Each year, I set out on a meaningful pilgrimage to the top of the One Gateway Center in Newark, a tribute to my beloved wife, Jan, and to everyone touched by the harsh reality of blood cancers. It’s staggering to think that every three minutes, someone in the U.S. receives a diagnosis of leukemia, lymphoma, or myeloma, and heartbreakingly, someone loses their fight every nine minutes.
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“Penthouse, please,” I requested, my finger hovering over the button of the self-service elevator. The compact space could barely accommodate three people, yet somehow, it felt roomy. Jan stepped in beside me, her eyes sparkling with anticipation, and one of her friends joined us. In that moment, I couldn’t help but admire her. She had always captivated me, but on our wedding day fifty years ago, she was nothing short of breathtaking.
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“Richard!” A familiar voice called out just as I was about to step into the narrow alleyway between Sofia Color Lounge and the soon-to-open coffee shop where Beadsmith once stood. I turned around and saw—Eric! A genuine smile spread across my face as I recognized him. He was pushing a stroller, his daughter peeking out with bright, curious eyes.
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Rituals often become another item on our to-do lists, rushed and stripped of their more profound significance. When we overlook their meaning and purpose, we hinder our ability to heal from loss and navigate the complexities of grief.
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by Various Writers Under 40
The New Yorker’s collection of short stories – 20 Under 40 – is a collection of twenty writers “whose work will help define the future of American letters.”
Some of these I had read in The New Yorker and others I had missed. Either way, they were a pleasure to read.
As The New Yorker wrote,
The range of voices is extraordinary. There is the lyrical realism of Nell Freudenberger, Philipp Meyer, C. E. Morgan, and Salvatore Scibona; the satirical comedy of Joshua Ferris and Gary Shteyngart; and the genre-bending tales of Jonathan Safran Foer, Nicole Krauss, and Téa Obreht. David Bezmozgis and Dinaw Mengestu offer clear-eyed portraits of immigration and identity; Sarah Shun-lien Bynum, ZZ Packer, and Wells Tower offer voice-driven, idiosyncratic narratives. Then there are the haunting sociopolitical stories of Chimamanda Ngozi Adichie, Daniel Alarcón, and Yiyun Li, and the metaphysical fantasies of Chris Adrian, Rivka Galchen, and Karen Russell.
Each of these writers reminds us why we read. And each is aiming for greatness: fighting to get and to hold our attention in a culture that is flooded with words, sounds, and pictures; fighting to surprise, to entertain, to teach, and to move not only us but generations of readers to come. A landmark collection, 20 Under 40 stands as a testament to the vitality of fiction today.
I recommend this collection of short stories.
by Margaret Atwood
The Testaments: The Sequel to The Handmaid’s Tale by Margaret Atwood is a sequel worth reading.
The novel alternates between the perspectives of three women presented as portions of a manuscript written by one (the Ardua Hall Holograph) and testimonies by the other two. Being an amateur historian, I found this a fascinating way for Ms. Atwood to write this book.
Aunt Lydia is the author of the Ardua Hall Holograph, which is a surprise based on her role in The Handmaid’s Tale. It is a surprise that she is a mole who despises Gilead and works for the resistance.
The other characters are young women who, along with Aunt Lydia, are forced to come to terms with who she is and how far she will go for what she believes.
Agnes Jemima was born in Gilead and is being educated not to be literate but to be a wife. She finds out her parents are not who she thought they were when Agnes discovers she is the daughter of a Handmaid.
Daisy was raised in Toronto, lives with her adoptive parents, and is an educated woman. As noted in most reviews, Daisy is also the daughter of a Handmaid. She is Baby Nicole from the original book, and Gilead wants her to return.
by C.L. Polk
The Midnight Bargain by C.L. Polk is about Beatrice Clayborn, a sorceress, who was the next book to read. She practices magic in secret, terrified of being locked into a marital collar that will cut off her powers to protect her unborn children. She dreams of becoming a full-fledged Magus and pursuing magic as her calling as men do. Still, her family has staked everything to equip her for Bargaining Season, when young men and women of means descend upon the city to negotiate the best marriages. The Clayborn’s are in severe debt, and only she can save them by securing a good match before their creditors call.
In a stroke of luck, Beatrice finds a grimoire that contains the key to becoming a Magus, but before she can purchase it, a rival sorceress swindles the book right out of her hands. Beatrice summons a spirit to help her get it back, but her new ally exacts a price: Beatrice’s first kiss . . . with her adversary’s brother, the handsome, compassionate, and fabulously wealthy Ianthe Lavan.
The more Beatrice is entangled with the Lavan siblings, the harder her decision becomes: If she casts the spell to become a Magus, she will devastate her family and lose the only man to ever see her for who she is, but if she marries—even for love—she will sacrifice her magic, her identity, and her dreams. But how can she choose just one, knowing she will forever regret the path not taken?
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by George Saunders
One of the most important and blazingly original writers of his generation, George Saunders, is an undisputed master of the short story. The Tenth of December is his most honest, accessible, and moving collection yet. It is one of the New York Times’ 100 Best Books of the Century. The book is structured as a collection of short stories, each offering a unique and compelling narrative.
In the taut opener, “Victory Lap,” a boy witnesses the attempted abduction of the girl next door and is faced with a harrowing choice: Does he ignore what he sees or override years of smothering advice from his parents and act?
