{"id":36167,"date":"2020-05-22T10:00:10","date_gmt":"2020-05-22T15:00:10","guid":{"rendered":"https:\/\/www.publicbooks.org\/?p=36167"},"modified":"2026-01-16T20:18:05","modified_gmt":"2026-01-17T02:18:05","slug":"public-picks-2020","status":"publish","type":"post","link":"https:\/\/www.publicbooks.org\/public-picks-2020\/","title":{"rendered":"Public Picks 2020"},"content":{"rendered":"<p>Each year around this time we send our readers into summer with a thoughtfully curated list of the titles appearing over the past 12 months that dazzled, moved, and challenged us most. This year we might add: that helped us reflect on a global public-health crisis, comforted us in our grief and anxiety, or simply served to pleasurably while away a lot of extra time indoors. For the 2020 edition of Public Picks, then, we\u2019ve asked our editors for <a href=\"https:\/\/www.publicbooks.org\/section\/technology\/\" target=\"_blank\" rel=\"noopener noreferrer\">Technology<\/a>, <a href=\"https:\/\/www.publicbooks.org\/section\/literature-in-translation\/\" target=\"_blank\" rel=\"noopener noreferrer\">Literature in Translation<\/a>, the <a href=\"https:\/\/www.publicbooks.org\/category\/series\/b-sides\/\" target=\"_blank\" rel=\"noopener noreferrer\">B-Sides<\/a> series, <a href=\"https:\/\/www.publicbooks.org\/section\/videogames\/\" target=\"_blank\" rel=\"noopener noreferrer\">Videogames<\/a>, <a href=\"https:\/\/www.publicbooks.org\/section\/tv\/\" target=\"_blank\" rel=\"noopener noreferrer\">TV<\/a>, <a href=\"https:\/\/www.publicbooks.org\/section\/global-black-history\/\" target=\"_blank\" rel=\"noopener noreferrer\">Global Black History<\/a>, <a href=\"https:\/\/www.publicbooks.org\/section\/higher-education\/\" target=\"_blank\" rel=\"noopener noreferrer\">Higher Education<\/a>, <a href=\"https:\/\/www.publicbooks.org\/section\/literary-fiction\/\" target=\"_blank\" rel=\"noopener noreferrer\">Literary Fiction<\/a>, and the <a href=\"https:\/\/www.publicbooks.org\/series\/public-thinker\/\" target=\"_blank\" rel=\"noopener noreferrer\">Public Thinker<\/a> series to tell us what\u2019s kept them going. We hope you\u2019ll find some sources of solace, welcome distraction, and inspiration here as well.<\/p>\n<hr \/>\n<h4 style=\"text-align: center;\"><a href=\"https:\/\/www.publicbooks.org\/author\/mona-sloane\/\" target=\"_blank\" rel=\"noopener noreferrer\">Mona Sloane<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Technology<\/h5>\n<p class=\"nonindented\"><strong><em>Race after Technology: Abolitionist Tools for the New Jim Code<\/em><\/strong>, by Ruha Benjamin (Polity). Technology has always been deeply entangled with realities and fantasies of production. Emerging technologies, whether we call them AI or not, are no exception. Examining the tech-industry hype with a critical gaze, Benjamin takes that cue and argues that race itself is a technology, a productive force that architects social and racial hierarchies into the technological infrastructures of everyday life. Her engaging and fascinating analysis is a sociological tour de force that introduces the concept of the \u201cNew Jim Code\u201d to show how technology is never neutral. One of the strongest features of this book is that it is not pessimistic, but channels an energy that is as hopeful as it is powerful.<\/p>\n<p class=\"nonindented\"><strong><em>digitalSTS: A Field Guide for Science and Technology Studies<\/em><\/strong>, edited by Janet Vertesi and David Ribes, coedited by Carl DiSalvo, Laura Forlano, Steven J. Jackson, Yanni Loukissas, Daniela K. Rosner, and Hanna Rose Shell (Princeton University Press). Science and Technology Studies (STS) has become a vital tool for understanding the link between technology and society\u2014and as such has become ever more important in our increasingly computerized world. <em>digitalSTS<\/em> is a vivid collection that assembles new thinking not only on digital scholarship but also on how digital technologies can be used for research and critique. Covering a wide range of sites and cases, as well as methodological approaches, the essays are essential reading for technology scholars, practitioners, and enthusiasts alike.<\/p>\n<p class=\"nonindented\"><strong><em>Design Justice: Community-Led Practices to Build the Worlds We Need<\/em><\/strong>, by Sasha Costanza-Chock (MIT Press). Long awaited after the bombshell 2018 essay \u201c<a href=\"https:\/\/papers.ssrn.com\/sol3\/papers.cfm?abstract_id=3189696\">Design Justice: Towards an Intersectional Feminist Framework for Design Theory and Practice<\/a>,\u201d Costanza-Chock\u2019s first monograph complicates the narrative of design\u2019s good intentions and unpacks how universalist design principles can reinforce harm against particular communities. Although fundamentally problematizing design\u2019s complicity with the matrix of domination (white-supremacist heteropatriarchy, ableism, capitalism, and settler colonialism), this book does not condemn design per se, but argues that it can be a tool for liberation and ecological justice when it is community led.