Electric Lit’s Top 25 Posts of 2017

Nobody is going to pretend that 2017 was a good year. But even in the midst of a perpetual waking nightmare, it’s important to appreciate the stories that kept you informed, entertained, illuminated, or just distracted. (Maybe especially in the midst of a perpetual waking nightmare.) Here are the bright spots in our year: the humor you laughed hardest at, the criticism you found most interesting, the news that spread fastest, the essays that resonated with you, the writing advice that changed your craft.

We’re proud of all these pieces, of course, but to be honest, we’re proud of our readers too. Your reading habits showed us that you’re hungry for hard-hitting feminist essays, books by women of color, and deeply-researched histories of magazines or genres. Yes, sure, we have fun—creepy bunnies, dancing librarians, sass from Kurt Vonnegut himself. But taken as a whole, the story of our highest-traffic articles is a story about looking for thoughtful, progressive writing in the midst of chaos.

In reverse order, counting down to number one, here are our 25 most-read stories of 2017. Thanks for reading, and stay tuned—2018 will probably be even worse, but at least we’ll still be here.

25. Librarians Are Secretly the Funnest People Alive

What goes on in the library after the patrons have gone home? Apparently, it’s mostly music videos. Electric Lit intern Jo Lou rounded up eight examples of all-singing, all-dancing librarians.

Here are seven times that librarians have debunked the stereotype that they are uptight scolds ready to shush those who dare to have fun in their sacred institution.

Drawing by Sara Lautman

24. Behold the Winners of the 280-Character Story Contest

When Twitter decided to expand the maximum character length for a tweet from 140 characters to 280, we were skeptical, but we also saw it as a fertile opportunity for microfiction. The five winners of our 280-character story contest, illustrated by Sara Lautman, show that it’s possible to be funny, perplexing, tragic, absurd, and barbed in very few words.

We hadn’t known it was possible to pack so much drama into 280 characters, but in accordance with our theme — “the story must be about something getting magically, randomly, inexplicably, or mysteriously bigger, longer, or just… more”— these snippets of fiction seemed to expand to contain something bigger than themselves.

23. The Secret to Viet Thanh Nguyen’s Overnight Success

Short answer: It didn’t happen overnight. Joe Fassler interviews the MacArthur-winning writer about the decades of work that went into his apparently meteoric rise.

In this interview, he opens up about a period of his life that’s been mostly overlooked: the two decades he spent trying, and mostly failing, to write fiction, working in secret while he juggled a host of other responsibilities. We discussed the 20 years of work that preceded his debut, the challenges he faced along the way, and — when it seemed his literary ambitions would never quite materialize — the strategies he used to keep going.

22. This Book That Scammed Its Way Onto the Times Bestseller List Is Real, Real Bad

The wildest story in publishing this year was probably the saga of a dreadful novel that launched a wily scam to rank on the New York Times bestseller list—and the scrappy band of young adult authors and readers who figured out what happened.

It’s not that tricky to buy your way onto the bestseller list if you just put in some huge bulk orders; it’s legal and not even that uncommon. (Becoming an Amazon bestseller is even easier.) But the Times adds an asterisk to any book whose sales rank is affected by bulk purchases. Sarem (or someone) seems to have gamed the numbers by arranging large buys — only from verified NYT-reporting bookstores — of just under the amount that would trigger such a caveat.

21. How to Escape the Slush Pile

Sure, rejection is an inescapable part of writing, but there are ways to improve your odds. Recommended Reading associate editor Brandon Taylor reads (and rejects) a lot of short story submissions, not to mention being a successful fiction writer in his own right, so his handy checklist of ways to avoid the slush pile comes straight from the source.

Most writers say that if you’re not getting rejected, you’re not submitting enough. Others say that you should aim for 100 rejections a year. This is solid advice, but at a certain point, if you’re trying to establish a career as a writer, some of those rejections need to turn in to acceptances.

20. Indie Bookstores Tell Us About Their Most Stolen Books

Even though everyone knows that stealing from an indie bookstore will send you straight to Literary Hell, it still happens. But which books are most likely to walk out the door? Jo Lou talked to eleven indie bookstores around the country to try to map the psychology and preferences of book thieves.

The conclusion we’ve come to is that people steal books that they think will make them seem smart but perhaps have no intention of reading (and hence don’t want to pay for?).

19. The Secret History of Cricket Magazine, the ‘New Yorker for Children’

The children’s literary magazine Cricket, founded in the ’70s and still going strong, offered a lot of kids their first encounters with poetry and stories that didn’t talk down to them. Writer A.J. O’Connell talked to founders, former employees, and fans of Cricket to track the magazine’s history and influence.

In a time when children’s magazines mostly featured hidden object drawings and games, Cricket stubbornly refused to underestimate its young readers. It welcomed their correspondence, and was such a human endeavor that for many readers, finding Cricket in the mailbox every month was like a visit from a friend.

18. Against Worldbuilding

Former Electric Lit editor-in-chief Lincoln Michel has some concerns about the concept of “worldbuilding” in science fiction. Can we do better than “worldbuilding,” or at least bring new nuance to the idea?

In contrast to “worldbuilding,” I’ll offer the term “worldconjuring.” Worldconjuring does not attempt to construct a scale model in the reader’s bedroom. Worldconjuring uses hints and literary magic to create the illusion of a world, with the reader working to fill in the gaps. Worldbuilding imposes, worldconjuring collaborates.

The Lilly Library, Indiana University, Bloomington, Indiana

17. Sylvia Plath Looked Good in a Bikini—Deal With It

The new U.K. edition of Sylvia Plath’s collected letters features a photo of the author in a modest bikini, and the image raised a few hackles. Plath scholar Emily Van Duyne would like everyone to settle down and recognize that women authors can have full, three-dimensional lives—which, yes, sometimes means they wear bikinis and lipstick while also being intellectuals.

The image of Plath, smiling in her Smith graduation robes, causes cognitive dissonance and, ultimately, disappointment. It’s the same cognitive dissonance we, as a culture, collectively suffer about Sylvia Plath, and indeed about any woman lauded for her intellect who also has the nerve to inhabit a body: That’s her? Isn’t she a little too beautiful? Isn’t she not beautiful enough?

16. Roxane Gay Pulls Book from Simon and Schuster, Citing Milo Yiannopoulous Deal

We love it when a piece of news resonates both within and outside the literary community. We love it even more when there’s schadenfreude involved. This item, written up by Electric Lit intern Jackson Frons, ticked all the boxes.

Responding to Simon and Schuster’s plans to publish “alt-right” troll Milo Yiannopoulous’s new book, Roxane Gay has officially pulled her forthcoming title, “How to Be Heard,” from the publisher’s TED Books imprint.

15. Kurt Vonnegut Walks Into a Bar

In an excerpt from his memoir The Accidental Life, Terry McDonell tells a tale of epic shade by a giant of literature.

He lifted his glass of Scotch as if in a toast but wouldn’t look down at me, sitting to his right. “I think you’re all moderately gifted.”

14. 18 (More) Amazing Novels You Can Read in a Day

There are plenty of reasons to love a short book: you’re lazy, you have no attention span, you want to be able to pad out the number of books you read this year. Any of those could be the reason why so many people read Lincoln Michel’s list of quickie novels—but it could also just be that these are really great books.

“Short” here is defined as under 200 pages. Just long enough to read on a short flight or a long ride.

13. The Epilogue of ‘The Handmaid’s Tale’ Changes Everything You Thought You Knew About the Book

If you haven’t read The Handmaid’s Tale in a while, or if you’ve only been watching the show on Hulu, you might have forgotten the framing device: an epilogue that indicates we’ve been reading a manuscript discovered, edited, and presented by male scholars. Anna Sheffer would like to draw your attention to what this epilogue does to the story.

The two male researchers take full advantage of their ability to title the manuscript and bestow on it a cheeky name that alludes to and, by making a pun, mocks Offred’s sexual servitude. Thus, the entirety of Offred’s story is controlled by men; even the thoughts that she records are discovered, edited, and titled by men. She has no autonomy or authority over her own story.

12. I Pretended to Be Emily Dickinson on an Online Dating Site

Erin Bealmear made an Emily Dickinson-inspired OkCupid profile out of simple curiosity, but the results are both funny and surprising. “Emily” didn’t just get male attention—she got, in some cases, more attention than Erin’s real profile. Why does everyone want to get with a dead poet?

Maybe this wasn’t your run-of-the-mill OkCupid projection about a real-world woman. Maybe this was a step beyond that: a fantasy about an interesting, talented, dead woman with a penchant for morbidity. The “Belle of Amherst” had suddenly become the “Depressive Dream Girl” of online dating.

11. 6 West African Books with Unconventional Approaches to Gender and Power

Novelist Chinelo Okparanta recommends six books by West African authors that have interesting things to say about familial relationships, aging, gender, and other central human themes. Does the publishing world know how much people want books like this?

In my novel, “Under the Udala Trees,” I explore the themes of betrayal and rebirth and happiness in the context of gender and power. In writing the novel, I imagined, unlike Ramatoulaye, a sort of happiness that existed outside of the traditional schema of marriage. Or rather, I imagined the pursuit of that sort of happiness. The fundamental desires of my protagonist, Ijeoma, are unconventional in her West African setting in the sense that she does not find her value via an attachment to a man. Lately, I’ve been interested in finding other West African authors who are also unconventional in their portrayal of love and marriage, of gender and power.

10. 10 Novels Agents Have Already Seen a Billion Times

Literary agent Kate McKean wants your novel to succeed, which is why she’s letting you in on a little agent secret: they’re wildly sick of these ten book types. It’s servicey and funny!

All those wacky stories from your grandpa/hairdresser/neighbor/ex-friend that are just soooooo good that you could make them into a story, kinda like “Life of Pi” but maybe not so Indian and more about your mom’s summer camp in Connecticut? A series of anecdotes does not add up to a novel. If you have to say “but it really happened!” to convince the reader, Anne Lamott comes over and takes back your copy of “Bird by Bird.”

9. The Rise of Dystopian Fiction: From Soviet Dissidents to ‘70s Paranoia to Murakami

People are into dystopian fiction right now because we feel like we’re living in a dystopia—but we kind of always have been, because we kind of always have. What kind of dystopian fiction we like, though, depends on what kind of dystopia we feel like we’re living in. Yvonne Shiau tracks nearly 100 years of sci-fi grimness.

