Took girls to drive-in. Weather was cool but very nice. Crowded. Long lines until after movie started. Had hamburgers but no french fries available. Had Chilly Dillies! The layout and service and concession stand still are a nightmare that can't be fixed. Bottlenecks at the cash registers and condiment bar because he intentionally narrowed down the space.
George Clooney's Leatherheads is a disappointment. Shows how hard it is it to write, direct and pace comedy (see On the Twentieth Century, His Girl Friday and The Philadelphia Story for watchable movies liberally borrowed from for this one.) Clooney, the director, should have told Clooney, the actor, to do more with character than "Clooney-isms" for bits of business. Renee Zellweger, the tough as nails newspaper women, is no Rosalind Russell. I kept wondering why Julia Roberts did reprise her Ocean's role in this movie.
Saturday, April 05, 2008
Galaxy Drive-in/ Leatherheads
Took girls to Galaxy. Weather was a little cool but lovely. Crowded. Talked about all kinds of food options but settled on hamburgers from concession stand. Long lines until after movie started and no french fries. Counter service is dreadful, food is passable and the layout is still wrong (necking people down from both sides in front o condiments is confusing and wrong; both sides are not equally stocked).
George Clooney's Leatherheads earned it C rating . Shows how hard it is to write and direct and pace comedy (see His Girl Friday, On the Twentieth Century and The Philadelphia Story for vastly superior movies that were liberally quoted in this movie.) Clooney, the director, should have asked Clooney, the actor, to quit relying upon "Clooney-isms" for his character. Renee Zellweger's newspaper women is no Rosalind Russell. Made me think about Julia Roberts in the Ocean's movies and wonder why she didn't do this part.
George Clooney's Leatherheads earned it C rating . Shows how hard it is to write and direct and pace comedy (see His Girl Friday, On the Twentieth Century and The Philadelphia Story for vastly superior movies that were liberally quoted in this movie.) Clooney, the director, should have asked Clooney, the actor, to quit relying upon "Clooney-isms" for his character. Renee Zellweger's newspaper women is no Rosalind Russell. Made me think about Julia Roberts in the Ocean's movies and wonder why she didn't do this part.
Friday, April 04, 2008
Ben Brantley's Review of South Pacific
April 4, 2008
THEATER REVIEW ‘SOUTH PACIFIC’
Optimist Awash in the Tropics
By BEN BRANTLEY
Love blossoms fast and early in Bartlett Sher’s rapturous revival of Rodgers and Hammerstein’s “South Pacific,” which opened Thursday at the Vivian Beaumont Theater at Lincoln Center. And while you may think, “But this is so sudden,” you don’t doubt for a second that it’s the real thing.
I’m talking partly about the chemistry between the production’s revelatory stars, Kelli O’Hara and Paulo Szot, in the opening scene of this tale from 1949 of men and women unmoored by war. But I’m also talking about the chemistry between a show and its audience.
For this “South Pacific” recreates the unabashed, unquestioning romance that American theatergoers had with the American book musical in the mid-20th century, before the genre got all self-conscious about itself. There’s not an ounce of we-know-better-now irony in Mr. Sher’s staging. Yet the show feels too vital to be a museum piece, too sensually fluid to be square.
I could feel the people around me leaning in toward the stage, as if it were a source of warmth on a raw, damp day. And that warmth isn’t the synthetic fire of can-do cheer and wholesomeness associated (not always correctly) with Rodgers and Hammerstein. It’s the fire of daily life, with all its crosscurrents and ambiguities, underscored and clarified by music.
During the past couple of decades directors have often felt the need to approach the Rodgers and Hammerstein classics with either a can of black paint or misted-up rose-colored glasses. (This has been especially true in London, with the National Theater’s celebrated darkness-plumbing productions of “Carousel” and “Oklahoma!,” and the current sugar-glazed cash-cow of a revival of “The Sound of Music” in the West End.) Mr. Sher, who heralded the return of full-blown lyricism to musicals with his exquisite production of Adam Guettel and Craig Lucas’s “Light in the Piazza” several years ago, puts his trust unconditionally in the original material.
It’s as if a vintage photograph had been restored not with fuzzy, hand-colored prettiness but with you-are-there clarity. Though Michael Yeargan’s perspective-stretching beachscape of a set isn’t photo-realist, you somehow accept it as more real than real, just as the score performed by the sumptuously full orchestra (with musical direction by Ted Sperling) feels from the beginning like thought made effortlessly audible.
Of all the Rodgers and Hammerstein hits “South Pacific” has in recent years seemed the least fit for revival, despite its glorious score. The show’s book, by Hammerstein and Joshua Logan, was inspired by James A. Michener’s “Tales of the South Pacific.” Set during World War II on two Pacific islands, where American sailors were stationed, it is Rodgers and Hammerstein’s most topical work, addressing a war that had ended only four years earlier.
It is also the show in which the creators wear their liberal consciences most visibly. In following two love stories, both between people of different cultures, “South Pacific” made an overt plea for racial tolerance. Few things in showbiz date more quickly than progressive politics.
It made sense that theater iconoclasts, including the Wooster Group (with its wry spoof “North Atlantic”) and Anne Bogart (with a notorious deconstruction set in a mental ward), would see “South Pacific” as a natural demolition target. Even Trevor Nunn’s generally generic restaging of the show for the National Theater had a gritty, sweaty style that brought out the frightened racism in the show’s heroine.
That’s Ensign Nellie Forbush, the Navy nurse from Little Rock whose romance with Emile de Becque, a French plantation owner, runs aground when she learns he had children with a Polynesian woman. The part was created by Mary Martin, playing opposite the opera star Ezio Pinza, and her avowed “cock-eyed optimism” became an emblem for postwar American hope and resilience.
Ms. O’Hara, who played very different incarnations of American womanhood in “Piazza” and the 2006 revival of “The Pajama Game,” doesn’t stint on Nellie’s all-American eagerness. But in a superbly shaded portrait she gives the character a troubled, apprehensive guardedness as well. This self-described hick’s Arkansas accent comes from the country club, not the mountains. And it’s all too easy to imagine her returning to a world of white gloves and cautious good deeds.
Yet Nellie is receptive not just to the serious charms of Emile (the seriously charming Mr. Szot) but to those of the lush landscape in which she finds herself. Ms. O’Hara, whose lovely soprano is never merely lovely here, creates a study in ambivalence that is both subtly layered and popping with energy.
Even when she’s singing that she’s in love with a wonderful guy, she seems to be wrestling with complicated feelings that have surprised her. The same rich sincerity pervades the deep-reaching baritone of Mr. Szot, best known here for his work with the New York City Opera. When he delivers “Some Enchanted Evening” or “This Nearly Was Mine,” it’s not as a swoon-making blockbuster (though of course it is), but as a measured and honest consideration of love.
