine-dark-sea\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/05\/Crossing-the-Wine-Dark-Sea.jpg\" data-orig-size=\"394,595\" 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=\"Crossing the Wine-Dark Sea\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/05\/Crossing-the-Wine-Dark-Sea.jpg\" \/><\/p>\n<p style=\"text-align: center;\"><strong>3.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9781324099406\" target=\"_blank\" rel=\"noopener\"><em>Crossing the Wine-Dark Sea: Journeys Through Ancient Literature<\/em><\/a>\u00a0by Emily Wilson<\/strong><br \/>\n<strong>(Liveright)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>6 Rave<\/strong><\/p>\n<p>\u201cWonderfully spirited \u2026 An expert in the ancient world, she nevertheless draws constantly (and productively) from contemporary culture \u2026 Wilson elegantly braids together close, line-by-line readings with larger arguments about how much is often at stake \u2026 You don\u2019t even have to be particularly interested in ancient literature to enjoy this book, though by the time you finish it you probably will be. Wilson\u2019s excitement for her subject is irrepressibly moving.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Jennifer Szalai (<a href=\"https:\/\/www.nytimes.com\/2026\/08\/26\/books\/review\/crossing-the-wine-dark-sea-emily-wilson.html\" target=\"_blank\" rel=\"noopener\"><em>The New York Times<\/em><\/a>)<\/p>\n<p><a href=\"https:\/\/bookshop.org\/a\/40\/9780374622015\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-136936 size-medium aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/19947a7b8dbad4d0b846622f0a406ce2-195x300.gif\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/19947a7b8dbad4d0b846622f0a406ce2-195x300.gif 195w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/19947a7b8dbad4d0b846622f0a406ce2-33x50.gif 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/19947a7b8dbad4d0b846622f0a406ce2.gif 422w\" alt=\"The Bed Trick\" width=\"195\" height=\"300\" data-attachment-id=\"136936\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/the-bed-trick-sex-and-deception-on-trial\/the-bed-trick-sex-and-deception-on-trial-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/19947a7b8dbad4d0b846622f0a406ce2.gif\" data-orig-size=\"422,648\" 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 Bed Trick: Sex and Deception on Trial Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/19947a7b8dbad4d0b846622f0a406ce2.gif\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>4.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9780374622015\" target=\"_blank\" rel=\"noopener\"><em>The Bed Trick: Sex and Deception on Trial<\/em><\/a>\u00a0by Izabella Scott<\/strong><br \/>\n<strong>(FSG Originals)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>2 Rave \u2022 2 Positive \u2022 1 Mixed<\/strong><\/p>\n<p>\u201cScott is less interested in whether this was the correct verdict than she is in investigating the larger meanings of this strange, sad trial, which exposed the private lives of both participants to ridicule \u2026 Scott is a supremely good guide to this complex terrain, thoughtful, nuanced and agile.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Olivia Laing (<a href=\"https:\/\/www.theguardian.com\/books\/2026\/jan\/26\/the-bed-trick-by-izabella-scott-review-a-bizarre-story-of-sexual-duplicity\" target=\"_blank\" rel=\"noopener\"><em>The Guardian<\/em><\/a>)<\/p>\n<p><a href=\"https:\/\/bookshop.org\/a\/40\/9780802168245\" target=\"_blank\" rel=\"noopener\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-136963 size-medium aligncenter\" src=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/f65e2c673484626e5daca72ec9527c1f-199x300.gif\" sizes=\"auto, (max-width: 199px) 100vw, 199px\" srcset=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/f65e2c673484626e5daca72ec9527c1f-199x300.gif 199w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/f65e2c673484626e5daca72ec9527c1f-33x50.gif 33w, https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/f65e2c673484626e5daca72ec9527c1f.gif 430w\" alt=\"53 Days: How Hitler Dismantled a Democracy Cover\" width=\"199\" height=\"300\" data-attachment-id=\"136963\" data-permalink=\"https:\/\/bookmarks.reviews\/bookmark\/53-days-how-hitler-dismantled-a-democracy\/53-days-how-hitler-dismantled-a-democracy-cover\/\" data-orig-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/f65e2c673484626e5daca72ec9527c1f.gif\" data-orig-size=\"430,648\" 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=\"53 Days: How Hitler Dismantled a Democracy Cover\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/s26162.pcdn.co\/wp-content\/uploads\/sites\/2\/2026\/09\/f65e2c673484626e5daca72ec9527c1f.gif\" \/><\/a><\/p>\n<p style=\"text-align: center;\"><strong>5.\u00a0<a href=\"https:\/\/bookshop.org\/a\/40\/9780802168245\" target=\"_blank\" rel=\"noopener\"><em>53 Days: How Hitler Dismantled a Democracy<\/em><\/a>\u00a0by Timothy W. Ryback<\/strong><br \/>\n<strong>(Atlantic Monthly Press)<\/strong><\/p>\n<p style=\"text-align: center;\"><strong>2 Rave \u2022 1 Positive \u2022 1 Mixed<\/strong><\/p>\n<p>\u201cStep by step, the book recounts the process by which Hitler exploited his position in order to install autocracy. Ryback deftly manages what could have been an unwieldy narrative, allowing readers to draw their own conclusions about the book\u2019s relevance to current events.\u201d<\/p>\n<p style=\"text-align: right;\">\u2013Kirk Johnson (<a href=\"https:\/\/www.booklistonline.com\/products\/9825273\" target=\"_blank\" rel=\"noopener\"><em>Booklist<\/em><\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Marlon James\u2019\u00a0The Disappearers, Jon Ronson\u2019s\u00a0The Castle, Chloe Benjamin\u2019s\u00a0Under Story, and Emily Wilson\u2019s\u00a0Crossing the Wine Dark Sea\u00a0all feature among the best reviewed books of the month. Brought to you by\u00a0Book Marks, Lit Hub\u2019s home for book reviews. * Fiction 1.\u00a0The Disappearers\u00a0by<\/p>\n","protected":false},"author":873,"featured_media":276622,"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":[43069,6,43070,43135],"tags":[15654,13821,33508],"class_list":["post-276611","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-literary-criticism","category-readinglists","tag-book-marks","tag-book-reviews","tag-the-best-reviewed-books-of-the-week"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Xt","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/09\/crossingthewinedarksea.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276611","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\/873"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276611"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276611\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276622"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276611"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276611"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276611"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276278,"date":"2026-09-04T05:08:33","date_gmt":"2026-09-04T09:08:33","guid":{"rendered":"https:\/\/lithub.com\/?p=276278"},"modified":"2026-08-31T13:07:35","modified_gmt":"2026-08-31T17:07:35","slug":"how-fordism-and-fascism-gave-birth-to-modern-car-culture","status":"publish","type":"post","link":"https:\/\/lithub.com\/how-fordism-and-fascism-gave-birth-to-modern-car-culture\/","title":{"rendered":"How Fordism and Fascism Gave Birth to Modern Car Culture"},"content":{"rendered":"<p>In 1934, writing from his prison cell, Antonio Gramsci reflected on the sweeping transformations reshaping industrial production in the United States. The rise of the automobile and the wider Fordist factory, he argued, signaled a new economic and moral order, one that imposed discipline upon the worker, imbued the wage with ethical significance and blurred the line between production and private life. Of the industrial innovations underpinning this order, the assembly line and vertical integration were most significant.