<\/p>\n<figure id=\"attachment_36208\" aria-describedby=\"caption-attachment-36208\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-36208 size-full\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/The-Expanse-e1589674731910.jpg\" alt=\"\" width=\"560\" height=\"373\" \/><figcaption id=\"caption-attachment-36208\" class=\"wp-caption-text\"><i>The Expanse<\/i> (2015\u2013)<\/figcaption><\/figure>\n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"https:\/\/www.publicbooks.org\/author\/becquer-seguin\/\" target=\"_blank\" rel=\"noopener noreferrer\">B\u00e9cquer Segu\u00edn<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Literature in Translation<\/h5>\n<ul>\n<li><strong><em>A Luminous Republic<\/em><\/strong>, by Andr\u00e9s Barba, translated from the Spanish by Lisa Dillman (Mariner)<\/li>\n<li><strong><em>Four by Four<\/em><\/strong>, by Sara Mesa, translated from the Spanish by Katie Whittemore (Open Letter)<\/li>\n<li><strong><em>UNESCO and the Fate of the Literary<\/em><\/strong>, by Sarah Brouillette (Stanford University Press)<\/li>\n<li><strong><em>Inside the Critics\u2019 Circle: Book Reviewing in Uncertain Times<\/em><\/strong>, by Phillipa K. Chong (Princeton University Press)<\/li>\n<\/ul>\n<p class=\"nonindented\">For much of this year, my reading interests have been pulled in two rather different directions: contemporary Spanish novels and studies of literary institutions. I\u2019m in the middle of deciphering how, exactly, I think these two interests relate to one another. But in the meantime, I thought I\u2019d suggest a few eye-opening books that are helping me figure it out.<\/p>\n<p>A couple of freshly translated novels, by Andr\u00e9s Barba and Sara Mesa, look at the world through the eyes of children. Instead of turning tales of children into simple allegories for our times, these novels pay attention to the kind of critical perspective children can offer adults. Different bodies make for different forms of knowledge. Whether having to make sense of the motivations of a group of \u201cviolent\u201d kids, as in Barba\u2019s novel, or having to explain why certain students are being removed from a wealthy boarding school, as in Mesa\u2019s, the adults in these novels often find themselves one step behind their youthful counterparts\u2014an experience with which any parent can empathize.<\/p>\n<p>But what are some of the institutional mechanisms by which novels not written in English, such as Barba\u2019s and Mesa\u2019s, make it into the anglosphere? Two new books, by Sarah Brouillette and Phillipa Chong, look at two different yet integral gears that help make the clock of the English-language publishing market tick: UNESCO\u2019s various postwar literary programs and fiction book reviewing in the anglophone world. The books diverge dramatically in methodology: Chong\u2019s book is a work of cultural sociology, a study whose \u201cgoal is to provide a phenomenological portrait of reviewing,\u201d while Brouillette\u2019s book is part intellectual history, part literary criticism, but wholly focused on placing one of the centers of global cultural policy against the backdrop of economic history. If they share anything at all, it is literary-institutional radiography of the highest quality.<\/p>\n\n    <div class=\"wp-block-group pattern related-reading has-oat-background-color has-background has-global-padding is-layout-constrained wp-block-group-is-layout-constrained\" style=\"padding-top:var(--wp--preset--spacing--40);padding-right:var(--wp--preset--spacing--40);padding-bottom:var(--wp--preset--spacing--40);padding-left:var(--wp--preset--spacing--40)\">\n\n        <div class=\"block-heading\">Related readings<\/div>\n\n        <div class=\"wp-block-columns wp-block-post gap-tight is-layout-flex wp-block-columns-is-layout-flex\">\n\n            <div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n                <figure class=\"wp-block-post-featured-image\">\n                  <a href=\"https:\/\/www.publicbooks.org\/distant-sports\/\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"600\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/04\/2015-Final-Four-National-Semifinal-Wisconsin-vs.