This reflective aspect infuses every number; nothing is performed as a clap-for-me showstopper. Mr. Sher and Christopher Gattelli, who did the musical staging, have reinvigorated the concept of the organic musical, in which song feels as natural as breathing.
Even crowd-rousers like “Nothin’ Like a Dame,” sung by the chorus of Seabees (led by Danny Burstein, exuberant and infectious as the wily Luther Billis), are made to feel ordinary, as if part of a daily routine. When the entrepreneurial islander Bloody Mary (the Hawaiian actress Loretta Ables Sayre in a terrific New York debut), sings the familiar “Bali Ha’i” and “Happy Talk,” they feel new because they’re rendered as systematic acts of seduction.
You’re always conscious of the calculation in Bloody Mary’s eyes as she tries to secure Lieutenant Cable (Matthew Morrison) as a husband for her daughter, Liat (Li Jun Li, heartbreakingly fragile). Like Ms. O’Hara, Mr. Morrison (who played opposite her in “Piazza”) keeps us aware of just where his Ivy League marine comes from and how disoriented he is in a land of new and shifting rules.
The alluring and divisive shadows and light of the islands are beautifully accented by Mr. Yeargan’s adroit use of slatted screens to define interior spaces that can never entirely shut out the bright world beyond. (The impeccable lighting is by Donald Holder.)
I know we’re not supposed to expect perfection in this imperfect world, but I’m darned if I can find one serious flaw in this production. (Yes, the second act remains weaker than the first, but Mr. Sher almost makes you forget that.) All of the supporting performances, including those of the ensemble, feel precisely individualized, right down to how they wear Catherine Zuber’s carefully researched period costumes.
Notice, by the way, how Mr. Sher implicitly underscores the theme of racism by quietly having the few African-American sailors in the company keep apart from the others. And the production never strains to evoke parallels between the then and now of the United States at war in an alien land.
Above all, though, what impresses about this “South Pacific” is how deeply, fallibly and poignantly human every character seems. Nearly 60 years ago Brooks Atkinson, writing in The New York Times, described the show as “a tenderly beautiful idyll of genuine people inexplicably tossed together in a strange corner of the world.”
I think a lot of us had forgotten that’s what “South Pacific” is really about. In making the past feel unconditionally present, this production restores a glorious gallery of genuine people who were only waiting to be resurrected.
RODGERS & HAMMERSTEIN’S SOUTH PACIFIC
Music by Richard Rodgers; lyrics by Oscar Hammerstein II; book by Mr. Hammerstein and Joshua Logan, adapted from “Tales of the South Pacific” by James A. Michener; directed by Bartlett Sher; musical staging by Christopher Gattelli; music director, Ted Sperling; sets by Michael Yeargan; costumes by Catherine Zuber; lighting by Donald Holder; sound by Scott Lehrer; orchestrations by Robert Russell Bennett; dance and incidental music arrangements by Trude Rittmann; production stage manager, Michael Brunner; associate producer, Ira Weitzman; general manager, Adam Siegel; production manager, Jeff Hamlin. Presented by Lincoln Center Theater under the direction of André Bishop and Bernard Gersten in association with Bob Boyett. At the Vivian Beaumont Theater, Lincoln Center; (212) 239-6200. Through June 22. Running time: 2 hours 50 minutes.
WITH: Kelli O’Hara (Ensign Nellie Forbush), Paulo Szot (Emile de Becque), Matthew Morrison (Lt. Joseph Cable), Danny Burstein (Luther Billis), Loretta Ables Sayre (Bloody Mary), Sean Cullen (Cmdr. William Harbison), Victor Hawks (Stewpot), Luka Kain (Jerome), Li Jun Li (Liat), Laurissa Romain (Ngana), Skipp Sudduth (Capt. George Brackett) and Noah Weisberg (Professor).
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Monday, March 31, 2008
Jean Nouvel Wins Pritzker Prize
March 31, 2008
French Architect Wins Pritzker Prize
By ROBIN POGREBIN
Jean Nouvel, the bold French architect known for such wildly diverse projects as the muscular Guthrie Theater in Minneapolis and the exotically louvered Arab World Institute in Paris, has received architecture’s top honor, the Pritzker Prize.
Mr. Nouvel, 62, is the second French citizen to take the prize, awarded annually to a living architect by a jury chosen by the Hyatt Foundation. (Christian de Portzamparc of France won in 1994.) His selection is to be announced Monday.
“For over 30 years Jean Nouvel has pushed architecture’s discourse and praxis to new limits,” the Pritzker jury said in its citation. “His inquisitive and agile mind propels him to take risks in each of his projects, which, regardless of varying degrees of success, have greatly expanded the vocabulary of contemporary architecture.”
In extending that vocabulary Mr. Nouvel has defied easy categorization. His buildings have no immediately identifiable signature, like the curves of Frank Gehry or the light-filled atriums of Renzo Piano. But each is strikingly distinctive, be it the Agbar Tower in Barcelona (2005), a candy-colored, bullet-shaped office tower, or his KKL cultural and congress center in Lucerne, Switzerland (2000), with a slim copper roof cantilevered delicately over Lake Lucerne.
“Every time I try to find what I call the missing piece of the puzzle, the right building in the right place,” Mr. Nouvel said this month over tea at the Mercer Hotel in SoHo.
Yet he does not design buildings simply to echo their surroundings. “Generally, when you say context, people think you want to copy the buildings around, but often context is contrast,” he said.
“The wind, the color of the sky, the trees around — the building is not done only to be the most beautiful,” he said. “It’s done to give advantage to the surroundings. It’s a dialogue.”
The prize, which includes a $100,000 grant and a bronze medallion, is to be presented to Mr. Nouvel on June 2 in a ceremony at the Library of Congress in Washington.
Among Mr. Nouvel’s New York buildings are 40 Mercer, a 15-story red-and-blue, glass, wood and steel luxury residential building completed last year in SoHo, and a soaring 75-story hotel-and-museum tower with crystalline peaks that is to be built next to the Museum of Modern Art in Midtown. Writing in The New York Times in November, Nicolai Ouroussoff said the Midtown tower “promises to be the most exhilarating addition to the skyline in a generation.”
Born in Fumel in southwestern France in 1945, Mr. Nouvel originally wanted to be an artist. But his parents, both teachers, wanted a more stable life for him, he said, so they compromised on architecture.
“I realized it was possible to create visual compositions” that, he said, “you can put directly in the street, in the city, in public spaces.”
At 20 Mr. Nouvel won first prize in a national competition to attend the École des Beaux-Arts in Paris. By the time he was 25 he had opened his own architecture firm with François Seigneur; a series of other partnerships followed.