<\/p>\n<p>Ford had introduced the moving assembly line in 1913, subjecting workers to repeating the same easily learned task again and again\u2014boosting productivity and disciplining laborers. Simultaneously, the direct management of inputs and distribution\u2014from rubber plantations to railway tracks\u2014permitted lower production costs, translating not only to lower prices but also to higher-than-average wages. After the invention of the internal combustion engine in 1885, the auto industry had comprised skilled laborers producing a few bespoke vehicles\u2014affordable only to an upper stratum of society. Fordist industrial methods, however, made cars increasingly available and began to organize the &#8220;whole life of the nation&#8221; around production.<\/p>\n<p>If &#8220;the history of industrialism has always been a continuing struggle against the element of &#8216;animality&#8217; in man,&#8221; as Gramsci posed, it is telling that Ford found his inspiration for worker discipline in industrial abattoirs. Visiting slaughterhouses in Chicago and Cincinnati, he saw animal carcasses moving between butchers on overhead conveyor belts. Translating this logic to cars, Ford devised an assembly line where parts moved between stationary laborers, &#8220;taking the work to the men rather than the men to the work.&#8221; This echoed Frederick Winslow Taylor\u2019s idea of scientific management, which sought efficiency through control and standardization of the labor process. Also intent on taming animal spirits, Taylor aimed to eliminate the &#8220;human content&#8221; from work, leaving in its place what he infamously described as a &#8220;trained gorilla.&#8221; With labor rendered interchangeable, it was not uncommon for fifty different languages to be spoken on Detroit\u2019s shop floors. Migrants to the auto plants came mostly from the American south and European countries, with many also coming from the Middle East to Ford\u2019s Dearborn factories.<\/p>\n<p class=\"pullquote\">The formulation &#8220;industry of industries&#8221; thus draws attention to the raw materials the car is made from and the myriad economic practices it enables.<\/p>\n<p>Fordism was never confined to the factory. The vertically integrated, rationalized production process was complemented by, in Gramsci\u2019s words, &#8220;extremely subtle ideological and political propaganda&#8221; in which workers were not only compensated for their labor, but also their conduct: their temperance, thrift and domesticity. Ford and his inspectors in the company\u2019s Sociological Department monitored his employees\u2019 private lives\u2014what they ate and drank and how they lived. Though eventually abandoned due to cost, this system of surveillance endeavored to equate producers with virtue. More than a disciplined laborer, Ford desired a moral industrial citizen\u2014a &#8220;master in industrial method&#8221; who would volunteer &#8220;for the mines and the railroads&#8221; should &#8220;the fires of a hundred industries threaten to go out for lack of coal.&#8221; His ambition, then, was to &#8220;mould the political, social, industrial and moral mass into a sound and shapely whole.&#8221;<\/p>\n<p>Such expectations were sustained by relatively high wages. Before the five-dollar day in 1914, the annual turnover of workers at Ford was so high the company had to recruit nearly a thousand employees to retain just a hundred. This new pay packet, judged a &#8220;family wage,&#8221; was the basis for the male-breadwinner model, or the &#8220;Fordist family,&#8221; accentuating the wage\u2019s &#8220;moral dimension&#8221; while granting legitimacy and a certain degree of bourgeois respectability to sections of the working class. It also supported emergent norms of working-class consumption. &#8220;I\u2019m not saying our workers will sing Caruso or govern the state. No, we can leave such ravings to the European socialists. But the workers <i>will <\/i>buy automobiles,&#8221; Ford announced. Separation from the means of production was redeemed through consumption; investing the working class more deeply in the relations of production.<\/p>\n<p>While ensuring control of inputs and distribution served to lower production costs, there was also an ideological motive behind Ford\u2019s pursuit of vertical integration: to limit his dependence on others. Ford owned and financed his projects internally, as he &#8220;loathed banks and outside investors and was determined to maintain total control of his company.&#8221; His disdain for finance capital was inseparable from his full-throated anti-Semitism. Openly espousing Jewish hatred, Ford was &#8220;a major organ of anti-Semitic conspiracy theories,&#8221; distributing <i>The Protocols of the Elders of Zion <\/i>and <i>The International Jew<\/i>, a serialized diatribe of conspiracies, through his newspaper, the <i>Dearborn Independent<\/i>. Throughout the 1920s and 1930s, the paper was circulated across the company\u2019s dealership network, with many dealers putting a copy of the <i>Independent <\/i>in the glove box of every new car.<\/p>\n<p>Ideologically, these practices and beliefs coalesced into what Stefan Link has called an &#8220;industrial moral economy,&#8221; wherein a community of producers struggled against financiers and idle profiteers. Ford praised the man who &#8220;earned his bread&#8221; and rebuked those &#8220;who gamble with the fruits of other men\u2019s labors.&#8221; His rhetoric echoed late nineteenth-century Midwestern populism, wherein the producer contributes to the nation\u2019s wealth while the rentier and financier siphon from it. &#8220;The negation of the industrial idea,&#8221; wrote Ford, &#8220;is the effort to make a profit out of speculation instead of out of work.&#8221; The logic underpinning this moral economy, then, aligns with the core tenets of &#8220;producerism&#8221;: an ideology distinguishing those who contribute to the prosperity of their community and those who live off the resources that they did not produce\u2014the virtuous maker versus the parasitic taker.<\/p>\n<p>The industrial moral economy of Fordism became especially attractive in Italy, Germany, Russia and Japan\u2014all countries wishing to escape the grip of British and American financiers. Throughout the 1930s, specialists from this &#8220;transnational illiberal modernist network&#8221; visited Detroit, spending &#8220;weeks, months, even years at River Rouge to learn the American secret of mass production.&#8221; &#8220;Only a single great man,&#8221; to the chagrin of the Jews, &#8220;still maintains full independence,&#8221; Adolf Hitler wrote admiringly of Ford in <i>Mein Kampf<\/i>. He hung Ford\u2019s portrait in his office, and in 1938 the Nazi regime awarded him an official honorific: the Grand Cross of the German Eagle. Another senior Nazi on trial in Nuremberg\u2014Baldur von Schirach\u2014credited a collected volume, <i>The International Jew<\/i>, as the source of his bigotry. The flowering of nationalist imaginations, it seems, often has cosmopolitan roots.<\/p>\n<p>Both Hitler and Mussolini conceived grand projects for mass auto production with VW at Wolfsburg and Fiat at Mirafiori. For Hitler, cars were &#8220;mankind\u2019s most marvelous means of transport&#8221;; his ambition was to build &#8220;a people\u2019s car&#8221; that sold for under a thousand reichsmarks. Originally it was called the &#8220;Kraft durch Freude Wagen&#8221; (&#8220;strength-through-joy car&#8221;), later changed simply to &#8220;Volkswagen.&#8221; For Minister of Propaganda Joseph Goebbels, Germans would be &#8220;a happy people in a country full of blossoming beauty, traversed by the silver ribbons of wide roads, which are open to the modest car for the small man.&#8221; This vision of modernity, oriented towards the future, never materialized in the way its architects foresaw.<\/p>\n<p>Limited by fuel and rubber shortages, and reliant on forced labor, not a single finished car reached a civilian as war consumed Europe and millions lost their savings in deposit schemes: the people \u2019s car was a &#8220;disastrous flop.