-Kentucky-e1587574455420-1000x600.jpg\" class=\"attachment-feature_img_crop size-feature_img_crop wp-post-image\" alt=\"\" \/><\/a>                <\/figure>\n            <\/div>\n\n            <div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n\n                <div class=\"taxonomy-category wp-block-post-terms\">\n                    <a href=\"https:\/\/www.publicbooks.org\/category\/essays\/\" rel=\"tag\">Essays<\/a>\n                <\/div>\n\n                <h5 class=\"h6 wp-block-post-title\">\n                    <a href=\"https:\/\/www.publicbooks.org\/distant-sports\/\" target=\"_self\">Distant Sports<\/a>\n                <\/h5>\n\n                    <div class=\"pb-author-block\">\n                  <a href=\"https:\/\/www.publicbooks.org\/author\/becquer-seguin\/\" class=\"pb-author-img-link\">\n            <img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2017\/05\/Photo-300x300.jpg\" class=\"pb-author-avatar wp-post-image\" alt=\"\" \/>          <\/a>\n                <a href=\"https:\/\/www.publicbooks.org\/author\/becquer-seguin\/\" class=\"pb-author-name\">\n          B\u00e9cquer Segu\u00edn        <\/a>\n      <\/div>\n    \n            <\/div>\n        <\/div>\n    <\/div>\n\n  \n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"http:\/\/www.publicbooks.org\/author\/john-plotz\/\" target=\"_blank\" rel=\"noopener noreferrer\">John Plotz<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">B-Sides Series<\/h5>\n<p class=\"nonindented\"><strong><em>The Corner That Held Them<\/em><\/strong>, by Sylvia Townsend Warner (NYRB Classics). <em>Lolly Willowes<\/em> (1926) is her weirdest book (as <a href=\"https:\/\/www.publicbooks.org\/b-sides-sylvia-townsend-warners-lolly-willowes\/\">Ivan Kreikamp showed<\/a>) and <em>Kingdoms of Elfin<\/em> (1977) her most charming. But bang in the middle of her career, Warner hit her stride with <em>The Corner that Held Them<\/em> (1948)<em>. <\/em>Say that it\u2019s about several generations of quietly desperate nuns in a fenland convent and you\u2019ve only lightly stroked the pelt of this feral, enigmatic beast of a book. Its innards are something altogether strange and wonderful.<\/p>\n<p class=\"nonindented\"><strong><em>What Is Real? The Unfinished Quest for the Meaning of Quantum Physics<\/em><\/strong>, by Adam Becker (Basic). A <em>j\u2019accuse<\/em> of sorts, showing in remarkable detail how ossifications of orthodox power hierarchies can stultify even areas of seeming intellectual free play\u2014say, theoretical physics. Originally published in 2018, <em>What Is Real? <\/em>shows the high cost of Werner Heisenberg\u2019s flirtation with Kantian phenomenology and mystical theories of how observer consciousness might alter reality. Over four crucial decades, the \u201cCopenhagen interpretation\u201d developed into an ultimately coercive and repressive effort to explain away certain unavoidable contradictions where quantum physics and relativity met.<\/p>\n<p class=\"nonindented\"><strong><em>The House of Government: A Saga of the Russian Revolution<\/em><\/strong>, by Yuri Slezkine (Princeton University Press). The heaviest birthday present I ever gave myself arrived on June 18, 2019: paperback publication day for <em>The House of Government<\/em> (<a href=\"https:\/\/www.publicbooks.org\/the-revolutions-failed-promise-to-women\/\">Eileen Kane praised<\/a> its 2017 hardback incarnation back in 2018). Almost every snapshot from the following beach week shows me clutching Slezkine\u2019s heartbreaking anatomy of the self-destructive currents of true belief that turned Leninist hope into Stalin-era horror. When I think about Pacific surf, what comes immediately to mind is the kids raised in the apparatchik apartment block that Slezkine anatomizes: groomed for power and high ideals\u2014and completely screwed.<\/p>\n<figure id=\"attachment_36219\" aria-describedby=\"caption-attachment-36219\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-36219 size-full\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/Disco-Elysium-e1589674704208.jpg\" alt=\"\" width=\"560\" height=\"315\" \/><figcaption id=\"caption-attachment-36219\" class=\"wp-caption-text\"><i>Disco Elysium<\/i> (2019)<\/figcaption><\/figure>\n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"http:\/\/www.publicbooks.org\/author\/matt-margini\/\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Margini<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Videogames<\/h5>\n<p><strong>\u00a0<\/strong><\/p>\n<p class=\"nonindented\"><strong><em>Disco Elysium<\/em><\/strong> (ZA\/UM, 2019). In a gaming landscape where expansive open worlds have become the dominant paradigm, <em>Disco Elysium <\/em>thinks small: the entire point-and-click detective RPG takes place in a few blocks of a vaguely European city-state still picking at the scars of an abortive communist revolution. But the true world of the game is smaller yet: it\u2019s a hilariously written, incredibly innovative representation of consciousness, forcing you to spar verbally with a raucous pantheon of detective Harry Du Bois\u2019s inner voices.