In “Home,” a combat-damaged soldier moves back in with his mother and struggles to reconcile the world he left behind with the one he has returned to.
In the title story, a stunning meditation on imagination, memory, and loss, a middle-aged cancer patient walks into the woods to commit suicide, only to encounter a troubled young boy who, throughout a fateful morning, gives the dying man a final chance to recall who he is.
An unfortunate, deluded owner of an antique store; two mothers struggling to do the right thing; a teenage girl whose idealism is challenged by a brutal brush with reality; a man tormented by a series of pharmaceutical experiments that force him to lust, to love, to kill—the unforgettable characters that populate the pages of Tenth of December are vividly and lovingly infused with Saunders’s signature blend of exuberant prose, deep humanity, and stylistic innovation.
Writing brilliantly and profoundly about class, sex, love, loss, work, despair, and war, Saunders cuts to the core of the contemporary experience. These stories take on the big questions and explore the fault lines of our morality, delving into what makes us suitable and what makes us human. They are not just stories but profound explorations that will stimulate your intellect and make you ponder.
Unsettling, insightful, and hilarious, the stories in Tenth of December—through their manic energy, their focus on what is redeemable in human beings, and their generosity of spirit—not only entertain and delight but also fulfill Chekhov’s dictum that art should “prepare us for tenderness.” The humor in these stories will keep you entertained and laughing, even as they delve into profound themes.
George Saunders is the author of thirteen books, including the novel Lincoln in the Bardo, which won the Booker Prize, and five collections of stories, including Tenth of December, which was a finalist for the National Book Award, and the recent collection Liberation Day (selected by former President Obama as one of his ten favorite books of 2022).
Three of Saunders’s books—Pastoralia, Tenth of December, and Lincoln in the Bardo—were chosen for The New York Times’s list of the 100 Best Books of the 21st Century. Saunders hosts the popular Story Club on Substack, which grew out of his book, A Swim in a Pond in the Rain. In 2013, he was named one of Time’s 100 Most Influential People. He teaches in the creative writing program at Syracuse University.
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by Sally Rooney
Beautiful World, Where Are You by Sally Rooney, a writer recommended to me, but I have always kept them on the to-read list, not the current reading. Does a beautiful word exist? Is it possible to live in a beautiful world despite the loss of the love of my life? Perhaps reading Beautiful World, Where Are You, will help me in my grief journey.
Ms. Rooney’s book was a page-turner, and I highly recommend it.
One of the quotes from the book echoed my dream of a beautiful world.
“When I try to picture for myself what a happy life might look like, the picture hasn’t changed very much since I was a child – a house with flowers and trees around it, and a river nearby, and a room full of books, and someone there to love me, that’s all. Just to make a home there, and to care for my parents when they grow older. Never to move, never to board a plane again, just to live quietly and then be buried in the earth.” ― Beautiful World, Where Are You
It also helped remind me how unique and memorable the love that Jan and I shared was. We could quickly fall into a life lived separately as friends, or we might not have ever fallen in love and married.
As Beautiful World, Where Are You, wrote:
“If God wanted me to give you up, he wouldn’t have made me who I am.”
The Goodreads summary provides an overview.
Alice, a novelist, meets Felix, who works in a warehouse, and asks him if he’d like to travel to Rome with her. In Dublin, her best friend, Eileen, is getting over a breakup and slips back into flirting with Simon, a man she has known since childhood. Alice, Felix, Eileen, and Simon are still young—but life is catching up with them. They desire each other, they delude each other, they get together, and they break apart. They have sex, they worry about sex, and they worry about their friendships and the world they live in. Are they standing in the last lighted room before the darkness, bearing witness to something? Will they find a way to believe in a beautiful world?
by Elizabeth McCracken
The Hero of This Book: A Novel by Elizabeth McCracken is a searing examination of grief and renewal and a deeply felt relationship between a child and her parents. It is not a memoir but a remembrance of those we have lost. Ten months after her mother’s death, the narrator of The Hero of This Book takes a trip to London. The city was a favorite of her mother’s, and as the narrator wanders the streets, she reflects on her mother’s life and their relationship.
Thoughts of the past meld with questions of the future: Back in New England, the family home is now up for sale, its considerable contents already winnowed.
The following quote resonated with me.
I’ve always hated the notion, in life or in fiction, that the human personality is a puzzle to be solved, that we are a single flashback away from understanding why this person is cruel to her children, why that man has a dreamy, downcast look. A human being is not a lock and the past is not a key.
I highly recommend this book.
The Goodreads summary provides an overview,
The woman, a writer, recalls all that made her complicated mother extraordinary–her brilliant wit, her generosity, her unbelievable obstinacy, her sheer will to seize life despite physical difficulties–and finds herself wondering how her mother had endured. Even though she wants to respect her mother’s nearly pathological sense of privacy, the woman must come to terms with whether making a chronicle of this remarkable life constitutes an act of love or betrayal.
The Hero of This Book is a searing examination of grief and renewal and a deeply felt relationship between a child and her parents. What begins as a question of filial devotion ultimately becomes a lesson in what it means to write. At once comic and heartbreaking, with prose that delights at every turn, this is a novel of such piercing love and tenderness that we are reminded that art is what remains when all else falls away.
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