And so in today’s crop of dystopian fiction, the stakes are bigger than ever. Continuing in a proud tradition, they carry on vindicating the definition of a dystopia: a worst possible world. But what each of them (sometimes) offers is a brief, shining belief that such a world can be fixed. And now, the resurgence of sales for books such as “1984and “Brave New World” shows that a vast contingent of us continue to turn towards the genre for comfort, or answers.

8. Late to the Party: Stephen King’s IT

In preparation for the movie adaptation of IT, Henry Hoke recorded his impressions of reading the book for the first time as part of our Late to the Party series.

This book is huge and it’s clearly not about a killer clown. It’s about something much worse.

7. The Book That Made Me a Feminist Was Written By an Abuser

This essay, part of our Novel Gazing personal essay series, was submitted in response to the prompt “what book was your feminist awakening?” Jessica Jernigan’s response was that The Mists of Avalon taught her about feminism—but feminism taught her to trust the victims of sexual assault. So what do you do when you find out that your feminist core text was written by an abuser? A timely essay that was a lot of readers’ first exposure to the accusations against Marion Zimmer Bradley.

The question of separating the abuser from his work metastasizes, and I don’t have any easy answers. Or, rather, I do have one easy answer: When someone says they’ve been assaulted, abused, harassed, I believe them. But I believe them, in part, because of lessons I absorbed from “The Mists of Avalon.”

Image by Kelly Connole

6. Five Disturbing Stories About Bunnies

There’s something really freaky about rabbits, and on some level everyone knows it. Why else would there be so many extremely creepy rabbits in literature? And I don’t want to hear about how bunnies are cute and not creepy at all; so many of you read this Lincoln Michel piece that I know you know in your heart what’s up.

Easter is almost here, which means that children across the world will be hiding in their bedrooms, trembling in fear of the grotesquely large Easter Bunny — a frightening mythological monster as large as a man with hind legs able to crush human bones like matchsticks. This weird creature is said to stalk around houses, secreting “eggs” from its quasi-mammalian glands in hiding places for unlucky children to find.

5. Men Recommend David Foster Wallace to Me

Deirdre Coyle’s terrific essay, part of our Late to the Party series, interrogates why she hadn’t ever read Brief Interviews with Hideous Men. Her conclusion: She just doesn’t care that much, and men take that indifference very personally. Boy did some men prove her point! The rest of us sure related, though.

Here’s the thing: I don’t doubt that Wallace is a genius. And it’s not that I believe there’s no value in self-indulgent works by men. It’s just that I’m not very interested in them. These men seem to think I’m saying the thing they love is bad, when really I’m just saying I don’t care about the thing they love.

4. 34 Books By Women of Color to Read This Year

Women of color are starting to get more of their literary due—praise hands emoji for two-time National Book Award winner Jesmyn Ward!—but it’s still no easy task finding books by non-white non-men on publisher’s lists. It’s clear, though, that y’all are clamoring for those books, which is why writer R.O. Kwon will have another list for 2018 along shortly.

A xenophobic, misogynistic fascist is president; hate is ascendant; and it’s easiest to forget the shared humanity of people whose lives we haven’t tried imagining. Studies show, for instance, decreased homophobia among Americans who have so much as watched a bit of Will & Grace. Inclusion has real consequences, and if you’re looking for the perfect gift to buy your Republican uncle or your racist cousin, here’s a shopping list.

3. 20 Authors I Don’t Have to Read Because I’ve Dated Men for 16 Years

Helena Fitzgerald, the author of this piece, actually likes David Foster Wallace. But once again, the concept of a woman not especially caring about men’s most venerated writers caused a lot of outcry from a certain type of dude. The rest of us, though, recognized this list as screamingly funny and horribly true.

Anyone who really, sincerely loves Franzen’s writing has also probably really, sincerely told someone that “learn to code” was the solution to all their problems. The Corrections also contributed to the obsession with the literal and figurative “big book,” in which the size and weight of a novel directly equals its importance, a concept applied almost exclusively to novels by men.

Photo by Internaz

2. The Entire President’s Council on the Arts and Humanities Just Resigned

We’re all concerned about the future of the arts under an administration of proud ignoramuses, so this piece of news felt like a dire harbinger of things to come.

The advisory committee, appointed by President Obama, hasn’t met under Trump, perhaps because he is actively hostile to their work. (Honorary chair Melania Trump, who did not sign the letter of resignation, also doesn’t seem very motivated by art; we’ll refrain from speculating on what she is motivated by.) But it’s continued work on preexisting projects — until today.

1. What I Don’t Tell My Students About ‘The Husband Stitch’

That’s right: Our most-read story of the year, by a long shot, was a thoughtful feminist essay about a beautiful, chilling short story from Her Body and Other Parties by Carmen Maria Machado. We hope all of you, and author Jane Dykema, feel genuinely great about yourselves for this.

In class, I don’t say to my students, “Do you feel it, too? Or can you imagine it? The perils of living in a world made by a different gender? The justified and unjustified mistrust? The near-constant experience of being disbelieved, of learning to question your own sanity? How much more it hurts to be let down by ‘one of the good ones?’” Instead I say, “What effect do the horror tales have, placed associatively where they are in the story? What effect do the stage directions have? What would be lost without them? Do you see how they’re braided together? These are tools you can use in your own stories.”

Electric Literature’s 25 Best Novels of 2017

What with the impending demise of net neutrality and social media turning into a toxic snake pit, you’re going to want to be spending a lot more time curled up with a book. Celebrate the end of a lousy year and the start of a probably lousier one by picking up a few of the 25 novels that Electric Literature staff and contributors voted as our favorites of 2017. With National Book Award finalists and winners as well as weird small-press offerings, we’ve got something for every taste.

You can also check out our favorite nonfiction books and short story collections of the year.

A Separation, Katie Kitamura

“Division, secrets, and lies abound in Katie Kitamura’s spare and unsettling A Separation, a novel that focuses itself on the end of marriage and the stories that exist within such a murky, and often opposing, area,” wrote Bradley Sides in his Electric Literature review of A Separation. “The unknown is where much of life exists. There’s horror and there’s comfort in it. A Separation reminds us that not knowing is okay. In fact, sometimes it’s for the best.”

Read our review of A Separation.

All Grown Up, Jami Attenberg

Attenberg’s funny, imperfect protagonist Andrea has been criticized for being selfish—not just because she’s a single, childless career woman, but because the book concerns her inadequacy at caring for her brother whose child is dying. But isn’t it time for fiction to explore women’s selfishness the way it’s often explored men’s? Andrea isn’t admirable, or even necessarily likable, but she’s interesting. If you’d spend a whole novel with Fran from Black Books, this one’s for you.

Read our interview with Jami Attenberg.

Broken River, J. Robert Lennon

This creepy, riveting novel is a haunted house story with a twist. A dysfunctional family moves into a house touched by tragedy, and begins to investigate its strange past—but we also hear from an omniscient, supernatural presence, the Observer, a sort of narrator-turned-spirit. It’s a consciously cinematic approach to a classic film subject—think Amityville Horror—given new life.

Conversations with Friends, Sally Rooney

Rooney’s debut novel is about infidelity, self-image, and the intimacies of female friendship, but she’s most adept at exactly what it says on the tin: conversation. The novel’s interactions spool out in emails, texts, and dialogue, offering beautifully three-dimensional images of intricate, difficult characters and relationships.

Exit West, Mohsin Hamid

“The unrest roiling Nadia and Saeed’s city will be a third party in their relationship, at first thwarting their attempts at connection and then hurrying them into an intimacy that, in other circumstances, they might or might not eventually choose,” wrote Rebecca Saletan, recommending Mohsin Hamid for Recommended Reading. “When the tension explodes, turning familiar streets into a patchwork of checkpoints and bomb blasts, they will begin to hear whispers about doors — doors that can whisk people far away, if perilously and for a price. And as the violence escalates, Nadia and Saeed will decide that they no longer have a choice.”

Read an excerpt from Exit West on Recommended Reading.

Read our interview with Mohsin Hamid.

Fever Dream, Samanta Schweblin

“Attempting to describe Fever Dream isn’t an easy task,” wrote Tobias Carroll in his review of Schweblin’s book for Electric Lit. “The shifting power dynamics that fuel its energy make for a thrilling reading experience, with their revelations causing the reader’s knowledge of what’s come before to alter again and again. Perhaps it’s a conspiracy plot like no other; perhaps it’s as ephemeral as its title suggests. … To say that this novel perfectly evokes the experience of its title, then, is meant as the highest compliment: the delirium of the unconscious, and all the terrors it can dredge up.”

Read our review of Fever Dream.

Goodbye, Vitamin, Rachel Khong

“A heartwarming book about Alzheimer’s disease? Seriously?” begins NPR’s review of Goodbye, Vitamin. Yes, seriously: Khong’s book is about a young woman who moves home after a bad breakup to take care of her ailing father, but it’s also full of whimsy, humor, and even optimism for its heartbroken protagonist and her family.

Read our interview with Rachel Khong.

How to Behave in a Crowd, Camille Bordas

If you’ve had enough of novels narrated by precocious preteens, here’s an interesting twist: How to Behave in a Crowd is narrated by a preteen who’s the least precocious person he knows. Bordas’ protagonist, Izzy, is a funny, neurotic kid trying to navigate a family filled with socially awkward savants.

Read our interview with Camille Bordas.

Lincoln in the Bardo, George Saunders

Saunders’ epic-length novel deals with death, the afterlife, and history, and specifically with Abraham Lincoln and the dead body (and ghost) of his 11-year-old son. “If, to you, the notion of a book built on a little boy’s corpse sounds depressing, that’s because it’s a depressing book,” wrote Kevin Zambrano in his Electric Literature review. “It’s also very fun: dramatic, witty, and unabashedly sentimental. What else would you expect from George Saunders, the Willy Wonka of American letters, who coats life’s cruel absurdities in a sugary glaze?”

Read our review of Lincoln in the Bardo.

Read our interview with George Saunders.

Little Fires Everywhere, Celeste Ng

The idealistic, self-congratulatory, and very white community of Shaker Heights, Ohio—Ng’s real hometown—is rattled by a custody battle over a transracial adoption in this tightly-plotted, highly empathetic book. (It’s also set in the ’90s, so if you’re aching for a return to a familiar but pre-internet era, now’s your chance.)

Read our interview with Celeste Ng.

Made for Love, Alissa Nutting

So many parts of Made for Love should be gross, glib, or otherwise off-putting: the dying dad splashing out on fancy sex robots, the lothario with an unexpected dolphin fetish, the dystopian Google analogue run by a sociopath. And yet somehow, it is instead an engrossing romp that’s hilarious and heartbreaking at once.