Mr. Nouvel cemented his reputation in 1987 with completion of the Arab World Institute, one of the “grand projects” commissioned during the presidency of François Mitterrand. A showcase for art from Arab countries, it blends high technology with traditional Arab motifs. Its south-facing glass facade, for example, has automated lenses that control light to the interior while also evoking traditional Arab latticework. For his boxy, industrial Guthrie Theater, which has a cantilevered bridge overlooking the Mississippi River, Mr. Nouvel experimented widely with color. The theater is clad in midnight-blue metal; a small terrace is bright yellow; orange LED images rise along the complex’s two towers.
In its citation, the Pritzker jury said the Guthrie, completed in 2006, “both merges and contrasts with its surroundings.” It added, “It is responsive to the city and the nearby Mississippi River, and yet, it is also an expression of theatricality and the magical world of performance.”
The bulk of Mr. Nouvel’s commissions work has been in Europe however. Among the most prominent is his Quai Branly Museum in Paris (2006), an eccentric jumble of elements including a glass block atop two columns, some brightly colorful boxes, rust-colored louvers and a vertical carpet of plants. “Defiant, mysterious and wildly eccentric, it is not an easy building to love,” Mr. Ouroussoff wrote in The Times.
A year later he described Mr. Nouvel’s Paris Philharmonie concert hall, a series of large overlapping metal plates on the edge of La Villette Park in northeastern Paris, as “an unsettling if exhilarating trip into the unknown.”
Mr. Nouvel has his plate full at the moment. He is designing a satellite of the Louvre Museum in Abu Dhabi, in the United Arab Emirates, giving it a shallow domed roof that creates the aura of a just-landed U.F.O. He recently announced plans for a high-rise condominium in Los Angeles called SunCal tower, a narrow glass structure with rings of greenery on each floor. His concert hall for the Danish Broadcasting Corporation is a tall rectangular box with transparent screen walls.
Before dreaming up a design, Mr. Nouvel said, he does copious research on the project and its surroundings. “The story, the climate, the desires of the client, the rules, the culture of the place,” he said. “The references of the buildings around, what the people in the city love.”
“I need analysis,” he said, noting that every person “is a product of a civilization, of a culture.” He added: “Me, I was born in France after the Second World War. Probably the most important cultural movement was Structuralism. I cannot do a building if I can’t analyze.”
Although he becomes attached to his buildings, Mr. Nouvel said, he understands that like human beings, they grow and change over time and may even one day disappear. “Architecture is always a temporary modification of the space, of the city, of the landscape,” he said. “We think that it’s permanent. But we never know.”
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Friday, February 15, 2008
Valentine's Day (2008)
pickled okra, ginger snaps and a card in front seat of Honda when I got off train at Hampton;
all drive-in pictures printed for scrapbooking; took our valentine puppies to Sonic for supper: java hazelnut chiller was good
all drive-in pictures printed for scrapbooking; took our valentine puppies to Sonic for supper: java hazelnut chiller was good
Wednesday, February 13, 2008
The Potomac primaries
Obama and McClain sweep MD, DC and VA....Obama now has delegate lead...McCain leads Huckabee in VA only by a few percentage points
Monday, February 11, 2008
Lab Results for Channing's Urine Sample
Findings are very good. Will keep on amoxycillin for a month, retest, and perhaps cut back to 1 every other day
Ewing Buick for burned out light bulb, state inspection, oil change
93.00 BUT several 1000's of suggested repairs for leaking oil, valves, and transmission maintenance
Saturday, February 09, 2008
Thursday, February 07, 2008
Tuesday, February 05, 2008
Super Tuesday Results
Obama, Clinton split the states
- Clinton carries big states (NY, CA)
- Obama carries the most states (CT, GA and western caucus states, CO, MT, WY)
John McCain does not clinch
-Huckabee seeps South
-Romney carries western caucus states
- Clinton carries big states (NY, CA)
- Obama carries the most states (CT, GA and western caucus states, CO, MT, WY)
John McCain does not clinch
-Huckabee seeps South
-Romney carries western caucus states
Sunday, January 27, 2008
A Relentless Updike Mapped America’s Mysteries By MICHIKO KAKUTANI
An Appraisal
A Relentless Updike Mapped America’s Mysteries By MICHIKO KAKUTANI
Endowed with an art student’s pictorial imagination, a journalist’s sociological eye and a poet’s gift for metaphor, John Updike — who died on Tuesday at 76 — was arguably this country’s one true all-around man of letters. He moved fluently from fiction to criticism, from light verse to short stories to the long-distance form of the novel: a literary decathlete in our age of electronic distraction and willful specialization, Victorian in his industriousness and almost blogger-like in his determination to turn every scrap of knowledge and experience into words.
It is as a novelist who opened a big picture window on the American middle class in the second half of the 20th century, however, that he will be best remembered. In his most resonant work, Mr. Updike gave “the mundane its beautiful due,” as he once put it, memorializing the everyday mysteries of love and faith and domesticity with extraordinary nuance and precision. In Kodachrome-sharp snapshots, he gave us the 50’s and early 60’s of suburban adultery, big cars and wide lawns, radios and hi-fi sets, and he charted the changing landscape of the 70’s and 80’s, as malls and subdivisions swallowed up small towns and sexual and social mores underwent a bewildering metamorphosis.
Mr. Updike’s four keenly observed Rabbit novels (“Rabbit, Run,” 1960; “Rabbit Redux,” 1971; “Rabbit Is Rich,” 1981; and “Rabbit at Rest,” 1990) chronicled the adventures of one Harry Rabbit Angstrom — high school basketball star turned car salesman, householder and errant husband — and his efforts to cope with the seismic public changes (from feminism to the counterculture to antiwar protests) that rattled his cozy nest. Harry, who self-importantly compared his own fall from grace to this country’s waning power, his business woes to the national deficit, was both a representative American of his generation and a kind of scientific specimen — an index to the human species and its propensity for doubt and narcissism and self immolation.
In fulfilling Stendhal’s classic definition of a novel as “a mirror that strolls along a highway,” reflecting both the “blue of the skies” and “the mud puddles underfoot,” the Rabbit novels captured four decades of middle-class American life. Mr. Updike’s stunning and much underestimated 1996 epic, “In the Beauty of the Lilies,” tackled an even wider swath of history. In charting the fortunes of an American family through some 80 years, the author showed how dreams, habits and predilections are handed down generation to generation, parent to child, even as he created a kaleidoscopic portrait of this country from its nervous entry into the 20th century to its stumbling approach to the millennium.