<\/p>\n<p class=\"nonindented\"><strong><em>Telling Lies<\/em><\/strong> (Annapurna Interactive, 2019). No game in the history of games has ever been more prescient: in its complex meditation on the personas we craft, the emotional voids we try to fill, and the gaps that we can never quite breach when we communicate over webcam, Sam Barlow\u2019s <em>Telling Lies <\/em>captures everything wrong with the Zoomification of daily life. You play as a hacker sifting through surreptitiously obtained video calls between four interlocking characters, all played by real-life actors. It feels powerfully voyeuristic, alive with dead space.<\/p>\n<p class=\"nonindented\"><strong><em>In Other Waters<\/em><\/strong> (Jump Over the Age \/ Fellow Traveller, 2020). Whereas other games think of the \u201cmap screen\u201d and the \u201cbestiary\u201d as secondary to the core experience, Gareth Damian Martin\u2019s <em>In Other Waters <\/em>makes them literally everything: the whole game takes place within a 2D pilot\u2019s interface, full of radial menus and chunky yellow buttons, as you guide a stranded xenobiologist through a teeming alien ocean where she collects strange specimens and unfurls a greater mystery. But the layers of mediation between you and her intensify the experience, allowing the player\u2019s imagination to cocreate the world.<\/p>\n<figure id=\"attachment_36213\" aria-describedby=\"caption-attachment-36213\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-36213 size-full\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/clay-banks-z_DkoUqgx6M-unsplash-scaled-e1589674453523.jpg\" alt=\"\" width=\"560\" height=\"374\" \/><figcaption id=\"caption-attachment-36213\" class=\"wp-caption-text\"><i>Left Bank Books, Seattle<\/i> (2018). Photograph by Clay Banks\u00a0\/ Unsplash<\/figcaption><\/figure>\n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"http:\/\/www.publicbooks.org\/author\/sarah-kessler\/\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Kessler<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">TV<\/h5>\n<p class=\"nonindented\"><strong><em>How to Get Away with Murder<\/em><\/strong>, created by Peter Nowalk (ABC, 2014\u201320). I was a <em>Grey\u2019s Anatomy<\/em> fan, but my interest flagged when Cristina moved to Europe, then died with Derek. I was a <em>Scandal<\/em> fan, but my feminism couldn\u2019t handle Olivia\u2019s attachment to Fitz\u2019s mediocrity. Then, in late 2019, in the throes of a terrible throat infection and nostalgic for my hometown of Philadelphia, I embarked on a fateful binge: I finally started watching <em>How to Get Away with Murder<\/em>. Almost immediately, mere minutes into the series premiere, I realized that <em>HTGAWM<\/em> is Shondaland\u2019s crown jewel. And as law professor Annalise Keating, the show\u2019s ball-busting yet deeply emotive lead, Viola Davis is that crown jewel\u2019s crown jewel.<\/p>\n<p>Each season begins with a new murder before flashing back to the interpersonal catastrophes that led up to the bloody event, with the professor and her intrepid team of law students, the \u201cKeating Five,\u201d solving other cases, having steamy affairs, and lying to each other throughout. And somehow, amid it all, the show manages to carry on a pretty nuanced set of conversations about race, class, gender, and sexuality. <em>HTGAWM<\/em> recently concluded its sixth and final season, so now is a great time to binge the whole series. Just try to ignore the fact that its version of Philadelphia looks a lot like Los Angeles.<\/p>\n<p><em>\u00a0<\/em><\/p>\n<p class=\"nonindented\"><strong><em>The Expanse<\/em><\/strong>, created by Mark Fergus and Hawk Ostby (Syfy and Amazon Prime, 2015\u2013). My current favorite sci-fi show, <em>The Expanse<\/em>, has been nominated for multiple Hugo Awards (and even won one, in 2017), yet I didn\u2019t know of its existence until this year. Like its predecessor <em>Battlestar Galactica<\/em>, the show is filmed in Canada and features a number of wonderful actors from the region, plus the always-stunning Shohreh Aghdashloo of Iran, whose deep, gravelly voice plays its own starring role.<\/p>\n<p>Based on a series of novels by James S.