I've just finished reading through my previous crop of anticipated books, and I'm getting excited for the next batch. These are the books coming out this spring (and the start of summer) that I've been eagerly awaiting:
→ AMERICAN WAR by Omar El Akkad (April 4): I've been seeing buzz for a while about this novel, which imagines a second American Civil War. The description also mentions a plague, which places it squarely in the category of "horrific things I love to read about". I'm looking forward to being horrified by this one, which is Akkad's debut.
→ WOMAN NO. 17 by Edan Lepucki (May 9): I've long been a fan of Lepucki's writing for The Millions, and I enjoyed her debut novel, CALIFORNIA, about a couple who flees to the wilderness as civilization collapses. That first novel received a great publicity boost during an Amazon brouhaha, so this one may arrive a bit more quietly, but I'm one of many readers interested to find out what Lepucki has in store this time. The novel involves a writer in the Hollywood Hills, the nanny she hires, and the friendship they develop, and it's billed as "sinister, sexy noir".
→ HUNGER: A MEMOIR OF (MY) BODY by Roxane Gay (June 13): This book was originally slated for publication a year ago, but now it's really on its way, and I'm sure it will be a beautiful, difficult read, like everything else Gay writes. I loved her story collection DIFFICULT WOMEN, out only last season, and I previously devoured her amazing novel and essay collection. This new memoir considers food, weight, and body image, frequently topics in Gay's writing.
→ MADE FOR LOVE by Alissa Nutting (July 4): Nutting's debut novel was TAMPA, a seriously disturbing, seriously impressive book about a middle school teacher who is sexually obsessed with her students. I've ben curious to see where Nutting would go from there, and the answer involves a woman leaving her husband, a senior citizen trailer park, a sex doll, and tracking technology. I'm intrigued.
Good Stuff Out There:
→ At The Guardian, George Saunders considers what writers really do when they write: "My method is: I imagine a meter mounted in my forehead, with 'P' on this side ('Positive') and 'N' on this side ('Negative'). I try to read what I've written uninflectedly, the way a first-time reader might ('without hope and without despair'). Where's the needle? Accept the result without whining. Then edit, so as to move the needle into the 'P' zone. Enact a repetitive, obsessive, iterative application of preference: watch the needle, adjust the prose, watch the needle, adjust the prose (rinse, lather, repeat), through (sometimes) hundreds of drafts." (Thanks, Henri!)