&#8221; Yet some of the silver ribbons were built. Germany and Italy expanded motorway networks\u2014the <i>Autobahn <\/i>and the <i>autostrada<\/i>\u2014laying the foundations for the automobile\u2019s privileged position in this modernity. When a delegation of British MPs inspected the newly minted <i>Autobahnen <\/i>before the war, the team were dazzled by the &#8220;sheer clean beauty&#8221; and &#8220;vigorous sweeping curves&#8221; of the road, which seemed to conform to the natural landscapes: a blueprint to follow.<\/p>\n<p>On the eve of the Second World War, a transnational template for modernity had been set. According to Link, exchanges throughout the 1930s &#8220;laid the groundwork for the infrastructure of global Fordism.&#8221; Yet it was the shift to a war footing that accelerated its spread: the principles of mass production were embraced in the armaments factories of Nazi Germany and the Soviet Union alike, even though the latter never developed a substantial automobile industry. Volkswagen\u2019s factory in Wolfsburg, built partially with confiscated trade union funds, shifted to military production, and was preserved by the Allies seeking to rebuild West Germany in the war\u2019s aftermath. Meanwhile, in the United States, the coming of war and the promise of lucrative federal contracts dramatically reoriented the relationship between industrial capital and the New Deal state. Detroit, temporarily suspending its identity as Motor City, was rechristened the &#8220;Arsenal of Democracy&#8221; by Roosevelt. The carmakers now &#8220;built tanks, airplanes, radar units, field kitchens, amphibious vehicles, jeeps, bombsights, and bullets\u2014billions and billions of bullets.&#8221;<\/p>\n<p>*<\/p>\n<p>In 1946, business analyst Peter Drucker identified auto manufacturing as the pinnacle of &#8220;modern industry.&#8221; It is &#8220;to the twentieth century what the Lancashire cotton mills were to the early nineteenth century: the industry of industries.&#8221; We can take from this a double meaning: the car industry was not only a prototype for the wider industrial economy, given that the production of this one commodity was emblematic of wider shifts in economic organisation. It was also its pacesetter, with the car dictating the tempo for associated industries. The formulation &#8220;industry of industries&#8221; thus draws attention to the raw materials the car is made from and the myriad economic practices it enables, situating the car as the coordinating node for expanding quantities of matter and energy, a lynchpin in wider productive interrelations.<\/p>\n<p class=\"pullquote\">This union of fossil energy and physical resources is consummated in those regions building infrastructure for private mobility, which rapidly escalated after the Second World War.<\/p>\n<p>From this perspective, automobility can be seen as a central driver widening the &#8220;metabolic rift&#8221; a term used describe the rupture between humanity and its natural conditions. With humanity\u2019s ecological interchange with nature subsumed and directed by capital\u2019s endless circuits of accumulation, the exploitation of natural resources and the aggregation of waste ensues. Upstream, the automotive industry exists in productive symbiosis with steel, oil, glass, rubber, aggregates, concrete, electronics, engineering and construction, each transforming flows of matter first to value and then to waste.<\/p>\n<p>Downstream, a radiating network of operations is set in motion after the car rolls off the assembly line\u2014credit and insurance providers, marketing and sales showrooms, maintenance and repair workshops, petrol stations and car washes, distribution and logistics systems, the arterial networks of highways and roads, car-dependent retail parks and roadside restaurants\u2014each with a distinct social and ecological metabolism. Capital accumulates through a spiraling network orbiting the car: activating numerous circuits, the system of automobility is an expression of self-expanding value in motion. Guided by the imperatives of capital accumulation, automobility deepens the metabolic rift on multiple fronts and prepares the ground for the &#8220;Great Acceleration&#8221; of ecological destruction. The car might well deserve the epithet of &#8220;the Anthropocene \u2019s battering ram.&#8221; No industry\u2019s fortunes were more intimately tied to the car than oil.<\/p>\n<p>At the beginning of the twentieth century, oil markets were threatened by the transition away from kerosene and gas lighting towards electric light. But primitive fossil capital was rescued by the automobile. Since their initial coming together, the oil and automotive industries have remained interlocked, the availability of oil influencing the character and direction of the car industry. When the east Texas oilfield was discovered in the interwar years, gasoline prices fell sharply, incentivizing bigger engines and vehicles, while encouraging longer journeys. With fewer domestic discoveries, high import tariffs and fragmented markets that curtailed economies of scale in production, such extravagances were unavailable to Europeans, who became accustomed to smaller, more efficient cars. Indeed, the &#8220;automobile revolution&#8221; was most advanced in the United States, which not only consumed more oil per vehicle, but also was home to the most vehicles in absolute terms, boasting four-fifths of the world\u2019s car fleet on the brink of the Second World War.<\/p>\n<p>At the same time, the booming car industry shaped the oil industry. Seemingly, the only thing that could slow down the automobile takeover was diminishing fuel supplies, fear of which had become a fixation of American oil companies and government officials after the Armistice. The First World War had been decisive: oil and autos became central commodities tied to national security and imperial ambitions. Inaugurating a new era of industrialized warfare, navies replaced coal with oil, cavalry was supplemented with tanks, and horse-drawn transport gave way to motorized vehicles. Not wishing to return to the wartime &#8220;gasolineless Sundays,&#8221; and with the US Geological Survey warning of an impending &#8220;gasoline famine&#8221; stemming from the automobile\u2019s voracious demand, the head of that body, George Otis Smith, urged the US government to support domestic oil companies seeking overseas exploration. This was the dynamic that produced American oil\u2019s pivot to the Middle East. Fittingly, a local agent of the Ford Motor Company intermediated the first negotiations in the early 1930s for Standard Oil of California\u2019s rights to Saudi oil.<\/p>\n<p>The forces of destruction accumulated through the Second World War. Soldiers were increasingly displaced by &#8220;extraordinarily powerful machines&#8221; requiring &#8220;growing quantities of raw materials and energy.&#8221; The United States, Drucker wrote, indulged in a &#8220;veritable orgy of natural-capital consumption,&#8221; leading to soil depletion and overconsumption of &#8220;irreplaceable fuels and ores.&#8221; As wars became more deeply integrated into the industrial system, the relationship between society and nature was further brutalised. Tanks, manufactured in Allied and non-Allied auto factories alike, were a &#8220;developmental model&#8221; for clear-cutters, harvesters, bulldozers and other &#8220;brute force technologies&#8221; later used to level forests, buildings and land. The demands of war vastly expanded productive infrastructure. The network of pipelines and refineries necessary for military airfields, for example, was foundational for the petrolization of societies. In short, military mobilization was industrial mobilization.<\/p>\n<p>As automobility spread across society, writes Adam Hanieh, &#8220;it was no longer just industry and the military that demanded ever-increasing quantities of petroleum: oil consumption was now propelled forward by the daily needs of the individual and the house-hold.