Read our interview with Alissa Nutting.

Marlena, Julie Buntin

We’ve been lucky enough to have a glut of recent novels investigating the heady power of female friendship, and especially its nuclear potential among teen girls. Marlena is one of the best of the lot. “In a world that sometimes treats Boyhood like the most vital of subject matter and Girlhood like a frivolous beach read, I am so grateful for Julie’s work,” wrote Rachel Fershleiser in Recommended Reading. “It treats the inner lives of young women, even and especially poor, rural, flunking-out-of-school young women, with gravity and sensitivity.”

Read an excerpt from Marlena on Recommended Reading.

Read our interview with Julie Buntin.

Read a literary mixtape by Julie Buntin.

Pachinko, Min Jin Lee

National Book Award finalist Pachinko is a family epic about Koreans in imperialist Japan. It’s a deeply-researched piece of historical fiction that still feels urgent, relevant, and full of human emotion.

Sing, Unburied, Sing, Jesmyn Ward

Do you need to know more about Sing, Unburied, Sing than the fact that it won a National Book Award, Ward’s second? All right: it’s a complex, luminously written book about a fraught family road trip, thick with anxieties, racial and interpersonal tensions, and a few actual ghosts.

Read our interview with Jesmyn Ward.

Read an essay about Jesmyn Ward’s National Book Award remarks.

Sorry to Disrupt the Peace, Patty Yumi Cottrell

“Not many writers can pull off this sense of controlled chaos like Cottrell does, let alone adding that on top a suicide mystery, tension of race, and exploring adoption,” wrote Erynn Porter in her Electric Literature review of this novel, in which the narrator investigates her adoptive brother’s suicide. “Sorry to Disrupt the Peace is a book you can’t put down, and once you do, the whole world shifts.”

Read our review of Sorry to Disrupt the Peace.

Read our interview with Patty Yumi Cottrell.

Stephen Florida, Gabe Habash

Stephen Florida is hard to classify,” wrote Bradley Sides in his Electric Literature review of this debut novel about a troubled young wrestler. “Yes, it’s an intense character study, but it’s also a fierce and ambitious horror novel, exploring the very real dangers we try to keep at bay in so many of our seemingly harmless obsessions. There are scenes so remarkably dark that I had to put the book away. There’s anger in these pages — and there’s pain.”

Read an excerpt from Stephen Florida in Recommended Reading.

Read our review of Stephen Florida.

The Answers, Catherine Lacey

The only reliable way to find answers is through experimentation, and The Answers is rife with it: an experimental medical treatment undertaken by the protagonist Mary, and an emotional experiment in which she performs one of several girlfriend roles for a narcissistic actor who thinks love might work best by committee. “Lacey is an explorer; she seeks truth through her fiction, and that’s what truly great fiction writers are supposed to do,” wrote Jason Diamond, recommending The Answers in Recommended Reading. “She explores modern isolation, and she always produces something beautiful even where there should be darkness.” Like the best experiments, The Answers is risky and full of insights.

Read an excerpt of The Answers on Recommended Reading.

The Book of Joan, Lidia Yuknavitch

Joan of Arc in space. Honestly, that should be enough to get you to read The Book of Joan. But if for some reason you need more, listen: Carmen Maria Machado, herself a master of genre-bending feminist fiction, wrote that “its searing fusion of literary fiction and reimagined history and science-fiction thriller and eco-fantasy make it a kind of sister text to Jeff VanderMeer’s ineffable Southern Reach trilogy.” And you know we love the Southern Reach.

Read a discussion of The Book of Joan.

Read our interview with Lidia Yuknavitch.

Read an essay by Lidia Yuknavitch.

The Changeling, Victor LaValle

“Why aren’t there more domestic horror novels?” asks Bradley Sides in his review of The Changeling, a book in which a young family goes horribly awry. “Thoughts of inadequacy and even total failure haunt all of us at some point. Victor LaValle, who is best known for his past novels The Devil in Silver and Big Machine, brilliantly and terrifyingly explores the common horrors of domestic life in his latest genre-bending novel.”

Read our review of The Changeling.

Read an essay by Victor LaValle.

The Leavers, Lisa Ko

When a debut novel gets shortlisted for the National Book Award, you sit up and take notice. Lisa Ko’s book about the American-born son of immigrants and his undocumented mother’s sudden disappearance is timely, compelling, harrowing, and profound.

The Sarah Book, Scott McClanahan

It wasn’t an accident that Electric Lit’s staff and contributors nominated The Sarah Book in two categories: novel and nonfiction. This fictionalized memoir of divorce, featuring a protagonist named Scott McClanahan, is so painfully, incisively real that it’s easy to forget that it’s (just barely) a novel.

Read a discussion of The Sarah Book.

Read our interview with Scott McClanahan.

The Seventh Function of Language, Laurent Binet

This metafictional, postmodern burlesque is the kind of story you might make up with your grad school classmates after one too many at the townie bar. It’s about language and semiotics, but also sex, murder, and intrigue. If you’ve been longing for a novel in which Derrida dies horribly, but which also requires you to kind of get Derrida, Laurent Binet provides.

Touch, Courtney Maum

“The author takes on technology and the current moment, but only as a backdrop to good writing,” writes Heather Scott Partington of Maum’s book, which centers on a young woman who works as a trend forecaster for a Google-like company. “The setting facilitates Maum’s work, rather than becoming its center. What emerges from this book about tech is a deep sense that our salvation isn’t going to be found on a tiny, glowing screen.”

Read our review of Touch.

Read our interview with Courtney Maum.

Read an essay by Courtney Maum about communication and technology.

What We Lose, Zinzi Clemmons

What We Lose, the debut novel by Zinzi Clemmons, is a thoughtful exploration of loss and grief, cultural identity and race, motherhood and relationships,” writes Glory Edim of Well-Read Black Girl, recommending an excerpt from Clemmons’ novel for Recommended Reading. “Clemmons has written a poignant tribute to beloved mother and the exploration of creating a life without her, and an emotionally rich book about the experience of being a Black female.”

Read an excerpt from What We Lose on Recommended Reading.

Read our interview with Zinzi Clemmons.

White Tears, Hari Kunzru

Can you write a riveting thriller about cultural appropriation? Maybe you can’t, but Hari Kunzru can. In White Tears, young men who try to gentrify blues music wind up haunted by a vengeful ghost they can’t shake—and which they may have called into being. It’s a stunning critique of whiteness that’s impossible to put down.

10 Novels About How the Working Class is Constantly Getting Screwed

Writing is about capturing the rhythms of real and everyday life, which means questions about class are often at the forefront or in the undercurrent of great fiction. The likes of Charles Dickens, George Eliot, and Émile Zola all explored the dynamics of class in their work; in the first half of the 20th century, American fiction abounded with sharply recorded observations about money and society from acclaimed writers such as Zora Neale Hurston, John Steinbeck, Margaret Mitchell, W. E. B. DuBois, Betty Smith, Lin Yutang, and Richard Wright. The latest proposed tax reform in the U.S. highlights the breadth of disparity that still exists between classes, how little has been done to solve income inequality, and how vulnerable that makes the working classes — both stateside and around the world. Here’s a look at a number of novels that explore the issue from all angles, and the risks of failing to fix it.

Capital by John Lancaster

Besides his work writing fiction, John Lancaster also regularly reports on matters financial and economic. In other words, his novel Capital has plenty of ambition, but also a great deal of knowledge to back that up. In it, Lancaster explores the lives of the residents in a gentrifying London neighborhood, from an aging longtime resident to a talented young soccer player—and shows how they react to a presence seemingly resentful of their status.

Here Comes the Sun by Nicole Dennis-Benn

In her first novel, Here Comes the Sun, Nicole Dennis-Benn explores questions of class, inequality, and social mobility with an evocative setting: a resort in Jamaica and the working-class town around it. The resulting story is a harrowing narrative dealing with inequalities related to socio-economics, gender, and sexuality—and a near-perfect object lesson in how these issues cause huge rifts even within families.

Chronic City by Jonathan Lethem

Many American cities have seen a textbook narrative of income inequality play out within their borders over the last few years. Jonathan Lethem’s Chronic City holds a funhouse mirror up to Bloomberg-era New York, bringing together characters who are both insiders in an affluent world and those who are struggling to make ends meet. The result is an unusual and deeply moving narrative.

The Invaders by Karolina Waclawiak

In The Invaders, Karolina Waclawiak meticulously dissects the social dynamics at work in an affluent Connecticut community. Along the way, she explores how questions of race and gender play into issues of class. As with her previous novel, How to Get Into the Twin Palms, Waclawiak charts out how money and position—and the lack thereof—can prompt desperate acts on the part of even the most idealistic characters.

Double Teenage by Joni Murphy

Joni Murphy’s novel Double Teenage is set largely in the 1990s, and focuses on the shifting friendship between two friends who are in high school as the narrative begins. Lurking in the backdrop of the novel is NAFTA, the trade pact that’s played a significant role in domestic policy debates over questions of employment and inequality in recent years.

Your Heart is a Muscle the Size of a Fist by Sunil Yapa

In 1999, the World Trade Organization met in Seattle, and was greeted by massive protests. The issues raised by those protestors, including the ways in which large corporations could devastate economies around the globe, remain paramount to discussions of inequality today. In this novel, Sunil Yapa explores a host of perspectives in and around the protests, giving a human face to a heated ideological debate.

These Dreams of You by Steve Erickson

As with nearly every novel by Steve Erickson, These Dreams of You is about sundry topics, including the making of David Bowie’s “Berlin” trilogy and the fissuring of a family. But it’s also about the increasingly economically fraught landscape for artists and academics, particularly in the wake of the late-2000s financial crisis. Erickson brings in a number of high concepts here, but his depiction of a family desperately trying to avoid losing everything cuts the deepest.

Rina by Kang Young-sook

For some descriptions of income inequality, only a phantasmagorical tone will do. Such is the case with Kang Young-sook’s novel Rina, which follows the adventures of a young woman leaving her home in search of a better life abroad. What she finds is an array of economic exploitation, terrifying industrial landscapes, and a constant sense of alienation. Her plight is described in a stylized fashion, but the dangers she faces are altogether real, and decidedly contemporary in nature.