\u00a0A. Corey, <em>The Expanse<\/em>\u2019s action spans Earth, Mars, the asteroid belt, and the outer planets, all of which have, where possible, been colonized by humans, who now fall into an interplanetary class hierarchy: Belters on the bottom, Dusters (or Martians) in the middle, and Earthers on top. When a mysterious \u201cprotomolecule\u201d disrupts the solar system, an interstellar crisis of space-operatic proportions ensues.<\/p>\n<p>At the center of the story is the ragtag crew of the <em>Rocinante<\/em>, a retrofitted Martian gunship. The <em>Roci<\/em>\u2019s inhabitants hail from Earth, Mars, and the Belt, so there\u2019s as much drama on the ship as there is out in space. It takes a minute for the cast to gel, but trust me, once you make it past the first episode, you\u2019ll be bingeing one of the smartest shows currently on TV.<\/p>\n<figure id=\"attachment_36216\" aria-describedby=\"caption-attachment-36216\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-36216 size-full\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/htgawm-e1589674402731.jpg\" alt=\"\" width=\"560\" height=\"373\" \/><figcaption id=\"caption-attachment-36216\" class=\"wp-caption-text\">Viola Davis as Annalise Keating in <i>How to Get Away with Murder<\/i> (2014\u201320)<\/figcaption><\/figure>\n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"http:\/\/www.publicbooks.org\/author\/annette-joseph-gabriel\/\" target=\"_blank\" rel=\"noopener noreferrer\">Annette Joseph-Gabriel<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Global Black History<\/h5>\n<p class=\"nonindented\"><strong><em>To Exist Is to Resist: Black Feminism in Europe<\/em><\/strong>, edited by Akwugo Emejulu and Francesca Sobande (Pluto). <em>To Exist Is to Resist <\/em>makes a critical contribution to Black feminist scholarship by foregrounding the long history of Black women\u2019s organizing, intellectual production, and community activism in Europe. From Switzerland to France to the United Kingdom, and through essays, testimonies, and correspondence, the contributions to this volume highlight the rich array of strategies and visions that constitute Black feminist praxis in Europe.<\/p>\n<p class=\"nonindented\"><strong><em>Sudan\u2019s \u201cSouthern Problem\u201d: Race, Rhetoric, and International Relations, 1961\u20131991<\/em><\/strong>, by Sebabatso C. Manoeli (Palgrave MacMillan). Read primarily as a site of civil war, Sudan is rarely at the forefront of discussions about Pan-Africanism or Black internationalism. But for Manoeli, it is precisely this peripheral location that makes Sudan an important site for examining the flow of these movements\u2019 ideas in the Cold War period. The author makes a compelling case for a new history of the civil war in Sudan, one that decenters militarization and foreign aid, and instead foregrounds the narratives that the government and rebels crafted to gain legitimacy in international opinion.<\/p>\n\n    <div class=\"wp-block-group pattern related-reading has-oat-background-color has-background has-global-padding is-layout-constrained wp-block-group-is-layout-constrained\" style=\"padding-top:var(--wp--preset--spacing--40);padding-right:var(--wp--preset--spacing--40);padding-bottom:var(--wp--preset--spacing--40);padding-left:var(--wp--preset--spacing--40)\">\n\n        <div class=\"block-heading\">Related readings<\/div>\n\n        <div class=\"wp-block-columns wp-block-post gap-tight is-layout-flex wp-block-columns-is-layout-flex\">\n\n            <div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n                <figure class=\"wp-block-post-featured-image\">\n                  <a href=\"https:\/\/www.publicbooks.org\/distant-tv\/\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"600\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/Caitriona-Balfe-e1588707486325-1000x600.jpg\" class=\"attachment-feature_img_crop size-feature_img_crop wp-post-image\" alt=\"\" \/><\/a>                <\/figure>\n            <\/div>\n\n            <div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n\n                <div class=\"taxonomy-category wp-block-post-terms\">\n                    <a href=\"https:\/\/www.publicbooks.org\/category\/essays\/\" rel=\"tag\">Essays<\/a>\n                <\/div>\n\n                <h5 class=\"h6 wp-block-post-title\">\n                    <a href=\"https:\/\/www.publicbooks.org\/distant-tv\/\" target=\"_self\">Distant TV<\/a>\n                <\/h5>\n\n                    <div class=\"pb-author-block\">\n                  <a href=\"https:\/\/www.publicbooks.org\/author\/sarah-kessler\/\" class=\"pb-author-img-link\">\n            <img loading=\"lazy\" decoding=\"async\" width=\"276\" height=\"300\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2016\/10\/Kessler-headshot-2019-e1549986826692-276x300.jpg\" class=\"pb-author-avatar wp-post-image\" alt=\"Sarah Kessler\" \/>          <\/a>\n                <a href=\"https:\/\/www.publicbooks.org\/author\/sarah-kessler\/\" class=\"pb-author-name\">\n          Sarah Kessler        <\/a>\n      <\/div>\n    \n            <\/div>\n        <\/div>\n    <\/div>\n\n  \n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"https:\/\/www.publicbooks.org\/author\/carolyn-dever\/\" target=\"_blank\" rel=\"noopener noreferrer\">Carolyn Dever<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Higher Education<\/h5>\n<p class=\"nonindented\"><strong><em>Academia Next: The Futures of Higher Education<\/em><\/strong>, by Bryan Alexander (Johns Hopkins University Press). \u201cImagine a future academy after a pandemic has struck the world.\u201d <em>Academic Next<\/em> is a very important book. Written before the pandemic, published a few short months ago, in the before times, when the pandemic remained a hypothetical event, <em>Academic Next<\/em> will live as the first book about the transformational, traumatic effects that have changed US colleges and universities in the first quarter of 2020. For Alexander, US higher education exists in a dynamic and ever-changing context of geopolitics, demographics, climate change, technology, and, yes, public health. He makes it clear: the pandemic may be a \u201cblack swan\u201d event, but the pressures of transformation are formidable. The imminence of the change Alexander predicts? It is already in the rearview mirror.<\/p>\n<figure id=\"attachment_36210\" aria-describedby=\"caption-attachment-36210\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-36210\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/In-Other-Waters-1024x576.jpg\" alt=\"\" width=\"560\" height=\"315\" \/><figcaption id=\"caption-attachment-36210\" class=\"wp-caption-text\"><i>In Other Waters<\/i> (2020)<\/figcaption><\/figure>\n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"http:\/\/www.publicbooks.org\/author\/nicholas-dames\/\" target=\"_blank\" rel=\"noopener noreferrer\">Nicholas Dames<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Literary Fiction<\/h5>\n<p><em>\u00a0<\/em><\/p>\n<p class=\"nonindented\"><strong><em>Weather<\/em><\/strong>, by Jenny Offill (Knopf). Impeccable timing, to release this book in early February. Awful timing, on my part, to read it in mid-March. The setting: Brooklyn (naturally), sometime around now; that is, when the only reasonable response to the future is some variety of prepping. The protagonist: a university librarian, married with child, greeting every sign of the end of days\u2014bodily, political, environmental\u2014with mordant one-liners, as if running a vaudeville routine in a monastery. At the end of the novel, an achievement: she goes for a walk, her dread in temporary abeyance. Unable to do that myself, I found myself even more trapped with my panic. Very much, and not at all, the novel for right now.<\/p>\n<p class=\"nonindented\"><strong><em>Vivian<\/em><\/strong>, by Christina Hesselholdt, translated from the Danish by Paul Russell Garrett (Fitzcarraldo). Maybe the closest I\u2019ve ever come to daily proximity to a great artist was with Vivian Maier, the photographer whose enormous oeuvre was largely created while she worked for decades as a nanny in the Chicago suburb where I was raised. Not that I knew it, or her; almost no one did, at least until 2007, when some of her work was auctioned off; it began to gain fame shortly after her death, in 2009. (As for that work, think Garry Winogrand, but with an acerbic wit that is at once mocking and self-mocking.) I\u2019ve wondered if I ever saw her with her Rolleiflex, or she me.<\/p>\n<p>Hesselholdt\u2019s novel\u2014narrated in a panoply of voices, from Maier\u2019s complacent employers to the troubled European relations from whom she fled into willed anonymity\u2014imagines just that: the ways in which photographer and unwitting subject intersect, the hunger of the artist to both vanish and appropriate. <em>Vivian<\/em> is a multiply refracted picture of the causes and costs of that hunger, of the damaged \u00e9migr\u00e9 artist who hid in suburban attics in order to live a perfectly vicarious life. So with Hesselholdt herself, who teases out the vicariousness of her own project, the maps and guidebooks a Danish novelist needs to capture a country and a time\u2014the American Midwest, the 1960s and \u201970s\u2014she otherwise doesn\u2019t know. It\u2019s a novel that courts sentimentality but finally resists it, and in fact ends with the novelist interrogating her recalcitrant subject, who refuses to submit.