&#8221; Beyond powering vehicles, the wider machinic complex also depended on fossil fuels. The infrastructure required to get oil from basin to fuel tank involves refineries, pipelines, tankers, storage facilities and service stations\u2014demanding tonnes of coke-produced steel. If coal and oil infuse the finished product, they also bind together the hardware they run on: asphalt and cement, the core components of roads, are generally both dependent on coal. This union of fossil energy and physical resources is consummated in those regions building infrastructure for private mobility, which rapidly escalated after the Second World War.<\/p>\n<p style=\"text-align: center;\">_______________________________<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276279\" data-permalink=\"https:\/\/lithub.com\/how-fordism-and-fascism-gave-birth-to-modern-car-culture\/the-great-driving-right-show\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show.jpg\" data-orig-size=\"600,921\" 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=\"the great driving right show\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show.jpg\" class=\"alignnone size-medium wp-image-276279\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show-195x300.jpg\" alt=\"\" width=\"195\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show-195x300.jpg 195w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-great-driving-right-show.jpg 600w\" sizes=\"auto, (max-width: 195px) 100vw, 195px\" \/><\/p>\n<p style=\"text-align: center;\"><em>From<\/em> <a href=\"https:\/\/bookshop.org\/a\/132\/9781836740971\">The Great Driving Right Show: Cars, Crisis, and the Rise of Fossil Fascism<\/a> <em>by The Zetkin Collective. Copyright \u00a9 2026. Available from Verso Books.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In 1934, writing from his prison cell, Antonio Gramsci reflected on the sweeping transformations reshaping industrial production in the United States. The rise of the automobile and the wider Fordist factory, he argued, signaled a new economic and moral order,<\/p>\n","protected":false},"author":31837,"featured_media":276320,"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":[6,43101,43092,43095],"tags":[45934,8351,9024,68222,15268,8121,112046,112047,3147,5132],"class_list":["post-276278","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-history","category-newsandculture","category-politics","tag-cars","tag-fascism","tag-fossil-fuels","tag-henry-ford","tag-industry","tag-labor","tag-the-great-driving-right-show-cars-crisis-and-the-rise-of-fossil-fascism","tag-the-zetkin-collective","tag-verso-books","tag-world-war-ii"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19S6","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Dagenham-photo-cars-one-assembly-line-pictures-1931-1.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276278","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\/31837"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276278"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276278\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276320"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276278"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276278"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276278"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":275669,"date":"2026-09-04T05:08:08","date_gmt":"2026-09-04T09:08:08","guid":{"rendered":"https:\/\/lithub.com\/?p=275669"},"modified":"2026-08-31T13:08:42","modified_gmt":"2026-08-31T17:08:42","slug":"the-barman-of-the-ritz","status":"publish","type":"post","link":"https:\/\/lithub.com\/the-barman-of-the-ritz\/","title":{"rendered":"The Barman of the Ritz"},"content":{"rendered":"<p><em>Paris was occupied by German troops from June 14, 1940, to August 25, 1944: 1,533 nights. One thousand five hundred and thirty-three nights during which the Ritz was transformed from a luxury hotel into a stomping ground for the Nazi elite. There are a thousand and one ways to recount this story; <\/em>The Barman of the Ritz <em>is a novel based on actual facts and actual people. It is an account of those dark years in France. But there are grey areas in the life of Frank Meier that\u2014as Ren\u00e9 Girard puts it\u2014intersect fictional \u201ctruth\u201d and romantic \u201clies.\u201d The Frank Meier in this novel is both real and fictitious. The character of Luciano is fictitious, just as that of Fersen is inspired by various people in Meier\u2019s entourage during those years. The excerpts from Meier\u2019s diary are my own invention, conceived as a way to shed light on this extraordinary life.<\/em><\/p>\n<p><em>In this attempt to recreate life in Paris under the Occupation, the aim is less to be \u201ctrue\u201d at all times than it is to capture the conflicting emotions that may have preoccupied Frank Meier.<\/em><\/p>\n<p><em>In his position, what would you have done?<\/em><\/p>\n<p class=\"p1\" style=\"text-align: left;\">*<\/p>\n<p style=\"text-align: left;\"><em>June 13, 1940<\/em><\/p>\n<p>Tomorrow, German troops will march into Paris. France has dissolved like a lump of sugar in a glass of absinthe.<\/p>\n<p>Barely a month has passed since the Battle of France began. By now, the tanks and armored vehicles of Generaloberst Guderian\u2019s panzer divisions are rolling through the forests of the Ardennes. There is fighting in Rouen. There are battles in Senlis. The Nazis have crossed the River Marne. Since yesterday, the skies over the city have been thick with ominous black smoke; the capital has already surrendered. It has been declared an \u201copen city.\u201d As for the people of Paris, many of them have fled. By train, by car, in horse-drawn carts, or on foot, families take only as much as they can carry, leaving most of their possessions behind. The mass exodus has gutted the city, with millions of its inhabitants scattered to the winds. Those remaining have locked themselves away in their apartments. The only thing circulating in the city now is rumor.<\/p>\n<p>The government of the French Republic fled the city two days ago and is now based in Tours. No more government, taxis, police, mail\u2014no more public services. Panic is spreading like wildfire. Archives have been burned in ministerial courtyards, while gangs of looters plunder abandoned shops and apartments. Otherwise, the streets are empty; shops have rolled down their shutters. Paris is mired in silence, solitude, and death.<\/p>\n<p>But in the Place Vend\u00f4me, the grand H\u00f4tel Ritz is still open for business.<\/p>\n<p class=\"p1\" style=\"text-align: left;\">It is difficult to believe that, only a fortnight ago, Winston Churchill was staying in this very hotel. Now, the regulars have vanished. Coco Chanel has taken refuge in Biarritz. The Duke of Windsor and his wife Wallis have flown to Spain. Barbara Hutton, n\u00e9e Woolworth and heiress to the Woolworth fortune, is still ensconced in her first-floor suite, packing and unpacking, unsure whether to stay or to go.<\/p>\n<p>In the passageway that connects the two wings of the hotel, the Galerie des Merveilles, the boutique stores of famous brands that line its corridor have already taken on the patina of a bygone era. Two days ago, the Bar Cambon closed its doors.<\/p>\n<p>Only the Petit Bar remains open. As usual, service begins at 6 p.m. The decor has not changed since the day it first opened: polished bar, mahogany paneling, leather lampshades, Louis XV armchairs upholstered in eau-de-nil velvet. The bottles are impeccably arranged behind the bar like books in a library. This is the domain of Frank Meier, the barman of the Ritz. Austrian by birth, celebrated for his artistry with cocktails and worshipped by the most refined drinkers in Europe and America, the man is a legend in the world of luxury. His pencil mustache, his fastidious gestures, and his twinkling eyes are at least as famous as his drinks. On the eve of the German invasion, he is behind his bar\u2014his white jacket crisp and black tie neat\u2014as he has been for the past twenty years.