The Mare by Mary Gaitskill

Many of Mary Gaitskill’s novels examine imbalances in interpersonal relationships—and so it’s not a shock that her recent novel The Mare adds a heady dose of class to the mix. It focuses on a well-off couple residing north of New York City, and the working-class teenager from the city who they take in one summer. Gaitskill explores the inequalities within this bond, and ponders whether genuine connection is possible when matters of class are involved.

Moxyland by Lauren Beukes

One of the side effects of income inequality is the way it enables corporations to chip away at our identity. Similarly, it reveals our materialism, how we’re willing to compromise for lower prices on products, social connections, and something shiny and new. Lauren Beukes’s Moxyland imagines a near future where all of these things have been taken to their logical and extreme end points; the result is akin to a blend of George Saunders’s anti-consumerist narratives and William Gibson’s uncanny futurism.

There is No Such Thing as an Accidental Death

“Liability”

by S. P. Tenhoff

Doug hit the kid while he was driving home from his weekly chess game with Otto the liquor store clerk. He had lost the game in a humiliating reversal, after feeling sure he had Otto whipped using an obscure line of the Taimonov system found in an old Chess Life. Otto gloated, as usual. He went backwards for Doug, replacing pieces on the board, untangling positions, all the way to the point of the fateful blunder.

“Here’s where your game went south,” Otto said mournfully, his fingertip on a bishop’s slotted head. “Right here.”

The kid sped into the intersection on a mountain bike, straight through a red light, torso tilted down aerodynamically. The bike ended up half under his car and the kid ended up down the street. A guy and his dog came over and watched the kid twitch for a little while. Doug joined them.

“You got your phone?” the dog owner said. “’Cause I don’t. Otherwise I’d call.”

Doug took his phone out of his pocket.

“You want me to make the call for you? Can you handle this?”

“I’m fine,” Doug said, handing the guy his phone.

There was no blood. The kid twitched. He looked maybe fourteen. The dog owner called 911 and gave their location and Doug’s license plate number.

“She says don’t touch him,” the dog owner told him.

“I’m not going to touch him,” Doug said.

The dog quit sniffing the kid and looked up at its master with a let’s get moving kind of expression.

“She said five minutes if you can believe her,” the dog owner said, returning his phone. “Don’t touch him. Just leave him be.”

“Right.”

The kid wasn’t moving anymore.

“Which, hell, we don’t need her to tell us right? What are we gonna do? Don’t touch them. That’s the first rule. Leave it to the professionals. ’Cause you could do more damage that way. Shifting things that are you know. . .”

“Right.”

“Jesus Christ.”

“He wasn’t wearing a helmet.”

“Jasper, sit.”

An ambulance came, spraying the intersection with the sound and colors of panic. But the men who got out worked in an efficient way that calmed everything down. They worked very fast but without any apparent sense of urgency, reminding Doug of the pit stop crews in professional auto racing. By the time the police arrived the paramedics had the kid strapped onto a stretcher and were putting him in the back of the ambulance. As they sealed him in and screamed away all he could think was: Thank God for those guys! They were like a hazardous waste disposal unit. Or a bomb defusing squad. They were like a special clean-up team that removed impossible things from the intersections of the world.

The police separated them: one talked to Doug and one talked to the dog owner.

Doug kept trying to listen to what the dog owner was saying. He could hear him make a whistling sound as he gestured with one hand.

The cop who was questioning Doug took his driver’s license to the patrol car. After a minute he brought it back.

The other cop squatted and said something to the dog, Jasper.

A car had stopped in the intersection. Inside, a little girl and a man with glasses watched the five of them. They weren’t gaping, the way you imagine bystanders at an accident. They looked shrewd and knowing, like a pair of insurance investigators already on the scene. The cop who was talking to Jasper stood up and waved the car along.

“If asked, would you agree to a breath alcohol reading?”

Doug thought about this carefully. His answer to this question seemed crucial, even though he hadn’t been drinking.

“Yes,” he said finally.

Where was Jasper’s owner? Where was Jasper? They were nowhere to be seen. Their cop was measuring the skid marks behind Doug’s car with a tape measure. Doug’s cop went to the patrol car again and came back with a black object in his hand. At first Doug thought it was a breathalyzer kit, but it turned out to be an instamatic camera, which he used to take a picture of the front of the car.

“That about does it,” the cop said.

“What about the bike?” Doug said.

“Let’s see if we can’t yank her out of there.”

Together they did yank it out of there. It made a scraping, wrenching sound which for no good reason made Doug think of a filling being ripped from an open mouth with a pair of rusty pliers.

That sound: it was the worst part of the whole ordeal.

They looked down at the bike. It wasn’t mangled the way he had expected it to be. The handlebar was maybe twisted a little and the front wheel was shot but other than that the bike looked fine.

One cop opened the trunk and the other one fit it inside.

“Thanks,” he said to them as they got in the patrol car. It didn’t seem like the right thing to say.

He stood on the curb and watched them pull away. His cop lifted his fingers from the wheel in a little wave. As they drove off it occurred to Doug that he hadn’t been given the breathalyzer test.

As soon as he got home he went over to check the answering machine. He stared down at the box’s unblinking red eye, trying to decide whether he was relieved. He went into the living room, turned around, went back to the machine and turned it off.

For a while he watched TV. He didn’t let himself drink yet. Postponing was a recent policy: he would make himself wait if it seemed like maybe he was about to drink because he needed to. For some reason he thought of his ex. He sat on the couch and waited to feel something about the accident. Emotional disconnectedness, he knew, is a symptom of shock. It often happens to people following a trauma. It’s perfectly normal.

Finally, he got up and rummaged through drawers until he found his insurance brochure. It was Sunday evening, but the brochure said “24-hour customer service seven days a week” and gave a toll-free number. An automated voice led him through a cycle of choices, none of which pertained to his situation. He went in and out of submenus and ended up on the main menu again. When he refused to push a button or speak into the receiver the voice told him to hold for the next available customer service specialist. There was some music, a click, and then a different automated voice told him to call during regular business hours.

He wandered around their website for a while, not knowing where to look. Eventually he went to the SEARCH box and typed in the keywords

accident pedestrian injury coverage

then deleted

pedestrian

and replaced it with

cyclist

which he changed to

bicycle

but, just before clicking GO!, he hesitated. Finally, he added the word

accidental

He was on his second drink when the phone rang. He set the glass down and listened: seven complete rings, followed by an eighth strangled half-ring.

He decided to take the bus to work the next morning. Here it was the end of October and people were still in short sleeves. Across the sky clouds were fraying like ten-minute-old jet contrails. Wind blew bright gusts of sunlight down the street. Cars stopped and started and turned and coursed along together, the parts to some elaborate windup toy, all moving in sync and no way for anything to go wrong.

He hadn’t found what he was looking for on the website. After scrolling down a long page of print he’d realized that he was reading about cyclists’ coverage in an accident with an automobile instead of the other way around. During lunch break he sat on a bench outside and called the company again. He again refused to choose a number or to speak into the receiver when prompted, and this time got a customer service specialist named Craig who asked him a series of questions to verify his identity and then told him that information regarding coverage couldn’t be answered over the phone. Craig referred Doug to the website for more information. Doug told Craig he had tried the website. Craig said he would be happy to walk Doug through it. Doug said he wasn’t in front of a computer. Craig suggested he call back when he was.

It was already dark when he left work. The windup cars coursed along, stopping and starting, their ends lit white, their ends lit red.

He sat down in front of his chessboard. The pieces reenacted the situation after Black’s quirky and decisive pawn sacrifice at move thirteen of Kuzmin-Taimonov, Leningrad 1977. He tried to spend some time every evening moving through various lines. He had been doing this for about a year, ever since he started playing chess with Otto.

Doug had walked into his local liquor store one day and found Otto perched on a stool behind the counter. He looked vaguely reptilian. He was reading a paperback. Doug could see little chessboard squares and blocks of notation on the page. Otto didn’t look up until Doug thumped his bottle down on the counter. Then he reluctantly tented the book and rang up Doug’s order in a sort of patiently long-suffering way. Every time Doug went in Otto was either reading a chess book or staring at a little magnetic board he kept half-hidden behind the register. One day Doug leaned over, took a good look at the board and said: “Who’s winning?”

“. . .What?”

“Are you black or white?”

“I’m both,” he said. “I’m neither,” he said. “I’m studying a position.”

And then, when he saw Doug was still looking, Otto slid the board out from its hiding place for Doug to see.

After that they sometimes talked chess when Doug went in. Growing up he had been a good, if casual, player. People said he had a natural talent. When he set his bottle down Otto would slide the board from its place behind the register and make him guess the best move. If Doug picked the wrong one Otto would explain why it would be disastrous five or six or ten moves down the line. Doug realized later that Otto had been testing him. Eventually Otto started inviting Doug to his house to play on Sunday afternoons. Losing was surprisingly painful (had he ever lost as a kid?), yet he found himself returning week after week. When he asked himself why, he decided it was his pride. Or the fact that the divorce had just been finalized, and time spent at Otto’s place was time not spent alone. Besides, the evenings at home, planning his eventual victory — he educated himself on chess theory, tested strategies against a software program called “Grandmaster”, searched through edition after fat edition of Modern Chess Openings for a magic formula — it all gave him something to do in the empty apartment besides drinking and brooding over things that were no longer supposed to matter.

Now Kuzmin-Taimonov provided him with the same kind of distraction from the accident: before he knew it three hours had passed without him thinking about it once. At the same time, he had the sense that it might actually have been there in the back of his mind all along, like a chess problem you can’t solve: you’re beating Otto; somehow you fuck up again; for the next week, no matter what you’re doing, a part of you keeps trying to figure out how it happened. Two pieces intersect: there’s an unexpected outcome. The kid went straight through the intersection without even slowing down. Of course it wasn’t a chess problem. A human life was involved. But was he a monster for trying to make sense of it, for trying to reduce it to something as clean as the pattern of squares on a board? The kid went straight through. Doug hit the brakes too late. Why turn it into something more complicated than that? What was there to do now but continue with his life, which meant, for the most part, sitting alone in front of the chessboard, postponing the evening’s first drink, studying positions and imagining himself finally beating Otto?

He was riding the bus to work the next morning when it occurred to him that maybe the story he’d told the police officer wasn’t accurate. That maybe, once he saw the kid coming, he had accelerated before hitting the brakes.

An insurance agent came to his apartment. He said he had been trying to contact Doug. He looked tired. He was the sort of man who looks rumpled even when he isn’t. He had a copy of the police report. While looking down at his clipboard he read back the questions the police officer had asked. Doug repeated his answers. He learned the name of the kid he’d hit.