<\/p>\n<p class=\"nonindented\"><strong><em>Hurricane Season<\/em><\/strong>, by Fernanda Melchor, translated from the Spanish by Sophie Hughes (New Directions). A torrent\u2014at a first read it is viscerally gripping, particularly at the level of its extraordinarily elongated yet propulsive sentences and its lurid, complex murder plot. Only later does one begin to come to terms with how formally ingenious it is in broader terms, particularly in its way of narrating the damaged sociality of austerity, narco-cartel predation, and state corruption as represented by the tattered remains of an oil economy in a small Veracruz town. There were many novels about the pathologies of male violence this year, but this one, an entirely new compound of different strains of modernist practice, will, I think, last with me longest.<\/p>\n<figure id=\"attachment_36217\" aria-describedby=\"caption-attachment-36217\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-36217\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2020\/05\/daria-nepriakhina-p6ac4ss5vVM-unsplash-1024x582.jpg\" alt=\"\" width=\"560\" height=\"318\" \/><figcaption id=\"caption-attachment-36217\" class=\"wp-caption-text\"><i>Cat Scholar<\/i> (2016). Photograph by Daria Nepriakhina\u00a0\/ Unsplash<\/figcaption><\/figure>\n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"https:\/\/www.publicbooks.org\/author\/b-r-cohen\/\" target=\"_blank\" rel=\"noopener noreferrer\">B. R. Cohen<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Public Thinker Series<\/h5>\n<p class=\"nonindented\"><strong><em>American Lucifers: The Dark History of Artificial Light, 1750\u20131865<\/em><\/strong>, by Jeremy Zallen (University of North Carolina Press). Maybe I\u2019m jaded, but in my experience, calling a book academic means calling it good for libraries and grad seminars, not for home shelves or friendly conversations. Jeremy Zallen\u2019s <em>American Lucifers <\/em>could be mistaken for one of those so-called academic books except that it\u2019s basically riveting. Put it on your shelf; tell your friends. People used a whole lot of things to make light before electricity came around, like whales, pigs, and pine tar. Getting those resources was brutal. Children, women, and enslaved laborers did a lot of it. Child laborers would glow from making phosphorous-tipped matches. Workers\u2019 jaws would fall off from too much toxic exposure. Zallen explains it all.<\/p>\n<p class=\"nonindented\"><strong><em>Recollections of My Nonexistence<\/em><\/strong>, by Rebecca Solnit (Viking). Rebecca Solnit\u2019s new one is a memoir of gender, writing, and violence. The writing is affecting, the subject matter is hard. <em>Unflinching<\/em> might be a good word. I don\u2019t know how she does it. Solnit has 21 books, by my count, and all of them stand out for their consistent deliberations on hope, grief, encouragement, and sincerity. This is by no means an undernoticed book, but if we\u2019re talking about thinking in public, we\u2019re talking about Solnit.<\/p>\n\n    <div class=\"wp-block-group pattern related-reading has-oat-background-color has-background has-global-padding is-layout-constrained wp-block-group-is-layout-constrained\" style=\"padding-top:var(--wp--preset--spacing--40);padding-right:var(--wp--preset--spacing--40);padding-bottom:var(--wp--preset--spacing--40);padding-left:var(--wp--preset--spacing--40)\">\n\n        <div class=\"block-heading\">Related readings<\/div>\n\n        <div class=\"wp-block-columns wp-block-post gap-tight is-layout-flex wp-block-columns-is-layout-flex\">\n\n            <div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n                <figure class=\"wp-block-post-featured-image\">\n                  <a href=\"https:\/\/www.publicbooks.org\/public-picks-2019\/\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"600\" src=\"https:\/\/www.publicbooks.org\/wp-content\/uploads\/2019\/05\/publicpicks2019-960x600.jpg\" class=\"attachment-feature_img_crop size-feature_img_crop wp-post-image\" alt=\"\" \/><\/a>                <\/figure>\n            <\/div>\n\n            <div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n\n                <div class=\"taxonomy-category wp-block-post-terms\">\n                    <a href=\"https:\/\/www.publicbooks.org\/category\/reviews\/\" rel=\"tag\">Reviews<\/a>\n                <\/div>\n\n                <h5 class=\"h6 wp-block-post-title\">\n                    <a