Producing roughly a book or so a year, Mr. Updike tried throughout his career to stretch his imagination. To the novels starring Rabbit — perhaps the self Mr. Updike might have been had he not become a writer — he added a series of books about Bech, another alter ego described as a “recherché but amiable” Jewish novelist afflicted with acute writer’s block. While Bech boasted a modest oeuvre of seven books and remained a second-string cult author, his creator was blessed, as he once wrote of Nabokov, with an “ebullient creativity,” and his work, too, gave the happy impression of “a continuous task carried forward variously, of a solid personality, of a plentitude of gifts explored, knowingly.”
In other novels, Mr. Updike ventured even farther afield. “The Centaur” (1963) infused Joycean myth into its tender portrait of a well-meaning schoolteacher. “The Coup” (1978) conjured up an imaginary African kingdom called Kush and its imperial leader Colonel Ellelloû. And “The Witches of Eastwick” (1984) and its sequel, “The Widows of Eastwick” (2008), depicted heroines who were supernatural sorceresses with the power to conjure and maim. These experiments did not always work. “S.” (1988) used Hawthorne’s “Scarlet Letter” as a jumping-off point for a crude attack on feminists. “Seek My Face” (2002) devolved into a ham-handed and thoroughly unconvincing improvisation on the life of Jackson Pollock. And “Brazil” (1994), brimming over with undigested research and bad dialogue, stood as an embarrassing effort to translate the Tristan and Iseult legend to South America.
Indeed Mr. Updike’s strongest work remained tethered to the small town and suburban worlds he knew firsthand, just as many of his heroes shared the same sort of existential fears the author acknowledged he had suffered as a young man: Henry Bech’s concern that he was “a fleck of dust condemned to know it is a fleck of dust,” or Colonel Ellelloû’s lament that “we will be forgotten, all of us forgotten.” Their fear of death threatens to make everything they do feel meaningless, and it also sends them running after God — looking for some reassurance that there is something beyond the familiar, everyday world with “its signals and buildings and cars and bricks.”
But if their yearnings after salvation pulled them in one direction, Mr. Updike’s heroes also found themselves tempted by sex and romantic misalliances in the here and now. Caught on the margins of a changing morality, unable to forget the old pieties and taboos and yet unable to resist the 60’s promise of sex without consequences, these men vacillate between duty and self-fulfillment, a craving for roots and a hungering after freedom. As the author himself once put it, his heroes “oscillate in their moods between an enjoyment of the comforts of domesticity and the familial life, and a sense that their essential identity is a solitary one — to be found in flight and loneliness and even adversity. This seems to be my feeling of what being a male human being involves.”
Although Mr. Updike’s earliest stories could sound self consciously writerly and derivative — at their worst, O’Hara without the bite, Cheever without the magic — he soon found his own inimitable voice with “Pigeon Feathers” and “Rabbit, Run.” Over the years, the stories and novels tended to track Mr. Updike’s own life: couples wooed and wed and went their separate ways, and the hormonal urges of youth slowly became the quiescence of middle age.
In a series of overlapping stories about Joan and Richard Maple (collected in “Too Far to Go”), Mr. Updike created an indelible two-decade-long portrait of a marriage, chronicling how one couple created and then dismantled a life together, while tracing the imprint that time and age left on their relationship. Many of his later stories and novels seemed preoccupied with mortality and the ravages of time, featuring characters grappling with the looming prospect of their own demise with a mixture of anger, grace and resignation and looking back upon their youth in an often cloudy rear view mirror.
As for Mr. Updike’s collections of nonfiction (including “Hugging the Shore,” “Odd Jobs” and “Due Considerations”), they not only showcased his copious gifts as a critic — as a celebrant of other artists’ work and a sometimes acerbic literary anthropologist — but they also attested to his compulsion to enclose between the covers of a book every snippet of his work. These volumes featured thoughtful musings on contemporaries like Saul Bellow and Norman Mailer, and erudite essays on masters like Melville and Hawthorne, but they also included such effluvia as picture captions the author wrote for a Playboy spread on Marilyn Monroe and dutiful responses to questions posed by magazines (“What is your favorite spot in and around Harvard?”).
In one of these collections, Mr. Updike summed up his love of his vocation: “From earliest childhood I was charmed by the materials of my craft, by pencils and paper and, later, by the typewriter and the entire apparatus of printing. To condense from one’s memories and fantasies and small discoveries dark marks on paper which become handsomely reproducible many times over still seems to me, after nearly 30 years concerned with the making of books, a magical act, and a delightful technical process. To distribute oneself thus, as a kind of confetti shower falling upon the heads and shoulders of mankind out of bookstores and the pages of magazines is surely a great privilege and a defiance of the usual earthbound laws whereby human beings make themselves known to one another.”
A Relentless Updike Mapped America’s Mysteries By MICHIKO KAKUTANI
Endowed with an art student’s pictorial imagination, a journalist’s sociological eye and a poet’s gift for metaphor, John Updike — who died on Tuesday at 76 — was arguably this country’s one true all-around man of letters. He moved fluently from fiction to criticism, from light verse to short stories to the long-distance form of the novel: a literary decathlete in our age of electronic distraction and willful specialization, Victorian in his industriousness and almost blogger-like in his determination to turn every scrap of knowledge and experience into words.
It is as a novelist who opened a big picture window on the American middle class in the second half of the 20th century, however, that he will be best remembered. In his most resonant work, Mr. Updike gave “the mundane its beautiful due,” as he once put it, memorializing the everyday mysteries of love and faith and domesticity with extraordinary nuance and precision. In Kodachrome-sharp snapshots, he gave us the 50’s and early 60’s of suburban adultery, big cars and wide lawns, radios and hi-fi sets, and he charted the changing landscape of the 70’s and 80’s, as malls and subdivisions swallowed up small towns and sexual and social mores underwent a bewildering metamorphosis.
Mr. Updike’s four keenly observed Rabbit novels (“Rabbit, Run,” 1960; “Rabbit Redux,” 1971; “Rabbit Is Rich,” 1981; and “Rabbit at Rest,” 1990) chronicled the adventures of one Harry Rabbit Angstrom — high school basketball star turned car salesman, householder and errant husband — and his efforts to cope with the seismic public changes (from feminism to the counterculture to antiwar protests) that rattled his cozy nest. Harry, who self-importantly compared his own fall from grace to this country’s waning power, his business woes to the national deficit, was both a representative American of his generation and a kind of scientific specimen — an index to the human species and its propensity for doubt and narcissism and self immolation.