<\/p>\n<p>It was Frank himself who opened this bar in 1921, and he is determined to stay no matter the cost, despite the Germans, despite the fall of France. He tries to appear aloof, but tonight the barman of the Ritz is at a loss. Troubled. Beneath his affable demeanor, the signs of worry and fear are beginning to show. Frank Meir has spent a lifetime running from his past, carefully concealing his heritage, though people did not seem to care.<\/p>\n<p><em>People just see me as a barman, someone who\u2019s good with his hands, a god of bottles. It\u2019s as if I\u2019ve always been here, as if I was born behind the bar.<\/em><\/p>\n<p>But Frank Meier was not born behind the bar. And though he now feels far removed from his roots, he has a secret: he is a Jew.<\/p>\n<p>Tonight, his only customer, Otto von Habsburg, the deposed heir to the Austro-Hungarian Empire, is drowning his sorrows in gin. The Nazis have put a price on his head and he has no choice but to flee. Tonight. So, Otto sits at the end of the counter, ruminating on the past weeks, then downs his glass of Gordon\u2019s. Slowly, the Royal Prince of Hungary, Bohemia, and Croatia gets to his feet and places his spindly arms around the barman, who is old enough to be his father. Frank stiffens. The embrace feels like an ending. Otto von Habsburg bids farewell to Europe; in a few days\u2019 time, he will be in Washington. The barman of the Ritz watches as his last customer of the old world disappears.<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p style=\"text-align: center;\"><em>From <\/em><a href=\"https:\/\/bookshop.org\/a\/132\/9780822949237\">The Barman of the Ritz<\/a> <em>by Philippe Collin. Used with permission of the publisher, Scribner. Copyright \u00a9 2026 by Philippe Collin.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Paris was occupied by German troops from June 14, 1940, to August 25, 1944: 1,533 nights. One thousand five hundred and thirty-three nights during which the Ritz was transformed from a luxury hotel into a stomping ground for the Nazi<\/p>\n","protected":false},"author":63,"featured_media":275678,"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":[25508,3,43074,43076,26764],"tags":[111737,454,111736],"class_list":["post-275669","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-daily-fiction","category-excerpts","category-fictionandpoetry","category-from-the-novel","category-novels","tag-philippe-collin","tag-scribner","tag-the-barman-of-the-ritz","story-type-daily-fiction"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Ih","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/the-barman-of-the-ritz-9781668097199_lg.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275669","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=275669"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/275669\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/275678"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=275669"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=275669"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=275669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276364,"date":"2026-09-04T05:07:03","date_gmt":"2026-09-04T09:07:03","guid":{"rendered":"https:\/\/lithub.com\/?p=276364"},"modified":"2026-08-31T13:00:37","modified_gmt":"2026-08-31T17:00:37","slug":"latin-americas-agrarian-novels-chronicled-the-birth-of-a-new-world","status":"publish","type":"post","link":"https:\/\/lithub.com\/latin-americas-agrarian-novels-chronicled-the-birth-of-a-new-world\/","title":{"rendered":"Latin America\u2019s Agrarian Novels Chronicled the Birth of a New World"},"content":{"rendered":"<p>We begin in medias res, along a path traveled by a landowner. In the opening pages of R\u00f3mulo Gallegos\u2019s landmark 1929 novel <i>Do\u00f1a B\u00e1rbara<\/i>, the novel\u2019s protagonist, Santos Luzardo, travels toward his ancestral estate deep in the plains region of Venezuela. Two \u201cbronzed\u201d oarsmen alternately plunge poles into the muddy water to propel a canoe forward under a blazing midday sun. Santos, meanwhile, a white man dressed in the manner of \u201cthe city dweller who is careful of his appearance,\u201d contemplates the wilderness.<\/p>\n<p>His objective, we soon learn, is to sell the family estate, Altamira, and, in keeping with the predilections of the region\u2019s landed elite, move to Europe. But upon arriving in the plains, the landowner encounters a new reality that changes his mind: A <i>mestiza <\/i>(mixed-race) woman<i>, <\/i>the eponymous Do\u00f1a B\u00e1rbara<i>, <\/i>has used her feminine wiles to usurp vast tracts of land, including a portion of the Luzardo estate. For the rest of the novel, Santos will remain in the plains region to fight the backward forces personified by Do\u00f1a B\u00e1rbara and attempt to instate \u201cprogress.<\/p>\n<p class=\"pullquote\">What I do wish to propose is that regionalism<i>, <\/i>no matter how fixated on local color, responded to concerns that were far from provincial.<\/p>\n<p>Santos Luzardo\u2019s voyage to the plains is emblematic of the homecoming staged by Spanish American fiction beginning in the 1910s, one known in broad terms as regionalism. As an umbrella term for various subcurrents, such as <i>criollismo<\/i>, <i>la novela tel\u00farica<\/i>, and <i>la novela de la tierra<\/i>, Spanish American regionalism marked a decisive phase in the continent\u2019s literary production.<\/p>\n<p>In broad terms, whereas a previous generation of poets and novelists had faced outward to embrace European aesthetic forms, objects, and civilizational ideals, early twentieth-century regionalisms turned inward<i>, <\/i>to identify and incorporate local or homegrown materials for literary expression. As an example of this shift, one of the dominant literary currents of the late nineteenth century, Spanish American <i>modernismo<\/i>, had famously showcased references to French authors (Paul Val\u00e9ry or the Goncourt brothers), interminable catalogues of bibelots, and sumptuously decorated interiors. Early twentieth-century regionalism, however, inverted this Europhilic aesthetic.<\/p>\n<p>On a spatial level, foreign or urban spaces gave way to rural ones. As an extension of this logic, the satyrs, nymphs, and marble statues that populated previous <i>modernista <\/i>texts such as the Nicaraguan poet Rub\u00e9n Dar\u00edo\u2019s <i>Azul <\/i>(1888) were exchanged for \u201cbronzed\u201d oarsmen, bongos, and ranch hands. On a larger level, Spanish American modernismo\u2019s dedication to art for art\u2019s sake, particularly via poetry, gave way to an attempt to evoke local reality<i>\u2014<\/i>and, more specifically, rural reality\u2014by way of the novel.<\/p>\n<p>When tasked with explaining why this homecoming took place when it did, critics have often relied on a narrative of cultural identity. As a well-known story goes, regionalists looked to the rural to find \u201ctraditional\u201d materials with which to craft a more authentic national or regionwide literary aesthetic. Carlos Alonso has shown, in a deconstructionist vein, how this claim to authenticity was always something of a ruse, as texts themselves constantly undermined their own authority.<\/p>\n<p>But such interpretations, while in some ways quite helpful, are incomplete insofar as they do not attempt to account for the larger structural dynamics at play in the regionalist turn inward and, as a result, the precise ways that novels might have encoded the transition occurring in societies across Latin America in the early twentieth century.<\/p>\n<p>At the very least, regionalism marked a spatial recalibration in the literary imaginary, away from European metropoles and national capitals and toward rural hinterlands. Going a step further, this spatial recalibration itself anticipated a larger economic transition: a move away from a liberal, export model that principally served foreign markets and toward the foundation of a long-delayed and stunted domestic market<i>. <\/i>In proposing that we look at the material lineaments of regionalism, I do not mean to propose, of course, that literary texts evoked economic transitions in a transparent or straightforward manner: The mediations between texts and social contexts remain to be uncovered and examined.