The kid had died, as it turned out. He hadn’t made it to the hospital.

The insurance agent said Doug appeared to be covered through the bodily injury liability clause of his policy, but he advised him not to contact the family or to answer any questions if they or their lawyer contacted him. Then he gave Doug his business card.

The dog owner had corroborated his story: the kid raced straight into the intersection without even slowing down at the red light. That story still felt true. It just didn’t feel complete. There was the part about Doug accelerating when he saw the kid. By now he was convinced he had hit the gas pedal and hit it deliberately, if that was the right word. He was pretty annoyed with Otto at the time, although he couldn’t really say whether that had anything to do with it. It was just a split-second thing. Chances are he would have hit the kid anyway.

The scraping sound when the bike was pulled out from under his car.

He stayed where he was on the couch. Postpone. Postpone.

Something seemed to be wrong with him. Why wasn’t he able to feel anything about the kid’s death? He tried different constructions: If it weren’t for me that kid would be alive today. A boy is dead because of me. My actions cost a kid his life. And finally: I killed someone. He couldn’t get the words to mean what they wanted to. They just sounded like words. Maybe he was in denial. Wasn’t denial one of the stages in coping with death? But it didn’t feel like that. It didn’t feel like anything.

And then an emotion appeared: he started to feel guilty about not feeling guilty about what he’d done.

He went into the liquor store. “I hit this kid,” he told Otto.

“What kid?”

“With my car.”

“When? Just now?”

“After our game. The kid died.”

Otto gave him a free bottle of J & B.

He walked home. It was another warm night. Leaves shushed overhead. They looked yellow, but it was just the light from the sodium lamps: they were really still as green as ever. Really nothing had changed. It was fall but it wasn’t fall. It would just go on and on like that, he realized — an endless unchanging season.

When he got back to his apartment he took the bottle out of its paper bag, set it on the kitchen table and stood there for a long time looking at it.

He woke up and lay in bed trying to remember his dreams. Sometimes he could sort of feel his way around an outline, a shape, but there would be nothing inside it; all he could be sure of was that he’d been dreaming. Other times a scene would stay with him as he lay there, and he’d think it might be significant until he examined it, and found nothing but random scraps from his daily life all strung together in a row. He kept looking for the kid, or for the kid’s bike. Then again, he thought, dreams don’t usually come at you straight like that. So he searched for some transfigured sign of the accident; but he didn’t dream of police, or traffic signals, or ambulances. He didn’t dream of insurance agents or parents standing in his doorway with silent accusing faces. He didn’t even dream of dogs.

He started driving again. He drove more slowly than usual, both hands on the wheel. He wasn’t afraid exactly. It was like he was waiting for something to happen — a revelation maybe — and he didn’t want to rush past and miss it. One day after work he went through the intersection where he hit the kid. Not because he felt compelled to return there; it was on his way and he told himself he wasn’t going to make a detour anymore just to avoid it. He stopped on red, waited until the light changed, drove slowly through. It was just an intersection. You couldn’t tell by looking that anything had ever happened there.

He hadn’t played Otto since the accident, but he still spent his evenings gazing down at Kuzmin-Taimonov, move 13. There were no revelations to be found there either. Chess, he finally decided — he was at the board late one night, a glass wavering over the squares like a piece in mid-move, his once-strict rule about mixing chess and alcohol abandoned now — chess is only revelatory when you don’t understand it. In fact, there are no secrets to the game: it’s simply incremental, the gradual accretion of details that lead you in a certain direction, sealing off choices, one after another.

He called the insurance agent and asked for the address of the kid’s parents. The agent advised Doug again not to contact them. He had seen people jeopardize their coverage that way, just opening the door wide to liability. Finally, though, he read the address out for Doug, along with the father’s name.

The place was less than a mile from his apartment. This made sense; after all, Doug and the kid had been using the same intersection. But the proximity of their homes seemed to have some kind of sinister significance. He was thinking he might even have passed the house before, driven right by the place where the kid spent his life. The block turned out to be unfamiliar, though. Southeast Gladstone was a quiet street with small run-down houses on one side and a closed warehouse on the other. The Sekowsky home was the nicest one on the block: it had a fresh coat of paint at least, and a well-tended front yard.

The house was dark when he got there. He felt disappointed, depressed even, although during the whole drive over he had been terrified that someone might actually be home and he might have to go up to the door. He sat in his car and stared at the house, as if, by looking hard enough, he could make it blink to bright life, shadow-play figures set into sudden motion behind the curtains. Nothing happened. It was the same thing the next night, except, when Doug was about to give up and leave, a car pulled into the driveway.

Raymond Sekowsky (if that’s who it was) looked about Doug’s age. He got out of an old Camry, a compact, deeply tanned man in a green work uniform. My age, Doug thought, and already a teenage son. He must have started early.

Or maybe it was just that Doug had started late. It wasn’t his idea. His wife came out of the bathroom holding the test stick and told him, “No more abortions.” So that was that: the baby was born. He’d tried to convince her he wasn’t ready, wasn’t fit for fatherhood. It didn’t matter. The baby was born. It came out pissing. Like one of those plaster cupids. The arc barely missed Doug as it was moved from between Kim’s legs to a complicated table nearby. Doug glimpsed a bluish-gray body. Over the nurse’s shoulder, he saw the face for the first time: a purple fist, clenching and unclenching around its giant wail. Very impressive, that wail. It seemed intent on convincing him that this was all really happening. Doug was convinced. The fact of his fatherhood trembled there, an arm’s length away, pissing and wailing, purple and gray, furious and incontestably real.

Four days later the baby came home with them. Doug was stunned at the way it took for granted that it belonged there, that its cries were meant to be answered. Kim gave in immediately, serene and stoical in her exhaustion. She might not have been eager to sacrifice everything for the baby, but she seemed sure that she was doing exactly what she was supposed to. Doug would stare at it sometimes, at the enormous black alien eyes — where did those come from? — and the cheeks crosshatched with the claw marks it inflicted on itself in its sleep. He would stare at his son, and suddenly feel terrified. What are you supposed to do with love like that? It wasn’t reasonable. Neither was drinking all the time, but at least he got the feeling that he was making some kind of progress, that he was fortifying himself against that terrible love. He was already a drinker, of course, but this was different. This was like work. He threw himself into it. Kim said if he loved his son he should be able to stop. Which was really unreasonable. She couldn’t understand what it was he was trying to accomplish. When she finally left, when she took his son away from him, he drank in weepy celebration. He forgave her for abandoning him. He forgave her for having the baby. By taking it away, she was only trying to undo the wrong she had done to him. All in all, he was glad they were gone. Relieved. Grateful even. About a week passed before he noticed he wasn’t feeling grateful anymore.

He hadn’t thought of his son in a long time. Neglected memories reared up, reproachful, and for a moment he completely forgot about Raymond Sekowsky. By the time he looked back, Sekowsky had nearly reached his front door.

Right away Doug noticed something strange about the man’s walk — how ordinary it was. There were no slumped shoulders, there was no sunken head. No solemn march or faltering step. Nothing like that. Doug didn’t expect him to break down there in his front yard, but shouldn’t his movements have offered a hint at least of his recent tragedy? There even seemed to be, well not quite a spring in his step, but yes, definitely a lightness, something loose-limbed and lively that animated his whole body as it carried him up the stairs to his door.

The next evening was the same, and the evening after. Between seven and seven-thirty the Camry would pull into the driveway and Sekowsky would hop out, thrusting a jaunty elbow in front of the car door and slamming it shut with a twist from the waist. There would be the same incongruous walk to his door. Once he was inside, a pause, and then, behind a curtain, a single light would come on in what must have been the living room. (The other windows remained dark; there was never any sign of another Sekowsky.)

Doug had intended to come here and face the parents, to tell them who he was and, if he had the courage, to confess his crime. He’d felt a strange thrill at the thought of confession, a thrill that only grew stronger when the insurance agent warned him not to go. He had imagined the disconsolate parents: raw, hollow-eyed, their slack faces not sad so much as baffled, the faces of people who have closed themselves around a question they don’t expect an answer to. Then he had seen Raymond Sekowsky walk to his front door. Doug tried not to hold that walk against him. People, he reminded himself, deal with tragedy in different ways, and a cheery bounce in his step did not preclude mourning going on inside where he couldn’t observe it. But the more he watched that walk from car to front door, the more obscene it started to seem, an insult to the kid’s memory, as if Sekowsky were coming home every evening in a shiny party hat.

And then there was his behavior at the shopping mall.

On Saturday afternoon Raymond Sekowsky left his house, drove to the mall, and sat for a long time on a bench in front of the LensCrafters with a bag of Pretzel Time Cinnamon Sugar Bites. At first Doug took this as possible evidence of grief, since he just sat there all by himself with a peculiar strained look on his face. But then he noticed the Forever 21 next to the LensCrafters. When teenage girls entered or left Sekowsky’s head would turn surreptitiously, his hand would freeze in the bag, and he would follow them with his eyes until they were out of sight. Then he would innocently resume munching until other teenage girls passed. Sometimes he even leaned past the fern to get a longer look.

How would the kid — why did Doug resist using his name? To keep him at arm’s length? To make him less specific and therefore less human? Or was it that calling him by his name seemed presumptuous, as if he were pretending that he knew the kid, when in fact he didn’t know him as anything other than a flash of moving color followed by a shape twitching on the street? Anyway, how would the kid feel if he were here to see that, instead of staying home and grieving and possibly drinking too much, his father was spending his Saturday afternoon eating Cinnamon Sugar Bites and leering at underage girls? But — Doug would have explained to the kid — this behavior could, if you thought about it, simply indicate a need to escape from his feelings. Lonely people often went to public places. Maybe he found solace in the parade of young lives marching past. Some of these girls must have been the kid’s age. Some of them might even have known him. Maybe Sekowsky was considering this as he watched the girls. Or maybe he was imagining his son, alive, sitting there watching the girls in his place. The point was, Doug and the kid couldn’t know with certainty what was going through the father’s mind. So what would have looked like leering to the kid, if he were there with Doug, peeking from behind the wedding card rack of the Hallmark’s, might not have been leering at all.