In fulfilling Stendhal’s classic definition of a novel as “a mirror that strolls along a highway,” reflecting both the “blue of the skies” and “the mud puddles underfoot,” the Rabbit novels captured four decades of middle-class American life. Mr. Updike’s stunning and much underestimated 1996 epic, “In the Beauty of the Lilies,” tackled an even wider swath of history. In charting the fortunes of an American family through some 80 years, the author showed how dreams, habits and predilections are handed down generation to generation, parent to child, even as he created a kaleidoscopic portrait of this country from its nervous entry into the 20th century to its stumbling approach to the millennium.
Producing roughly a book or so a year, Mr. Updike tried throughout his career to stretch his imagination. To the novels starring Rabbit — perhaps the self Mr. Updike might have been had he not become a writer — he added a series of books about Bech, another alter ego described as a “recherché but amiable” Jewish novelist afflicted with acute writer’s block. While Bech boasted a modest oeuvre of seven books and remained a second-string cult author, his creator was blessed, as he once wrote of Nabokov, with an “ebullient creativity,” and his work, too, gave the happy impression of “a continuous task carried forward variously, of a solid personality, of a plentitude of gifts explored, knowingly.”
In other novels, Mr. Updike ventured even farther afield. “The Centaur” (1963) infused Joycean myth into its tender portrait of a well-meaning schoolteacher. “The Coup” (1978) conjured up an imaginary African kingdom called Kush and its imperial leader Colonel Ellelloû. And “The Witches of Eastwick” (1984) and its sequel, “The Widows of Eastwick” (2008), depicted heroines who were supernatural sorceresses with the power to conjure and maim. These experiments did not always work. “S.” (1988) used Hawthorne’s “Scarlet Letter” as a jumping-off point for a crude attack on feminists. “Seek My Face” (2002) devolved into a ham-handed and thoroughly unconvincing improvisation on the life of Jackson Pollock. And “Brazil” (1994), brimming over with undigested research and bad dialogue, stood as an embarrassing effort to translate the Tristan and Iseult legend to South America.
Indeed Mr. Updike’s strongest work remained tethered to the small town and suburban worlds he knew firsthand, just as many of his heroes shared the same sort of existential fears the author acknowledged he had suffered as a young man: Henry Bech’s concern that he was “a fleck of dust condemned to know it is a fleck of dust,” or Colonel Ellelloû’s lament that “we will be forgotten, all of us forgotten.” Their fear of death threatens to make everything they do feel meaningless, and it also sends them running after God — looking for some reassurance that there is something beyond the familiar, everyday world with “its signals and buildings and cars and bricks.”
But if their yearnings after salvation pulled them in one direction, Mr. Updike’s heroes also found themselves tempted by sex and romantic misalliances in the here and now. Caught on the margins of a changing morality, unable to forget the old pieties and taboos and yet unable to resist the 60’s promise of sex without consequences, these men vacillate between duty and self-fulfillment, a craving for roots and a hungering after freedom. As the author himself once put it, his heroes “oscillate in their moods between an enjoyment of the comforts of domesticity and the familial life, and a sense that their essential identity is a solitary one — to be found in flight and loneliness and even adversity. This seems to be my feeling of what being a male human being involves.”
Although Mr. Updike’s earliest stories could sound self consciously writerly and derivative — at their worst, O’Hara without the bite, Cheever without the magic — he soon found his own inimitable voice with “Pigeon Feathers” and “Rabbit, Run.” Over the years, the stories and novels tended to track Mr. Updike’s own life: couples wooed and wed and went their separate ways, and the hormonal urges of youth slowly became the quiescence of middle age.
In a series of overlapping stories about Joan and Richard Maple (collected in “Too Far to Go”), Mr. Updike created an indelible two-decade-long portrait of a marriage, chronicling how one couple created and then dismantled a life together, while tracing the imprint that time and age left on their relationship. Many of his later stories and novels seemed preoccupied with mortality and the ravages of time, featuring characters grappling with the looming prospect of their own demise with a mixture of anger, grace and resignation and looking back upon their youth in an often cloudy rear view mirror.
As for Mr. Updike’s collections of nonfiction (including “Hugging the Shore,” “Odd Jobs” and “Due Considerations”), they not only showcased his copious gifts as a critic — as a celebrant of other artists’ work and a sometimes acerbic literary anthropologist — but they also attested to his compulsion to enclose between the covers of a book every snippet of his work. These volumes featured thoughtful musings on contemporaries like Saul Bellow and Norman Mailer, and erudite essays on masters like Melville and Hawthorne, but they also included such effluvia as picture captions the author wrote for a Playboy spread on Marilyn Monroe and dutiful responses to questions posed by magazines (“What is your favorite spot in and around Harvard?”).
In one of these collections, Mr. Updike summed up his love of his vocation: “From earliest childhood I was charmed by the materials of my craft, by pencils and paper and, later, by the typewriter and the entire apparatus of printing. To condense from one’s memories and fantasies and small discoveries dark marks on paper which become handsomely reproducible many times over still seems to me, after nearly 30 years concerned with the making of books, a magical act, and a delightful technical process. To distribute oneself thus, as a kind of confetti shower falling upon the heads and shoulders of mankind out of bookstores and the pages of magazines is surely a great privilege and a defiance of the usual earthbound laws whereby human beings make themselves known to one another.”
Saturday, January 26, 2008
Saturday, January 19, 2008
Sunday, January 13, 2008
Thursday, January 10, 2008
Thursday, January 03, 2008
Sunday, December 09, 2007
The 10 Best Books of 2007 / 100 Notable Books of 2007
The 10 Best Books of 2007
Fiction
MAN GONE DOWN
By Michael Thomas. Black Cat/Grove/Atlantic, paper, $14. This first novel explores the fragmented personal histories behind four desperate days in a black writer's life.
OUT STEALING HORSES
By Per Petterson. Translated by Anne Born. Graywolf Press, $22. In this short yet spacious Norwegian novel, an Oslo professional hopes to cure his loneliness with a plunge into solitude.
THE SAVAGE DETECTIVES
By Roberto Bolaño. Translated by Natasha Wimmer. Farrar, Straus & Giroux, $27. A craftily autobiographical novel about a band of literary guerrillas.
THEN WE CAME TO THE END
By Joshua Ferris. Little, Brown & Company, $23.99. Layoff notices fly in Ferris's acidly funny first novel, set in a white-collar office in the wake of the dot-com debacle.
TREE OF SMOKE
By Denis Johnson. Farrar, Straus & Giroux, $27. The author of "Jesus' Son" offers a soulful novel about the travails of a large cast of characters during the Vietnam War.
Nonfiction
IMPERIAL LIFE IN THE EMERALD CITY: Inside Iraq's Green Zone.
By Rajiv Chandrasekaran. Alfred A. Knopf, $25.95; Vintage, paper, $14.95. The author, a Washington Post journalist, catalogs the arrogance and ineptitude that marked America's governance of Iraq.