<\/p>\n<p>Nor do I mean to suggest that the previous emphasis on foreign themes and settings automatically occluded social realities, while the turn toward autochthonous ones automatically elucidated them. To the contrary, the foreign-inspired modernista salon might alert us to the real conditions governing Latin American artistic production (and societies) in a moment of export-oriented capitalist modernization. Conversely, the regionalist emphasis on local settings might just as easily occlude those conditions. What I do wish to propose is that regionalism<i>, <\/i>no matter how fixated on local color, responded to concerns that were far from provincial.<\/p>\n<p class=\"pullquote\">The colonial latifundium, instead of being abolished by independence, was strengthened, leading to any number of national ills.<\/p>\n<p>But if the hypothesis that the regionalist search for the national bases of culture broadly anticipated a new, national phase of capitalist accumulation in Latin America, it remains to be stated why, on the level of manifest content, this search took place in the rural hinterlands of the nationstate, and not, say, in expanding cities. As I explore throughout this chapter, early twentieth-century regionalist novels were drawn to the rural world not because it was a site of stable tradition (though this is often the ideological effect they produce), but because this world had become a problem in need of a solution. This problem was none other than the agrarian problem in its earliest instantiation, especially with respect to what was perhaps the key unifying feature of an otherwise intensely variegated Latin American countryside: the persistence of the large estate or latifundium (latifundio).<\/p>\n<p>So long as export economies dominated, the large estate had not been a pressing problem for elites or the state. In some cases, preexisting latifundia were modernized and adapted to the needs of export commodity production, frequently on the basis of outright slavery or any number of coercive arrangements like debt peonage and sharecropping. In others, the weak state of the internal market allowed them to persist, seemingly unperturbed by either economic exigency or the legal norms of the state.<\/p>\n<p>But with the decadence of the export model in the early twentieth century, the large estate did indeed become a problem; in some quarters, it became <i>the <\/i>pressing problem facing Latin American societies. As an indication of its scope, scores of tracts began to be published in the early decades of the twentieth century bearing names such as <i>Mexico\u2019s Rural Problem <\/i>(1917), <i>The Problem of Agricultural Production <\/i>(Chile, 1919), <i>Agrarian Questions <\/i>(Argentina, 1921), and <i>El latifundio <\/i>(Venezuela, 1937). Tellingly, despite the national differences such texts reflect, all begin with the exact same premise: The colonial latifundium, instead of being abolished by independence, was strengthened, leading to any number of national ills.<\/p>\n<p>These included, depending on the country, the nonproductive monopolization of land by an absentee landed class, the stunting of national markets, and, in many cases, the brutal oppression of peasants tethered to estates. And while authors would propose different solutions to this problem depending on their political leanings, they all agreed on the intractable nature of the large estate as the veritable cornerstone of the Latin American agrarian question.<\/p>\n<p>The question of the large estate was also the cornerstone of the regionalist novel. Much like the Latin American countryside itself, the particularity mobilized by the Spanish American regionalist novel unfolded against a backdrop of a single institution: the large estate. Two of the three best-known examples of 1920s Spanish American regionalism, both studied in this chapter, have landowners as their protagonists: Gallegos\u2019s <i>Do\u00f1a B\u00e1rbara <\/i>and Ricardo G\u00fciraldes\u2019s <i>Don Segundo Sombra. <\/i>The protagonist of a third paradigmatic example of the genre, Jos\u00e9 Eustacio Rivera\u2019s <i>La vor\u00e1gine <\/i>(<i>The Vortex<\/i>, Colombia, 1924)<i>, <\/i>is not a landowner, but an urban poet swept into the violent world of the Amazonian rubber trade.<\/p>\n<p class=\"pullquote\">As Northrop Frye has remarked, romance tends to be the favored genre of ruling classes, an observation that rings particularly true in Latin America.<\/p>\n<p>The general tendency toward landed characters returns, however, in lesser-known regionalist novels such as Mariano Latorre\u2019s <i>Zurzulita <\/i>(Chile, 1920) and Enrique Larreta\u2019s <i>Zogoibi <\/i>(Argentina, 1926). Further, the plots of many regionalist novels hinge on the fate of the estate itself, along the lines of inheritance and marriage, modernization schemes, or the appearance of upstart peasants in the landowner\u2019s midst. In this way, the so-called novel of the land is, fundamentally, a novel of and about the latifundio in a moment of transition. The reason is obvious enough: the Latin American novel, when traveling to the countryside in the early decades of the twentieth century, could not avoid the large estate or the landowner.<\/p>\n<p>This focus on the large estate, in turn, helps explain why regionalism was dominant in Chile, Argentina, and Venezuela but not in Mexico, where mass peasant insurrection in 1910 gave way to a radically different kind of novel, the so-called \u201cnovel of the Mexican Revolution.\u201d Nor was it dominant in the Andes, where indigenous rebellions ramped up throughout the 1920s and 1930s to produce twentieth-century indigenismo. Regionalism, and more specifically criollismo, tended to crop up in contexts where landowner rule had not been fundamentally challenged by the possibility of revolution. Even so, at the very least, the regionalist novel\u2019s gravitation toward the large estate alerts us to a crisis of some sort, one that authors attempted to solve by narrative means.<\/p>\n<p>But if the early twentieth-century regionalist novel was a novel of and about landowners and the latifundio, this is only a first step of analysis. Placing texts in an economic context allows us to see them in a new light, but it is not an end in itself. Rather, my aim in the following pages is to show how a set of novels by Gallegos and G\u00fciraldes posed and answered agrarian questions in a manner that only the novel could, on the level of aesthetic form. As critics such as Antonio Candido have remarked, regionalism was at bottom an attempt to render Latin American reality in its dominant rural guise.<\/p>\n<p>And indeed, the novels chosen for study in this chapter all take a concrete rural reality as a point of departure: concretely, the latifundio as a problem in need of a solution. What is most intriguing about the novels examined here, however, is that they can\u2019t take the path of either naturalism (a literary mode in vogue at the time) or realism; instead, they can only solve their problems through flight into an older, fantasy-laden region of romance. As Northrop Frye has remarked, romance tends to be the favored genre of ruling classes, an observation that rings particularly true in Latin America. At the same time, though, because these twentieth-century novels take reality as a point of departure, they can\u2019t function purely as romances either.<\/p>\n<p>Taking a cue from Roberto Schwarz\u2019s analyses of nineteenth-century Brazilian literature, I propose that the aesthetic disunity that characterizes these novels sheds light on a wider social dynamic, one that, as I explore below, stretches from the rural estate to the most abstract realms of the global market. For while novels by G\u00fciraldes and Gallegos present us with rather naked class apologetics that confirm the goodness of landowners, their wildly contradictory textual dynamics attest to something far less obvious and self-assured: on the one hand, social contradictions that refuse to be banished and, on the other, the reactionary energies regularly called forth to contain any attempt at change.