But there would have been no way to explain to the kid’s satisfaction the incident the next afternoon. Sekowsky came out of his house with a bag of garden wood chips, walked onto his lawn, and started adding chips to the ones already there. Doug could see his lips puckering as he poured them from a hole in the bag’s corner. His lips puckered, and even though Doug was too far away to hear, he knew, as the man scattered chips across the speckled, sunlit length of his garden, puckering and scattering and repuckering and sometimes squatting to sculpt the growing mounds, he knew that Raymond Sekowsky was whistling.

Sekowsky left his house a little after noon. Doug watched him lock his front door, swing the keys around their ring with a flourish and drop them in his pocket.

Afterwards they claimed premeditation. A plan. It wasn’t true, not in the sense that they meant it. If anything, it was because he couldn’t decide what to do that he had come. He was hoping a confrontation might force some kind of decision out of him.

Later, he often regretted not being able to say he was drunk when it happened. It would have made everything easier to explain. But the fact was he had taken just one gulp from his flask, and that was more of a token confidence-builder than anything else. The blood alcohol content measured during the arrest — this time they actually gave him the breathalyzer test — was a result of all the drinking he did while he waited in the car for the police to arrive.

Doug had been about to get out of his car and go knock on the door when it opened and Sekowsky came out. So instead Doug sat, damp and jittery, hand on the car door latch, unable to persuade himself to move, while Sekowsky crossed the lawn and got into his own car.

Allowing himself one drink, he realized, had been a mistake. He should have allowed himself two, or three, or as many as it took to be able to do something he couldn’t take back. He’d imagined himself getting out and confronting Raymond Sekowsky there at his front door. Confronting him with what? Insufficient mourning? No, not just that: with being a bad father. Yes, that was it: bad father. Angry words, back and forth. He would tackle Sekowsky. Sekowsky would tackle him. Either way, it wouldn’t matter. A tussle on the lawn. One of them beaten bloody. But he had never been violent, drunk or otherwise. He didn’t seem to have it in him.

So then why had he hit the gas pedal when the kid raced in front of him?

He kept asking himself this as Sekowsky pulled out of his driveway and drove down the street. He already knew where they were going. Sure enough, ten minutes later they turned into the mall’s giant parking lot. The lot was divided into sections marked with animal signs, big colored signs on posts to help you remember where you’d parked your car. They were in the Giraffe section.

Sekowsky managed to find a space right away. Doug circled. There was no hurry. He had a pretty good idea where Sekowsky was going to end up. He saw the scene as if he were spying on someone: a man stands at a wedding card rack, fraudulently fingering a lacy card while he peeks through the glass. He didn’t recognize himself in that scene. That man wasn’t him. It was clear enough what he should do: leave the parking lot and go home. But leaving felt like a surrender. Like giving up on ever figuring out what killing the kid had meant. He circled the Giraffe section, thinking he would park and thinking he would leave and doing neither.

Ahead, down near the end of the row, Raymond Sekowsky stepped out from behind a pickup.

He felt dizzy, as if the circles he’d been making in the car had been getting smaller and smaller. Then panic, and with it a hatred for himself more vivid than anything he’d ever felt before.

Raymond Sekowsky was walking, his back to Doug, in the direction of the mall. And his walk, as he went, was — what else? — buoyant and carefree.

Doug hit the gas and turned the steering wheel slightly, altering his trajectory.

In those few seconds before he changed his mind and slammed on the brakes, he understood something. He knew it as the car hurtled forward, his head tingling crazy warning: he had never done this before. This experience was new. He hadn’t hit the kid on purpose after all. There was no time for him then to consider why he’d needed to blame himself, no time to locate and name the guilt he’d been secretly hoarding since long before the accident. He only knew this: he wasn’t a killer. Foot on the pedal, he rushed toward a collision not yet too late to stop, paralyzed with disappointment and something like joy. He wasn’t a killer. He was innocent.

Twitter Is Not Letting The Washington Post Get Away with Mocking Jane Austen

Twitter exploded in laughter and scoffs this weekend after The Washington Post chose to celebrate Jane Austen with a headline that seemed bemused at her perpetual singleness — even though she wrote about marriage.

What? A writer just… making things up? In fiction???

Mind you, “marriage plot” books aren’t even about marriage — they’re about dating. But that’s beside the point. The point is, it’s pretty common for fiction written by women to be treated as if it must be memoir — and then dismissed as unserious because it’s not an epic triumph of the imagination. We saw it most recently with the viral short story “Cat Person,” but even Jane Austen isn’t immune. Two hundred years after the author’s death, she’s still being called a “spinster” in The Washington Post — and people are still expressing shock that she somehow managed to write about marriage without having lived through it. (The article also says Virginia Woolf was “frigid with men”! It’s a triumph on many levels.)

But 2017 has one thing over 1817: Twitter does not suffer such foolishness gladly.

Even Neil Gaiman weighed in, in a weird oblique third-person way:

But this tweet got the last word, or whatever that is:

We are not the authors of The Giving Tree, but we’re still enjoying the shade.

The Power of Reading in the Face of Apocalypse

Dear Reader,

If there has ever been a year to remind us why literature matters, 2017 has been it. In the face of a dizzying and often depressing news cycle, reading has remained a reliable companion — whether for solace, inspiration, information, motivation, or escape. No wonder, perhaps, that one of the last viral hits of the year was a short story published in The New Yorker, written by an emerging woman writer, Kristen Roupenian. Whatever you thought of “Cat Person” (I loved it), its reception makes clear that it’s not just the news that obsesses us; we crave ways to express anguish and frustration, to linger in moments of small triumph, and to hold contradictory ideas in one place. In other words, we crave literature.

From The Twilight Zone Ep. 8, “Time Enough at Last”

2017 was also a year in which the president repeatedly attacked the free press, another vindictive billionaire brought down a beloved news outlet, and leaders of venerated literary institutions resigned amidst accusations of sexual misconduct. At a time when the book and media worlds seem to be crumbling around us, Electric Literature has worked hard to bring you intelligent literary criticism that is bold, personal, and unpretentious, and to publish fiction that is urgent and relevant. With no benefactor, corporation, or institution backing us, sometimes it seems magical that we’ve survived this long. But really, our independence is why we’ve survived. That doesn’t mean the past eight years have been easy; we regularly face budget deficits, uncertain funding, and sudden shifts in circumstance, and we do it all without a safety net.

So if you believe in what we do — if you believe that forward-thinking organizations like Electric Literature should exist to make literature relevant, exciting, and inclusive — then please make a donation today. We promise we’ll put it to good use.

Thank you for your support, and best wishes for a happy holiday!

Yours,

Halimah Marcus
Executive Director, Electric Literature

Why “The Dark Is Rising” Is the Book We Need Right Now

When you grow up in Florida, like I did, weirdness is plentiful but winter is scarce. For me, reading about winter thus became an essential and compulsory corrective to the still-green outdoors as the holidays approached. The right book always seems to find me, and did so again earlier this month, when I learned through Twitter of a virtual book club, #TheDarkIsReading, dedicated to Susan Cooper’s beloved novel, The Dark Is Rising.

I read The Dark is Rising years ago, and although its plot details had faded, I remembered its cataclysmic snowstorm, among other wintery elements. Frigid, familiar, spooky — it was a spot-on choice for a holiday read that wasn’t “merry” at all. And as it turns out, the titular novel and the other four books in the sequence are also spot-on selections for this winter in particular, the Winter of Dystopia 2017 CE. Reading them now is both convalescent and critically galvanizing, offering dreamy holiday-tinged nostalgia with one hand while also raising urgent questions about good and evil in our perilous present.

Mobilizing the imaginations of the resistance is likely not what the group’s organizers had in mind for #TheDarkIsReading, and certainly not what I thought when I first learned about it. Organized by writer and Cambridge professor Robert Macfarlane and poet Julia Bird, the reread will commence Dec. 20, Midwinter Eve. The date coincides with the beginning of the novel, one day before the 11th birthday of Will Stanton, the novel’s protagonist and the final initiate of an ancient order of benevolent immortals. The reread will continue until Jan. 5–6, in reference to Twelfth Night, on which the novel’s narrative ends. Each day, Macfarlane and Bird plan to share at least one question to guide discussion, and participants are encouraged to “share their memories of reading TDIR, as well as photographs, artwork, poems, music and other responses inspired by the novel.” By all appearances, nostalgia — the timely revisiting of a favorite novel — is the main motivation for the project.

I confess that when I first saw the hashtag, I bristled indignantly, as one always does when accepting that a “secret” is actually public (and old news). I mean, these books were part of my mythology, constellations in the zodiac of my interior life. To be honest, I was also skeptical of enough widespread interest in them to merit a real-time conversation: did The Dark is Rising (and its sequels and prequel) really appeal to anyone beyond a handful of apostate neopagans (me) with a taste for Welsh orthography and dreary landscapes (also me)?

Yes, as it turns out, and to quite a lot of people. Upwards of 1,000 people from around the world have expressed interest in the group, and the hashtag is already vibrant with content from rereaders of the novel as well as those who are approaching it for the first time. This is both a self-own for me and a certification that The Dark is Rising sequence is as precious and rich as I imagined it to be. Based on just that (even setting their aesthetics aside), bringing them into the light, as it were, is both overdue and opportune right now. But the relevance of Susan Cooper to our present moment runs deeper.

This year, 20th-century women speculative fiction writers have gotten some of their rightful appreciation. The Library of America “canonized” Ursula K. Le Guin and will be reprinting her works — an honor shared with one other living author. Margaret Atwood is ubiquitous. Ava DuVernay’s adaptation of A Wrinkle In Time will soon deliver Madeleine L’Engle’s beloved story to a new generation. Yet so far, this cresting wave has not carried Susan Cooper or The Dark Is Rising sequence specifically. If only to correct this exclusion, #TheDarkIsReading feels like a much-needed first step, and I hope that the group’s organizers will continue to the other books in the series after participants have finished the namesake novel.

But beyond ensuring that Cooper be recognized as part of the moment made for her and her peers, is now the appropriate time to revisit these books? What can we learn from a mythology and folklore-heavy saga that wades deep into the peculiarities of Britain and Britishness, that frequently uses foreignness as a marker of villainy? What is to be gained by wandering into yet another reworking of the Arthurian legends, which will always, at some level, support the idea of Britain (read: whiteness, at its most patriarchal and heteronormative) as the surrogate and center of the whole world?

What is to be gained from yet another reworking of the Arthurian legends?

Like all books concerned ultimately with the conflict of good and evil, The Dark Is Rising and its companions are always so relevant that they never feel particularly “of the moment.” But, then again, reconsider this moment, in which the meaning of evil is back up for debate.