LITTLE HEATHENS: Hard Times and High Spirits on an Iowa Farm During the Great Depression.
By Mildred Armstrong Kalish. Bantam Books, $22. Kalish's soaring love for her childhood memories saturates this memoir, which coaxes the reader into joy, wonder and even envy.
THE NINE: Inside the Secret World of the Supreme Court.
By Jeffrey Toobin. Doubleday, $27.95. An erudite outsider's account of the cloistered court's inner workings.
THE ORDEAL OF ELIZABETH MARSH: A Woman in World History.
By Linda Colley. Pantheon Books, $27.50. Colley tracks the "compulsively itinerant" Marsh across the 18th century and several continents.
THE REST IS NOISE: Listening to the Twentieth Century.
By Alex Ross. Farrar, Straus & Giroux, $30. In his own feat of orchestration, The New Yorker's music critic presents a history of the last century as refracted through its classical music.
http://www.nytimes.com/2007/12/09/books/review/10-best-2007.html?sq=Best%20Books%20of%202007&st=cse&scp=1-spot&pagewanted=print
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December 2, 2007
Holiday Books
100 Notable Books of 2007
Correction Appended
The Book Review has selected this list from books reviewed since the Holiday Books issue of Dec. 3, 2006.
Fiction & Poetry
THE ABSTINENCE TEACHER. By Tom Perrotta. (St. Martin’s, $24.95.) In this new novel by the author of “Little Children,” a sex-ed teacher faces off against a church bent on ridding her town of “moral decay.”
AFTER DARK. By Haruki Murakami. Translated by Jay Rubin. (Knopf, $22.95.) A tale of two sisters, one awake all night, one asleep for months.
THE BAD GIRL. By Mario Vargas Llosa. Translated by Edith Grossman. (Farrar, Straus & Giroux, $25.) This suspenseful novel transforms “Madame Bovary” into a vibrant exploration of the urban mores of the 1960s, ’70s and ’80s.
BEARING THE BODY. By Ehud Havazelet. (Farrar, Straus & Giroux, $24.) In this daring first novel, a man travels to California after his brother is killed in what may have been a drug transaction.
THE BEAUTIFUL THINGS THAT HEAVEN BEARS. By Dinaw Mengestu. (Riverhead, $22.95.) A first novel about an Ethiopian exile in Washington, D.C., evokes loss, hope, memory and the solace of friendship.
BRIDGE OF SIGHS. By Richard Russo. (Knopf, $26.95.) In his first novel since “Empire Falls,” Russo writes of a small town in New York riven by class differences and racial hatred.
THE BRIEF WONDROUS LIFE OF OSCAR WAO. By Junot Díaz. (Riverhead, $24.95.) A nerdy Dominican-American yearns to write and fall in love.
CALL ME BY YOUR NAME. By André Aciman. (Farrar, Straus & Giroux, $23.) Aciman’s novel of love, desire, time and memory describes a passionate affair between two young men in Italy.
CHEATING AT CANASTA. By William Trevor. (Viking, $24.95.) Trevor’s dark, worldly short stories linger in the mind long after they’re finished.
THE COLLECTED POEMS, 1956-1998. By Zbigniew Herbert. Translated by Alissa Valles. (Ecco/HarperCollins, $34.95.) Herbert’s poetry echoes the quiet insubordination of his public life.
DANCING TO “ALMENDRA.” By Mayra Montero. Translated by Edith Grossman. (Farrar, Straus & Giroux, $25.) Fact and fiction rub together in this rhythmic story of a reporter on the trail of the Mafia, set mainly in 1950s Cuba.
EXIT GHOST. By Philip Roth. (Houghton Mifflin, $26.) In his latest novel Roth brings back Nathan Zuckerman, a protagonist whom we have known since his potent youth and who now must face his inevitable decline.
FALLING MAN. By Don DeLillo. (Scribner, $26.) Through the story of a lawyer and his estranged wife, DeLillo resurrects the world as it was on 9/11, in all its mortal dread, high anxiety and mass confusion.
FELLOW TRAVELERS. By Thomas Mallon. (Pantheon, $25.) In Mallon’s seventh novel, a State Department official navigates the anti-gay purges of the McCarthy era.
A FREE LIFE. By Ha Jin. (Pantheon, $26.) The Chinese-born author spins a tale of bravery and nobility in an American system built on risk and mutual exploitation.
THE GATHERING. By Anne Enright. (Black Cat/Grove/Atlantic, paper, $14.) An Irishwoman searches for clues to what set her brother on the path to suicide.
HARRY POTTER AND THE DEATHLY HALLOWS. By J. K. Rowling. (Arthur A. Levine/Scholastic, $34.99.) Rowling ties up all the loose ends in this conclusion to her grand wizarding saga.
HOUSE LIGHTS. By Leah Hager Cohen. (Norton, $24.95.) The heroine of Cohen’s third novel abandons her tarnished parents for the seductions of her grand-mother’s life in theater.
HOUSE OF MEETINGS. By Martin Amis. (Knopf, $23.) A Russian World War II veteran posthumously acquaints his stepdaughter with his grim past of rape and violence.
IN THE COUNTRY OF MEN. By Hisham Matar. (Dial, $22.) The boy narrator of this novel, set in Libya in 1979, learns about the convoluted roots of betrayal in a totalitarian society.
THE INDIAN CLERK. By David Leavitt. (Bloomsbury, $24.95.) Leavitt explores the intricate relationship between the Cambridge mathematician G. H. Hardy and a poor, self-taught genius from Madras, stranded in England during World War I.
KNOTS. By Nuruddin Farah. (Riverhead, $25.95.) After 20 years, a Somali woman returns home to Mogadishu from Canada, intent on reclaiming a family house from a warlord.
LATER, AT THE BAR: A Novel in Stories. By Rebecca Barry. (Simon & Schuster, $22.) The small-town regulars at Lucy’s Tavern carry their loneliness in “rough and beautiful” ways.
LET THE NORTHERN LIGHTS ERASE YOUR NAME. By Vendela Vida. (Ecco/HarperCollins, $23.95.) A young woman searches for the truth about her parentage amid the snow and ice of Lapland in this bleakly comic yet sad tale of a child’s futile struggle to be loved.
LIKE YOU’D UNDERSTAND, ANYWAY: Stories. By Jim Shepard. (Knopf, $23.) Shepard’s surprising tales feature such diverse characters as a Parisian executioner, a woman in space and two Nazi scientists searching for the yeti.
MAN GONE DOWN. By Michael Thomas. (Black Cat/Grove/Atlantic, paper, $14.) This first novel explores the fragmented personal histories behind four desperate days in a black writer’s life.