href=\"https:\/\/www.publicbooks.org\/public-picks-2019\/\" target=\"_self\">Public Picks 2019<\/a>\n                <\/h5>\n\n                    <div class=\"pb-author-block\">\n                <a href=\"https:\/\/www.publicbooks.org\/author\/the-editorial-staff\/\" class=\"pb-author-name\">\n          The Editorial Staff        <\/a>\n      <\/div>\n    \n            <\/div>\n        <\/div>\n    <\/div>\n\n  \n<h4 class=\"nonindented\" style=\"text-align: center;\"><a href=\"https:\/\/www.publicbooks.org\/author\/bonnie-chau\/\" target=\"_blank\" rel=\"noopener noreferrer\">Bonnie Chau<\/a><\/h4>\n<h5 class=\"nonindented\" style=\"text-align: center;\">Literature in Translation<\/h5>\n<p class=\"nonindented\"><strong><em>Blood Sisters<\/em><\/strong>, by Kim Yideum, translated from the Korean by Ji Yoon Lee (Deep Vellum). The first novel by feminist poet Kim Yideum tells the story of a young woman in 1980s South Korea, navigating college life, the emotional consequences of political turmoil, and the terrifying burden of histories of violence wrought by patriarchy and cultural conservatism. As she deals with the traumas of a family member\u2019s death, a friend\u2019s suicide, and her own sexual assault, there is something powerfully irrefutable about the narrator\u2019s untethered unloading of confessions, observations, and scathing rage. Lee\u2019s multifaceted translation captures the character\u2019s contradictions\u2014expressing the uncontrollable forces of sorrow, apathy, confusion\u2014and the hope that having a voice is a way to freedom.<\/p>\n<p class=\"nonindented\"><strong><em>They Will Drown in Their Mother\u2019s Tears<\/em><\/strong>, by Johannes Anyuru, translated from the Swedish by Saskia Vogel (Two Lines). From the opening scene\u2014amid the chaos and horror of a terrorist attack at a bookstore in Sweden, the narrator, a girl strapped in a bomb vest, experiences an intense disorientation\u2014this novel unfolds layer by layer, only to reveal evermore overlapping layers. The story shifts back and forth between present and past and future, between planes of reality, between flashbacks, from the point of view of the girl, now in a psychiatric clinic, to a writer who is mysteriously compelled to return again and again to the clinic to hear and bear witness to the girl\u2019s troubling story of time travel. A powerful exploration of memory and trauma, class warfare, racism and xenophobia, family and love, identity and ideology.<\/p>\n<p class=\"nonindented\"><strong><em>China Dream<\/em><\/strong>, by Ma Jian, translated from the Chinese by Flora Drew (Counterpoint). The tragedy of this satire is that many of its absurdities are real: the novel follows the trajectory of Ma Daode, a Chinese party official in a newly appointed position tasked with replacing citizens\u2019 private dreams with president Xi Jinping\u2019s national vision of a communal China Dream. Soon, however, this dream is disrupted and the trajectory begins to fall when Director Ma\u2019s own thoughts are overtaken by nightmarish flashbacks to his personal memories of the Cultural Revolution, memories that propel him to increasingly erratic and desperate behavior. It\u2019s a bleak dystopian comedy, but Ma\u2019s rendering also allows for a sense of cautious tenderness.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Each year around this time we send our readers into summer with a thoughtfully curated list of the titles appearing over the past 12 months that dazzled, moved, and challenged us most.<\/p>\n","protected":false},"author":5,"featured_media":36232,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2497],"tags":[1833,1834,1231,1215,1404,1835,17,1418,1097,1836,1091,197,20,1837,1200,1243,33,1108,1380,1838,1413,1733,1075,196,1306,1839,80,1617,1244,992,1096,1840],"pbpartner":[],"section":[],"pbseries":[],"class_list":["post-36167","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","tag-abc","tag-annapurna-interactive","tag-basic","tag-counterpoint","tag-deep-vellum","tag-fellow-traveller","tag-fiction","tag-fitzcarraldo","tag-johns-hopkins-university-press","tag-jump-over-the-age","tag-knopf","tag-lists","tag-literature","tag-mariner","tag-mit-press","tag-new-directions","tag-nonfiction","tag-nyrb-classics","tag-open-letter","tag-palgrave-macmillan","tag-pluto","tag-polity","tag-princeton-university-press","tag-public-picks","tag-stanford-university-press","tag-syfy","tag-television","tag-two-lines","tag-university-of-north-carolina-press","tag-videogames","tag-viking","tag-za-um"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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