Much of this winter, if not this whole year, we’ve witnessed an intense relitigation of the evil of American Nazis, rapists, pedophiles, nonspecific racists, and liberals who “don’t see color.” The discourse has spiraled around the same talking points, in which a liberal center demands we hear “both sides” of a story in which one side inevitably wants the other not to exist. White nationalist groups have grabbed hungrily at their “side,” and used it to squander valuable platforms. The clean-cut fascist has claimed himself cut from the same cloth as any other radical thinker who dissented from the status quo. Rapist gatekeepers claim to be sick, and their bystanding enablers claim to be “shocked.”

By and large, this ruse has worked: one need only look at our government, which has now graduated from legislating who will be tax-bound in perpetual poverty to legislating what words we can use to describe observable and experienced reality. The same government would rather win a Senate seat with a serial pedophile than preserve the dignity of the office. But none of these things are being acknowledged as “evil.” Instead, evil has been rebranded as self-interest, ruthlessness rebranded as merit, and hate rebranded as disagreement.

Amid this slimy osmosis of good and evil, then, Cooper’s moral dualism of the Light and the Dark, so stable and impermeable, slices down hard. Reading The Dark Is Rising series, especially the namesake novel, is somehow soothing, summoning up memories of time when unambiguously evil people didn’t receive glowing profile stories.

Amid this slimy osmosis of good and evil, Cooper’s moral dualism of the Light and the Dark, so stable and impermeable, slices down hard.

But isn’t it the case that basically every book of fantasy comforts us with visits to an unrepentantly dualistic world, hopefully one where good prevails? Is it sufficient to single out Susan Cooper’s books just because Celtic paganism feels zeitgeist-y and Twitter is trying to make her happen? No. Rather, what sets The Dark Is Rising sequence apart is that it is a morally dualistic series written specifically for a post-dualistic world — this world.

Despite being a story about Light and Dark, The Dark Is Rising sequence ultimately chronicles the paradigm shift to moral post-dualism. It is not concerned with restoring a prelapsarian dominion of Light where morality itself is obsolete. Although the apocalyptic conflict of the Dark and the Light is the overarching narrative of the novels, their endgame is quite different here from, say, the salvific destruction of the One Ring. The final triumph of the Light in the series’ last book, Silver on the Tree, is not a new heaven and new earth, nor a sundering of goats from lambs. There is no end to disease or death or evil. The only thing that ends is the dominion of external powers over the destiny of humankind, an abdication that also eliminates the possibility of a returning savior who retrieves the world from the brink of destruction.

“For Drake is no longer in his hammock, children, nor is Arthur somewhere sleeping, and you may not lie idly expecting the second coming of anybody now, because the world is yours and it is up to you,” says Merriman Lyon, the leader of the Old Ones and latter-day alias of Merlin, after the final battle. This is bleak, brutal — but astoundingly mature and pragmatic. Unlike A Wrinkle In Time, with its high church mysticism and deistic optimism, or Harry Potter’s with its doxology of friendship and love, The Dark Is Rising sequence uniquely equips its readers to contend with a world that we’re now living in. It does so not by resorting to vague platitudes about the power of love, faith, or community, but by calling us to task to remember.

The Dark Is Rising sequence uniquely equips its readers to contend with a world that we’re now living in.

Time, memory, and the means of maintaining their continuity are the most powerful forces across the series. Beyond the Light and the Dark, these three principles are part of the Old Magic, the Wild Magic, and the High Magic — eldritch non-polar forces that predate good and evil. Memory, manifested through art and inspiration, is the key to resisting not only the Dark, but the evil inside each human heart. To that end, it’s the power that makes the difference at each novel’s most critical junctures, and repeatedly, the injunction to remember! is laid on Will Stanton and his comrades Bran Davies and the Drew siblings. Often, the remembered thing takes the shape of a poem, or a detail from British folklore — an homage to Britain’s rich literary tradition, specifically the Welsh Mabinogion.

The gesture of reverence extends beyond the national archive of art and poetry to these practices in general. In one touching scene in Greenwitch, the third book in the series, that shifts the course of the entire quest, Will and Merriman present the titanic ocean goddess Tethys with a painting of a boat docked in a Cornish sea village. Seeing that the boat is named White Lady — an ancient Cornish name for Tethys — the goddess warms to the Old Ones, whom she, as a creature of the Old Magic that outranks Light or Dark, is not obligated to help.

Merriman held the drawing at arm’s length, and released it into the sea; instantly it vanished into the shadow. There was a pause, then a soft laugh from Tethys. She sounded pleased.

“So the fishermen do no forget,” she said. “Even after so long, some do not forget.”

Merriman’s gift, painted by his human nephew, Barney, wins Tethys’ game-changing cooperation with the Light, and moves history forward toward an era free of either Light or Dark intervening in human affairs. Memory, here, was the essential magic.

Memory also moves one back in history, exposing the conflicts and exchanges of people and land that form the identities that exist today. Calling upon the waves of migration that have changed British culture over the millennia, Cooper undoes the idea of racial purity and exposes the fractured, punctuated equilibria of British identity. The source of exclusionary prejudice — perfect fuel for a parasitic Dark — is not the otherness of immigrants or liminal bodies, but the failure of natives to remember their own blurred origins.

Today, when conservatives and even some liberals are making apologies for a vicious white supremacist doctrine, Cooper’s artful deconstruction of ethnicity is a potent critique. Particularly among ethnic whites, who rather recently in U.S. history were banned from immigrating here by acts of Congress, this unbundling of monolithic whiteness is urgent. Without it, time takes this memory away more and more with each generation, and only the immortal Old Ones, like Will, remember it.

Today, Cooper’s deconstruction of ethnicity is a potent critique.

Except there are no immortal ones anymore — Cooper’s post-dualistic world’s most brutal matter of fact. Instead, humans themselves must shepherd the species through the valley of the shadow of death. There are no more gods left in the box.

With the erasure of identity and history underway at the highest levels of American government, and with the forced reorientation of universities and colleges away from the humanities, the memory essential to a post-dualist world is under attack. (Re)reading The Dark Is Rising series immerses us in the power of this ultimate resource, and at the end of a year that we all want to forget, Cooper’s lesson is clear. The moral imperative, and the only magic that we have, is to remember, to record, to recognize the rising of the Dark and to readily apply to it the absolute category of evil. Remembering takes time, though, and of all the things we’ve forgotten in 2017, the most chilling is how little time we have left.

Electric Literature’s 15 Best Short Story Collections of 2017

W e love short stories around here. We publish one every week in Recommended Reading, and our highest-traffic piece this year was an essay about a short story (more on this later, when we go through Electric Lit’s top stories of 2017!). And we’re not alone in this, either—after all, this is the year that, against all odds, a short story actually went viral. But among all the short stories we love, which 2017 collections were our favorites? Electric Lit staff and contributors voted for these 15 books as the best examples of short fiction this year.

You can also check out Electric Literature’s 15 favorite nonfiction books and 25 favorite novels of 2017.

A Life of Adventure and Delight, Akhil Sharma

“What distinguishes a great story writer from a mediocre one?” wrote Yiyun Li in her introduction to Sharma’s story in Recommended Reading. “Akhil Sharma would be among the few living authors I would choose, along with masters like Chekhov, William Trevor, Eudora Welty, and James Alan McPherson, to tackle that question.” The stories in this collection feature Indian protagonists, both in India and abroad, navigating relationships with their families, partners, and selves.

Read Akhil Sharma’s short story “If You Sing Like That for Me” in Recommended Reading.

A Selfie As Big As the Ritz, Lara Williams

“Williams is a smart and funny writer. She uses details that in the hands of another writer would lose their punch,” said Weike Wang in recommending Lara Williams’ short story “It’s a Shame About Ray.” “I admire that at the core of each story, Williams sticks to the familiar. Her writing however, her style, her voice, are anything but.” Title aside, this book is not just for Millennials, but it’s definitely the kind of thing young readers can look at and say “I feel seen.”

Read Lara Williams’ short story “It’s a Shame About Ray” in Recommended Reading.

Her Body and Other Parties, Carmen Maria Machado

Carmen Maria Machado’s collection of fantasy-inflected short fiction was a finalist for the National Book Award, and for good reason. Her unsettling, beautiful, often very sexy stories offer indelible images, but also deep insights into violence, mistrust, restriction, invisibility, and other darker aspects of life as a woman.

Read an essay about one of the short stories in this collection.

Read our interview with Carmen Maria Machado about her book cover.

Homesick for Another World, Ottessa Moshfegh

“Ringing with heartless descriptions of the emotions of pathetic men and miserable women, her short stories create realities of isolation that grapple with the filth and visceral discomfort of what it is to be a human being,” Zack Graham wrote in his Electric Literature review of Homesick for Another World. “Her stories employ a brutalist nihilism, forcing you to follow a character into the inner depths of their self-inflicted pain. Each scene is a right hook of eloquent depravity. Each sentence is a hand-crafted bullet.”

Read our review of Homesick for Another World.

Large Animals, Jess Arndt

“Arndt writes with such poetry and such precision, that the force of the communication damn near knocks you over,” wrote Justin Torres in Recommended Reading. The experience of reading Arndt’s work, he said, is that one is “first mesmerized by the beautiful noise of the language, then knocked down, and dragged out to another, underwater world.” These hallucinatory stories teem with bears, walruses, parasites, and—strangest of all—the human body.

Read Jess Arndt’s short story “Together” in Recommended Reading.

Sour Heart, Jenny Zhang

“I didn’t want my characters to have to be ‘good’ immigrants in order to be worthy of having their stories told,” Jenny Zhang told Electric Literature in an interview. Indeed, her stories centering girls and young women from immigrant families are, as The New Yorker notes, “frequently disgusting”—but also intimate, honest, and unsparing.

Read our interview with Jenny Zhang.

Tender, Sofia Samatar

“Sofia Samatar writes with a clear feminist slant and social engagement, an understanding of history and the circle of the political wheel,” writes Chris Abani, recommending Samatar for Recommended Reading. “Her work leans into the traditions of Margaret Atwood (in The Edible Woman and The Handmaid’s Tale), Octavia Butler (in The Parable of the Sower) but with as layered, original and complex a world as anything devised by Tolkien or Lucas, and all the endless yearning of Toni Morrison and Kafka.” Fantasy author Samatar earns those lofty comparisons with a series of stories that fulfill the greatest promise of speculative fiction: spinning new worlds while also offering political and personal insight.