MATRIMONY. By Joshua Henkin. (Pantheon, $23.95.) Henkin follows a couple from college to their mid-30s, through crises of love and mortality.
THE MAYTREES. By Annie Dillard. (HarperCollins, $24.95.) A married couple find their way back to each other under unusual circumstances.
THE MINISTRY OF SPECIAL CASES. By Nathan Englander. (Knopf, $25.) A Jewish family is caught up in Argentina’s “Dirty War.”
MOTHERS AND SONS: Stories. By Colm Toibin. (Scribner, $24.) In this collection by the author of “The Master,” families are not so much reassuring and warm as they are settings for secrets, suspicion and missed connections.
NEXT LIFE. By Rae Armantrout. (Wesleyan University, $22.95.) Poetry that conveys the invention, the wit and the force of mind that contests all assumptions.
ON CHESIL BEACH. By Ian McEwan. (Nan A. Talese/Doubleday, $22.) Consisting largely of a single sex scene played out on a couple’s wedding night, this seeming novel of manners is as much a horror story as any McEwan has written.
OUT STEALING HORSES. By Per Petterson. Translated by Anne Born. (Graywolf Press, $22.) In this short yet spacious Norwegian novel, an Oslo professional hopes to cure his loneliness with a plunge into solitude.
THE RELUCTANT FUNDAMENTALIST. By Mohsin Hamid. (Harcourt, $22.) Hamid’s chilling second novel is narrated by a Pakistani who tells his life story to an unnamed American after the attacks of 9/11.
REMAINDER. By Tom McCarthy. (Vintage, paper, $13.95.) In this debut, a Londoner emerges from a coma and seeks to reassure himself of the genuineness of his existence.
THE SAVAGE DETECTIVES. By Roberto Bolaño. Translated by Natasha Wimmer. (Farrar, Straus & Giroux, $27.) A craftily autobiographical novel about a band of literary guerrillas.
SELECTED POEMS. By Derek Walcott. Edited by Edward Baugh. (Farrar, Straus & Giroux, $25.) The Nobel Prize winner Walcott, who was born on St. Lucia, is a long-serving poet of exile, caught between two races and two worlds.
THE SEPTEMBERS OF SHIRAZ. By Dalia Sofer. (Ecco/HarperCollins, $24.95.) In this powerful first novel, the father of a prosperous Jewish family in Tehran is arrested shortly after the Iranian revolution.
SHORTCOMINGS. By Adrian Tomine. (Drawn & Quarterly, $19.95.) The Asian-American characters in this meticulously observed comic-book novella explicitly address the way in which they handle being in a minority.
SUNSTROKE: And Other Stories. By Tessa Hadley. (Picador, paper, $13.) These resonant tales encapsulate moments of hope and humiliation in a kind of shorthand of different lives lived.
THEN WE CAME TO THE END. By Joshua Ferris. (Little, Brown, $23.99.) Layoff notices fly in Ferris’s acidly funny first novel, set in a white-collar office in the wake of the dot-com debacle.
THROW LIKE A GIRL: Stories. By Jean Thompson. (Simon & Schuster, paper, $13.) The women here are smart and strong but drawn to losers.
TIME AND MATERIALS: Poems, 1997-2005. By Robert Hass. (Ecco/Harper-Collins, $22.95.) What Hass, a former poet laureate, has lost in Californian ease he has gained in stern self-restraint.
TREE OF SMOKE. By Denis Johnson. (Farrar, Straus & Giroux, $27.) The author of “Jesus’ Son” offers a soulful novel about the travails of a large cast of characters during the Vietnam War.
TWENTY GRAND: And Other Tales of Love and Money. By Rebecca Curtis. (Harper Perennial, paper, $13.95.) In this debut collection, a crisp, blunt tone propels stories both surreal and realistic.
VARIETIES OF DISTURBANCE: Stories. By Lydia Davis. (Farrar, Straus & Giroux, paper, $13.) Dispensing with straight narrative, Davis microscopically examines language and thought.
THE VIEW FROM CASTLE ROCK: Stories. By Alice Munro. (Knopf, $25.95.) This collection offers unusually explicit reflections of Munro’s life.
WHAT IS THE WHAT. The Autobiography of Valentino Achak Deng: A Novel. By Dave Eggers. (McSweeney’s, $26.) The horrors, injustices and follies in this novel are based on the experiences of one of the Lost Boys of Sudan.
WINTERTON BLUE. By Trezza Azzopardi. (Grove, $24.) An unhappy young woman meets an even unhappier drifter.
THE YIDDISH POLICEMEN’S UNION. By Michael Chabon. (HarperCollins, $26.95.) Cops, thugs, schemers, rabbis, chess fanatics and obsessives of every stripe populate this screwball, hard-boiled murder mystery set in an imagined Jewish settlement in Alaska.
Nonfiction
AGENT ZIGZAG: A True Story of Nazi Espionage, Love, and Betrayal. By Ben Macintyre. (Harmony, $25.95.) The exploits of Eddie Chapman, a British criminal who became a double agent in World War II.
ALEXIS DE TOCQUEVILLE: A Life. By Hugh Brogan. (Yale University, $35.) Brogan’s combative biography takes issue with Tocqueville’s misgivings about democracy.
ALICE: Alice Roosevelt Longworth, From White House Princess to Washington Power Broker. By Stacy A. Cordery. (Viking, $32.95.) A biography of Theodore Roosevelt’s shrewd, tart-tongued older daughter.
AMERICAN CREATION: Triumphs and Tragedies at the Founding of the Republic. By Joseph J. Ellis. (Knopf, $26.95.) This history explores an underappreciated point: that this country was constructed to foster arguments, not to settle them.
THE ARGUMENT: Billionaires, Bloggers, and the Battle to Remake Democratic Politics. By Matt Bai. (Penguin Press, $25.95.) An exhaustive account of the Democrats’ transformative efforts, by a political reporter for The New York Times Magazine.
ARSENALS OF FOLLY: The Making of the Nuclear Arms Race. By Richard Rhodes. (Knopf, $28.95.) This artful history focuses on the events leading up to the pivotal 1986 Reykjavik summit meeting between Reagan and Gorbachev.
THE ART OF POLITICAL MURDER: Who Killed the Bishop? By Francisco Goldman. (Grove, $25.) The novelist returns to Guatemala, a major inspiration for his fiction, to try to solve the real-life killing of a Roman Catholic bishop.
BROTHER, I’M DYING. By Edwidge Danticat. (Knopf, $23.95.) Danticat’s cleareyed prose and unflinching adherence to the facts conceal an undercurrent of melancholy in this memoir of her Haitian family.