<\/p>\n<p class=\"p1\" style=\"text-align: center;\">__________________________________<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276365\" data-permalink=\"https:\/\/lithub.com\/latin-americas-agrarian-novels-chronicled-the-birth-of-a-new-world\/agrarian-questions\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions.jpg\" data-orig-size=\"600,917\" 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=\"agrarian questions\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions.jpg\" class=\"alignnone size-medium wp-image-276365 aligncenter\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions-196x300.jpg\" alt=\"\" width=\"196\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions-196x300.jpg 196w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions-39x60.jpg 39w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/agrarian-questions.jpg 600w\" sizes=\"auto, (max-width: 196px) 100vw, 196px\" \/><\/p>\n<p class=\"p1\" style=\"text-align: center;\"><i>From <\/i><a href=\"https:\/\/bookshop.org\/p\/books\/agrarian-questions-the-latin-american-novel-on-the-road-to-capitalism-ericka-beckman\/814c863bef22f125?ean=9781836743392&amp;bkshp-astro=t\">Agrarian Questions<\/a><i>. Used with the permission of the publisher, Verso Books. Copyright \u00a9 2026 by Ericka Beckman<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"<p>We begin in medias res, along a path traveled by a landowner. In the opening pages of R\u00f3mulo Gallegos\u2019s landmark 1929 novel Do\u00f1a B\u00e1rbara, the novel\u2019s protagonist, Santos Luzardo, travels toward his ancestral estate deep in the plains region of<\/p>\n","protected":false},"author":31866,"featured_media":276370,"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":[43069,6,43101,43070,43092],"tags":[112098,112096,112097,576,112100,12702,112099,3147],"class_list":["post-276364","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-craftandcriticism","category-features","category-history","category-literary-criticism","category-newsandculture","tag-agrarian-novels","tag-agrarian-questions","tag-ericka-beckman","tag-history","tag-latifundio","tag-latin-america","tag-novels-in-spanish","tag-verso-books"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19Tu","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/right-sidebar-banner-images-2026-08-28T134333.833.png","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276364","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\/31866"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276364"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276364\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276370"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276364"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276364"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276364"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":276212,"date":"2026-09-04T05:06:16","date_gmt":"2026-09-04T09:06:16","guid":{"rendered":"https:\/\/lithub.com\/?p=276212"},"modified":"2026-09-04T06:35:23","modified_gmt":"2026-09-04T10:35:23","slug":"on-edmond-albius-the-enslaved-man-who-pioneered-the-pollination-of-vanilla","status":"publish","type":"post","link":"https:\/\/lithub.com\/on-edmond-albius-the-enslaved-man-who-pioneered-the-pollination-of-vanilla\/","title":{"rendered":"On Edmond Albius, the Enslaved Man Who Pioneered the Pollination of Vanilla"},"content":{"rendered":"<p>Ferr\u00e9ol Bellier-Beaumont recounts the 1841 eureka moment\u2014when a vanilla plant was first manually pollinated\u2014as follows:<\/p>\n<blockquote><p>One day as I walked with my faithful companion, I noticed that my only vanilla plant had produced a [&#8230;] bean. I expressed surprise and brought it to his attention. He told me he had pollinated the flower. I refused to believe him and walked on. But two or three days later, I saw a second pod growing near the first. He then repeated his assertion. I asked him how he had done it. He proceeded to execute the operation that everyone now does. The intelligent child had been able to discern, in a same flower, the male and female organs, and put them properly in contact with one another.<\/p><\/blockquote>\n<p>Using a needle or a toothpick, Edmond had successfully placed the two organs in contact, in a gesture that has since become second nature to vanilla growers around the world. If the withered flower stayed attached to the extremity of the \u201cembryo,\u201d added Bellier-Beaumont, the operation had succeeded and ten months to a year later pods would grow. Subsequently, Edmond\u2019s technique was rendered in simple sketches. Here was a transparent and simple method, rapidly achieved with the help of only a needle.<\/p>\n<p class=\"pullquote\">In a moment of revelation, the enslaved student used clear instructional tools to proudly show the technique to his master.<\/p>\n<p>This relation of Edmond\u2019s breakthrough elicits several observations. For one thing, Edmond had gone from Ferr\u00e9ol\u2019s \u201cfavorite\u201d to his \u201cfaithful companion.\u201d What exactly did this mean? Megan Vaughan has suggested that on neighboring Isle of France, \u201csmall-scale slave ownership sometimes necessitated a degree of identification, even intimacy between master and slave.\u201d The Beaumont estate met these conditions, with its modest number of bondage workers. However, as Vaughan goes on to show, \u201cidentification\u201d did not necessarily foster compassion; if anything, it could be self-interested. And so, it should come as no surprise that the Bellier-Beaumont family never freed Edmond via manumission.<\/p>\n<p>Next, Bellier-Beaumont\u2019s testimony shows that Edmond\u2019s method was in many respects the antithesis of Morren\u2019s. Straightforward, transparent, and stage-based, it presented none of the Belgian\u2019s elliptical, secretive language. Third, the power inversion contained in this moment was palpable: try as Ferr\u00e9ol Bellier-Beaumont might to suggest his pumpkins and candle bush had served as inspiration, Edmond\u2019s discovery was not the fruit of Socratic dialogue. After all, Ferr\u00e9ol had initially refused to believe Edmond\u2019s claim. In a moment of revelation, the enslaved student used clear instructional tools to proudly show the technique to his master.<\/p>\n<p>Thereafter, Ferr\u00e9ol is said to have placed an announcement in a local newspaper explaining the method. However, his description proved too vague, and local planters came calling for greater details. Demand was such that Edmond went on tour, achieving something close to celebrity status. Bellier-Beaumont mentions that planters arranged for Edmond to visit their estates using \u201cvery comfortable\u201d means of locomotion \u201cto which he was not accustomed.\u201d This was likely a horse-drawn carriage, or perhaps a sedan chair carried by fellow slaves. Edmond presented his pollination technique in person at several plantations, including those of Patu de Rosemond at Saint-Beno\u00eet, David de Floris at Saint-Andr\u00e9, Joseph Desbassayns at Sainte-Suzanne, and Mr. Vinet at Sainte-Marie. One can imagine the reactions of audience members and especially enslaved onlookers, overhearing one of their own arriving by carriage before delivering a lecture on how to pollinate a recently introduced flower before local dignitaries and gardeners alike. They must have been transfixed. This was more than breaking a glass ceiling; it was straining the shackles of slavery, shaking its very foundations.<\/p>\n<p>Although Edmond\u2019s story is unique, for enslaved people to possess botanical knowledge was not. On Bourbon, maroons discovered the medicinal properties of many highland plants, some of which retain Malagasy names today, and shared their knowledge with those still enslaved. In the Americas, many a plant varietal was introduced by enslaved Africans, and some of them managed to continue independent production of such crops. Also in the Western Hemisphere, enslaved Africans\u2019 proficiency at herbalism fused with Indigenous American knowledge to generate rich homeopathic cultures. The enslaved both prospected for remedies and conducted experimentation. Forms of slave knowledge, overlaid on Indigenous ones, were influential in treating dysentery and elaborating antidotes for poisonings. Such treatments, in turn, circulated between islands and continents, including between rival colonial empires. Enslaved women were often their carriers.