Read Sofia Samatar’s short story “Miss Snowfall” in Recommended Reading.

The Dark Dark, Samantha Hunt

Samantha Hunt’s eerie stories take the anxieties of womanhood—pregnancy and miscarriage, love and exploitation—and expand them to the point of horror. “Like the best short story collections,” wrote Carmen Maria Machado for NPR, “The Dark Dark chews on some delicious, evergreen themes in extraordinary ways.”

The Man Who Shot Out My Eye Is Dead, Chanelle Benz

“All good story collections coalesce into something greater than the sum of their parts, but The Man Who Shot Out My Eye is Dead does so more than most,” wrote Bradley Babendir in Electric Literature’s review of Chanelle Benz’s collection. “Benz has a deep understanding of the way people are marginalized by their gender, race, class, and other identities, and she finds a way to evoke that in every story. … The characters never seem far from encountering what they — and by extension, the reader — fear most.”

Read our interview with Chanelle Benz.

Read our review of The Man Who Shot Out My Eye Is Dead.

Read Chanelle Benz’s short story “The Mourners” in Recommended Reading.

The Refugees, Viet Thanh Nguyen

Viet Thanh Nguyen won a MacArthur Genius Grant this year, and if you read his quietly brilliant short story collection, you’ll see why. “Viet Thanh Nguyen writes funny,” insists Akhil Sharma in Recommended Reading, perhaps a surprise for a book named after and featuring refugees. But his work is bigger than just humor or sentiment: it “reminds us that there is a too-muchness to life also; that stories need to get bigger instead of trying to make life smaller.”

Read our interview with Viet Thanh Nguyen.

Read Viet Thanh Nguyen’s short story “Black-Eyed Woman” in Recommended Reading.

The Tower of the Antilles, Achy Obejas

Sexuality, nationality, gender, ethnicity and race all come together here in those everyday ways that they do in our lives, and then some,” writes Porochista Khakpour in Recommended Reading. “Obejas’s striking terrain of syntax and diction produces a resplendent landscape for all sorts of plots to twist and turn upon.” Her Cuban and Cuban-American protagonists wrestle with questions of home, family, and fate but always keep the island in sight.

Read Achy Obejas’s short story “Kimberle” in Recommended Reading.

The World Goes On, László Krasznahorkai

Krasznahorkai “writes claustrophobic prose about entrapped characters who suspect that reality is a cruel labyrinth from which it is impossible to escape,” writes The Atlantic. If that sounds like your kind of thing, these bleak, strange, sometimes frustrating, but always self-aware stories may be right up your alley.

Turf, Elizabeth Crane

“The world is a bewildering, ridiculous place,” writes Lindsay Hunter, recommending an Elizabeth Crane story in Recommended Reading. “It’s easy to forget that while you’re tying your shoes, selecting a croissant, driving the same stretch of pale gray highway for the eleven-hundredth time. Elizabeth Crane mines the everyday and reveals what we’re missing. It’s unsettling. It’s hilarious. It’s…beyond. And you just know she’s having a great time, because suddenly you are, too.” The stories in Turf zoom from a global god’s-eye view to a hyper-specific catalog of anxieties, from the end of the world to the meaning of life to the tiny moments that can gut a friendship.

Read Elizabeth Crane’s short story “Mr. and Mrs. P Are Married” in Recommended Reading.

Wait Till You See Me Dance, Deb Olin Unferth

Rebecca Schiff recommended Deb Olin Unferth for Recommended Reading “because she’s one of the few fiction writers working today whose work is both poetic and funny, because she’s a sentence-level dazzler who knows how to tell a story.” Unferth’s collection explores what it means to be a woman existing outside of societal expectations—by aging, by being unlikable, by being a single mother or an old maid.

Read our interview with Deb Olin Unferth.

Read our review of Wait Till You See Me Dance.

Read Deb Olin Unferth’s short story “Wait Till You See Me Dance” in Recommended Reading.

What It Means When a Man Falls from the Sky, Lesley Nneka Arimah

Arimah’s stories straddle Nigeria and the U.S., two places where the author has lived, and their genres are even more wide-ranging: realism and surrealism, myth and post-apocalyptic vision. The collection, her first, garnered rave reviews; NPR called it “a truly wonderful debut by a young author who seems certain to have a very bright literary future ahead of her.”

Finfinite Love

Day Off

A man hanging out by the dumpsters below my window said
“That’s how they do it!”
right as I’m climaxing

It’s true, it’s a beautiful day

Then coffee then the museum

I can’t seem to scrub the mood off this funny little life,
like the sticker off something second hand

Found an actual pebble in my shoe
Perhaps I’ll keep it

Spoon in Wig

I’m looking at my spoon that has a smear of peanut butter cross the top
looking like a bit like a wig
a spoon in a wig

It’s important
right now
this little spoon has a wig on

It’s a mark of my character

When someone is left cold by these sorts of things, you see,
I want to punch them dead

bedtime

i can smell the heat off your body
you’re dreaming of your dead sister
so i wrap my leg around you like a seatbelt

so much night left to night

i’ll love you for my attire life
finfinitely

tomorrow we’ll enter into the weather
the rain will drip off your long eyebrow hairs
you’ll accuse me of watching you sleep
fair enough

disciples

i can’t help but worship devils
the inflammable, unfaithful, and private

and we, so humany
offering our magic because we don’t understand it

but they need us, and our parts
without us there’s no subject for spells
without us there’s just other devils

how terribly dull that would be

When it is over, you stitch me up, prettily

Electric Literature’s 15 Best Nonfiction Books of 2017

The United States publishes about 300,000 books a year. From this wealth of options, how is a person ever supposed to choose which ones to read? Well, we can’t tell you which books from 2017 you’ll like best, but we can tell you which ones we liked best. We polled Electric Lit staff and regular contributors on their favorite books of the year, and we’re bringing you the winners, starting with nonfiction. Below are the essay collections, memoirs, and histories that made the biggest impressions on us in 2017.

When you’re done, check out Electric Lit’s favorite short story collections and favorite novels of the year.

300 Arguments, Sarah Manguso

Manguso’s latest book is not an essay collection—it’s a series of aphorisms, like a modern Poor Richard’s Almanack or a serious Jack Handey. But the arguments build on each other to offer revelations about love, desire, success, and everything else that matters.

Abandon Me, Melissa Febos

Febos’ second book of memoirs dissects some of her most intimate relationships: with her absent birth father, with the man who raised her, and with the woman she turbulently loved. This is for people who love essays that haul great truths out of deep vulnerability.

Book of Mutter, Kate Zambreno

This volume is not exactly memoir and not exactly criticism; publisher Semiotext(e) calls it “an accumulative archive of myth and memory that seeks its own undoing.” Light beach reading.

Bunk, Kevin Young

In this day and age, how can we know what truth is? Don’t worry, says Kevin Young: we never could. Bunk traces the history of American hoaxes, forgeries, fakes, and frauds—and in the process, shows us that race is the biggest long con of all.

Caca Dolce, Chelsea Martin

Chelsea Martin’s darkly funny, unsparing memoir deals with class, family, mental illness, sex, and basically every other source of twentysomething neurosis with a sense of humor and a gimlet eye.

Read our interview with Chelsea Martin.

Hunger, Roxane Gay

This memoir, by the author of bestselling essay collection Bad Feminist, takes an unflinching look at food, weight, and body image. It’s about fat bodies, but also black bodies and female bodies, and in general about living as a body in the world.

Read a discussion of Hunger.

Read our interview with Roxane Gay.

Imagine Wanting Only This, Kristen Radtke

Kristen Radtke’s graphic memoir is also an exploration of disaster, death, and decay; it depicts Radtke’s life, but also her fascination with ruined and abandoned buildings and cities. A great choice for people who want to lean really hard into their conviction that there’s nothing funny about comics.

Read our interview with Kristen Radtke.

Killers of the Flower Moon, David Grann

This history, which The New York Times called “disturbing and riveting,” investigates what happened when the Osage tribe, forced onto a nearly unlivable piece of land, find that the land sits on top of tens of millions of dollars worth of oil. It will not make you feel good about the United States, but we all need to be clear-eyed about our country right now.

One Day We’ll All Be Dead and None of This Will Matter, Scaachi Koul

This is easily the funniest book about online harassment, rape, xenophobia, sexism, body image, and getting the silent treatment from your parents that you’ll ever read. But it’s not just whistling in the dark; Koul also writes lovingly about immigrant families, longstanding friendships, and romantic relationships.

Priestdaddy, Patricia Lockwood

This is the first work of prose by poet (and prolific, wonderful tweeter) Patricia Lockwood, and it’s a doozy. It’s a memoir about moving back in with her (married) priest father, but it’s also a searing critique of Catholicism and what it can do to its adherents. And it’s wildly funny and in love with the possibilities of the sentence.

Somebody With a Little Hammer, Mary Gaitskill

Fiction writer Mary Gaitskill dives headfirst into cultural criticism in this collection of essays, which cover topics from poetry to politics to porn. Whether she’s writing about Bjork or Hillary Clinton, she takes her subjects apart and puts them back together so deftly that you’ll never look at them the same way again.

Spoiler Alert: The Hero Dies, Michael Ausiello

Imagine if your partner of nearly 13 years was diagnosed with cancer on the day of your wedding, and lived for less than a year after that. If you’re not already in tears, you will be after reading TV journalist Michael Ausiello’s memoir about love and death.

Read our interview with Michael Ausiello.

Sunshine State, Sarah Gerard

Sarah Gerard’s book of essays is an encomium to all things Florida, from seabirds to sex to Amway sellers. While plumbing the mysteries of her home state, Gerard also investigates her personal history, including her childhood best friend, her teenage drug habit, and her parents’ involvement in a fringe religion.

Read our review of Sunshine State.

Read our interview with Sarah Gerard.

They Can’t Kill Us Until They Kill Us, Hanif Abdurraqib

These essays are about music, but they’re also about politics and personal history. Poet and journalist Hanif Abdurraqib juxtaposes Bruce Springsteen with Michael Brown and Harriet Tubman with N.W.A. to draw broad conclusions about society and culture.

Read our interview with Hanif Abdurraqib.

We Were Eight Years in Power, Ta-Nehisi Coates

If you’re mourning the Obama years and need someone to help you make sense of what happened, you couldn’t have a better tutor than Ta-Nehisi Coates. His incisive analysis helps illuminate what’s gone wrong in this country, not just in the last year but in our history. You probably won’t feel any better after reading this, but you’ll see with clearer eyes.