<\/p>\n<p>Some enslaved people not only made medical-botanical breakthroughs but also received recognition for their work. Such was the case with Quassie in eighteenth-century Suriname. Informed in part by dialogue with Indigenous healers, he discovered the fever-reducing properties of a local tree. By the 1740s, he was healing fellow slaves with a decoction derived from its bark. Over time, whites began adopting the remedy, and in 1753, the eminent Swedish naturalist Carl Linnaeus named the tree Quassia amara. Quassie eventually gained freedom not on the basis of his discovery but for helping the colonial authorities track down maroons.<\/p>\n<p>Back in the Indian Ocean, on Isle of France in the 1770s, the king\u2019s intendant Pierre Poivre entrusted the enslaved Bengali Charles Rama with the post of head gardener at his<em> jardin d\u2019acclimatation<\/em>. Poivre especially appreciated Rama\u2019s mastery of nutmeg, which he considered to be unrivaled among Europeans. According to Dorit Brixius, this reflected a growing \u201ccreolization of expertise\u201d in the Mascarenes.<\/p>\n<p class=\"pullquote\">This was more than breaking a glass ceiling; it was straining the shackles of slavery, shaking its very foundations.<\/p>\n<p>Even closer to home, on Bourbon, one finds other examples of specialized enslaved botanists. Thus, in 1791, planter Joseph Hubert assigned the task of protecting a clove tree to one of his enslaved gardeners, Jean-Louis. Seeing the commitment Jean-Louis showed defending the tree in the middle of a hurricane, Hubert decided to free him. The speech he delivered for Jean-Louis\u2019s manumission on March 27, 1791, is worth quoting. He offered him a wage, adding, \u201cI know you wish to stay in my garden. I, too, hope that you won\u2019t abandon the care of the precious plantations that you and I have raised together, and which are our children.\u201d He then credited Pierre Poivre and Poivre\u2019s spouse with his decision to manumit. To Pierre Poivre he owed the cloves and other spices he cultivated, which the famed intendant had brought to Isle of France. To his widow, he owed a portrait of said Pierre Poivre, \u201ca gift which prompted my decision to move forward the moment of your manumission.\u201d Rarely are motivations so clearly attributed in such cases. Poivre\u2019s philosophy, merging Enlightenment ideals with an environmental sensibility and a commitment to ending slavery, had been the main movers in this case. So, too, was a kind of botanical fraternity.<\/p>\n<p>Edmond\u2019s story does not exactly match those of Rama, Quassie, or Jean-Louis. His discovery was not strictly medical, although vanilla was used for some treatments. He did not bring knowhow to Bourbon from afar, nor did he benefit from Indigenous knowledge, nor was he freed for his achievement. The vine he pollinated was exogenous to Bourbon, as were people for that matter, as the previously uninhabited island was first visited only in 1613 and the initial French settlement attempts occurred in 1638, only two centuries before Edmond\u2019s discovery. Yet Edmond\u2019s invention helped transform the vanilla economy, taking it from a niche Mexican spice to a global commodity. Still, the concept of the creolization of expertise is useful for thinking about Edmond. Based on the available evidence, it would seem that he combined the botanical skills he learned from Ferr\u00e9ol Bellier-Beaumont with practical experiments on his estate and supplemented this with herbal and agricultural knowledge he gained through oral transmission.<\/p>\n<p>Unlike Joseph Hubert with Jean-Louis, neither Ferr\u00e9ol Bellier-Beaumont nor his sister ever freed Edmond. One can speculate that they did not want to lose one of the small number of enslaved laborers they had or that they may have turned a profit off of Edmond\u2019s local notoriety, perhaps charging a fee for his presentations to other planters. But this is little more than an educated guess. What we know for certain is that Edmond gained liberty through the second and final abolition of slavery pronounced in Paris by the Second Republic in 1848. The renamed isle of R\u00e9union, definitively shedding its royal connection to the Bourbons, received a new lead official, General Commissioner to the Republic Joseph Sarda Garriga. On October 18, 1848, he published the earlier decrees of April 27, 1848, abolishing slavery once and for all in French colonies. One local newspaper that ran the proclamation still featured a suddenly obsolete ad to rent out fifteen enslaved workers.<\/p>\n<p style=\"text-align: center;\">____________________________<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"276213\" data-permalink=\"https:\/\/lithub.com\/on-edmond-albius-the-enslaved-man-who-pioneered-the-pollination-of-vanilla\/vanilla\/\" data-orig-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla.jpg\" data-orig-size=\"600,898\" 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=\"vanilla\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla.jpg\" class=\"alignnone size-medium wp-image-276213\" src=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" srcset=\"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla-200x300.jpg 200w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla-40x60.jpg 40w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla-33x50.jpg 33w, https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/vanilla.jpg 600w\" sizes=\"auto, (max-width: 200px) 100vw, 200px\" \/><\/p>\n<p style=\"text-align: center;\"><em>From <\/em><a href=\"https:\/\/bookshop.org\/a\/132\/9780300264531\">Vanilla: The History of an Extraordinary Bean<\/a><em> by Eric T. Jennings. Copyright \u00a9 2026. Available from Yale University Press. <\/em>Vanilla: The History of an Extraordinary Bean<em> has been shortlisted for the 2026 <a href=\"https:\/\/www.cundillprize.com\/\">Cundill History Prize<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ferr\u00e9ol Bellier-Beaumont recounts the 1841 eureka moment\u2014when a vanilla plant was first manually pollinated\u2014as follows: One day as I walked with my faithful companion, I noticed that my only vanilla plant had produced a [&#8230;] bean. I expressed surprise and<\/p>\n","protected":false},"author":31827,"featured_media":276221,"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":[6,43101,43231,43092],"tags":[111978,1011,10954,60417,112020,112017,8819,2727,112018,12455],"class_list":["post-276212","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","category-history","category-nature","category-newsandculture","tag-2026-cundill-history-prize","tag-africa","tag-botany","tag-cundill-history-prize","tag-edmond-albius","tag-eric-t-jennings","tag-plants","tag-slavery","tag-vanilla-the-history-of-an-extraordinary-bean","tag-yale-university-press","story-type-cundill-history-prize"],"jetpack_shortlink":"https:\/\/wp.me\/p5rKFr-19R2","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/lithub.com\/wp-content\/uploads\/2026\/08\/Edmond_Albius-1.jpg","_links":{"self":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276212","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\/31827"}],"replies":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/comments?post=276212"}],"version-history":[{"count":0,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/posts\/276212\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media\/276221"}],"wp:attachment":[{"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/media?parent=276212"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/categories?post=276212"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lithub.com\/wp-json\/wp\/v2\/tags?post=276212"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]