CIRCLING MY MOTHER. By Mary Gordon. (Pantheon, $24.) Gordon’s deeply personal memoir focuses on the engaged and lively Catholicism of her mother, a glamorous career woman who was also an alcoholic with a body afflicted by polio.
CLEOPATRA’S NOSE: 39 Varieties of Desire. By Judith Thurman. (Farrar, Straus & Giroux, $27.95.) These surgically analytic essays of cultural criticism showcase themes of loss, hunger and motherhood.
CULTURAL AMNESIA: Necessary Memories From History and the Arts. By Clive James. (Norton, $35.) Essays on 20th-century luminaries by one of Britain’s leading public intellectuals.
THE DAY OF BATTLE: The War in Sicily and Italy, 1943-1944. Volume Two of the Liberation Trilogy. By Rick Atkinson. (Holt, $35.) A celebration of the American experience in these campaigns.
THE DIANA CHRONICLES. By Tina Brown. (Doubleday, $27.50.) The former New Yorker editor details the sordid domestic drama that pitted the Princess of Wales against Britain’s royal family.
THE DISCOVERY OF FRANCE: A Historical Geography From the Revolution to the First World War. By Graham Robb. (Norton, $27.95.) Robb presents France as a group of diverse regions, each with its own long history, intricate belief systems and singular customs.
DOWN THE NILE: Alone in a Fisherman’s Skiff. By Rosemary Mahoney. (Little, Brown, $23.99.) Mahoney juxtaposes her solo rowing journey with encounters with the Egyptians she met.
DRIVEN OUT: The Forgotten War Against Chinese Americans. By Jean Pfaelzer. (Random House, $27.95.) How the Chinese were brutalized and demonized in the 19th-century American West — and how they fought back.
DUE CONSIDERATIONS: Essays and Criticism. By John Updike. (Knopf, $40.) Updike’s first nonfiction collection in eight years displays breathtaking scope as well as the author’s seeming inability to write badly.
EASTER EVERYWHERE: A Memoir. By Darcey Steinke. (Bloomsbury, $24.95.) A minister’s daughter confronts her own spiritual rootlessness.
EDITH WHARTON. By Hermione Lee. (Knopf, $35.) This meticulous biography shows Wharton’s significance as a designer, decorator, gardener and traveler, as well as a writer.
THE FATHER OF ALL THINGS: A Marine, His Son, and the Legacy of Vietnam. By Tom Bissell. (Pantheon, $25.) Bissell mixes rigorous narrative accounts of the war and emotionally powerful scenes of the distress it brought his own family.
THE FLORIST’S DAUGHTER. By Patricia Hampl. (Harcourt, $24.) In her fifth and most powerful memoir, Hampl looks hard at her relationship to her Midwestern roots as her mother lies dying in the hospital.
FORESKIN’S LAMENT: A Memoir. By Shalom Auslander. (Riverhead, $24.95.) With scathing humor and bitter irony, Auslander wrestles with his Jewish Orthodox roots.
GOMORRAH: A Personal Journey Into the Violent International Empire of Naples’ Organized Crime System. By Roberto Saviano. Translated by Virginia Jewiss. (Farrar, Straus & Giroux, $25.) This powerful work of reportage started a national conversation in Italy when it was published there last year.
THE HOUSE THAT GEORGE BUILT: With a Little Help From Irving, Cole, and a Crew of About Fifty. By Wilfrid Sheed. (Random House, $29.95.) A rich homage to Gershwin, Berlin and other masters of the swinging jazz song.
HOW DOCTORS THINK. By Jerome Groopman. (Houghton Mifflin, $26.) Groopman takes a tough-minded look at the ways in which doctors and patients interact, and at the profound problems facing modern medicine.
HOW TO READ THE BIBLE: A Guide to Scripture, Then and Now. By James L. Kugel. (Free Press, $35.) In this tour through the Jewish scriptures (i.e., the Old Testament, more or less), a former professor of Hebrew seeks to reclaim the Bible from the literalists and the skeptics.
HOW TO TALK ABOUT BOOKS YOU HAVEN’T READ. By Pierre Bayard. Translated by Jeffrey Mehlman. (Bloomsbury, $19.95.) A French literature professor wants to assuage our guilt over the ways we actually read and discuss books.
IMPERIAL LIFE IN THE EMERALD CITY: Inside Iraq’s Green Zone. By Rajiv Chandrasekaran. (Knopf, $25.95.) The author, a Washington Post journalist, catalogs the arrogance and ineptitude that marked America’s governance of Iraq.
THE INVISIBLE CURE: Africa, the West, and the Fight Against AIDS. By Helen Epstein. (Farrar, Straus & Giroux, $26.) Rigorous reporting unearths new findings among the old issues.
LEGACY OF ASHES: The History of the CIA. By Tim Weiner. (Doubleday, $27.95.) A comprehensive chronicle of the American intelligence agency, from the days of the Iron Curtain to Iraq, by a reporter for The New York Times.
LENI: The Life and Work of Leni Riefenstahl. By Steven Bach. (Knopf, $30.) How Hitler’s favorite director made “Triumph of the Will” and convinced posterity that she didn’t know what the Nazis were up to.
LEONARD WOOLF: A Biography. By Victoria Glendinning. (Free Press, $30.) Glendinning shows Virginia Woolf’s accomplished husband as passionate, reserved and, above all, stoical.
A LIFE OF PICASSO: The Triumphant Years, 1917-1932. By John Richardson. (Knopf, $40.) The third, penultimate installment in Richardson’s biography spans a dauntingly complicated time in Picasso’s life and in European history.
LITTLE HEATHENS: Hard Times and High Spirits on an Iowa Farm During the Great Depression. By Mildred Armstrong Kalish. (Bantam, $22.) Kalish’s soaring love for her childhood memories saturates this memoir, which coaxes the reader into joy, wonder and even envy.
LONG WAY GONE: Memoirs of a Boy Soldier. By Ishmael Beah. (Sarah Crichton/-Farrar, Straus & Giroux, $22.) A former child warrior gives literary voice to the violence and killings he both witnessed and perpetrated during the Sierra Leone civil war.
THE NINE: Inside the Secret World of the Supreme Court. By Jeffrey Toobin. (Doubleday, $27.95.) An erudite outsider’s account of the cloistered court’s inner workings.
THE ORDEAL OF ELIZABETH MARSH: A Woman in World History. By Linda Colley. (Pantheon, $27.50.) Colley tracks the “compulsively itinerant” Marsh across the 18th century and several continents.
PORTRAIT OF A PRIESTESS: Women and Ritual in Ancient Greece. By Joan Breton Connelly. (Princeton University, $39.50.) A scholar finds that religion meant power for Greek women.
RALPH ELLISON: A Biography. By Arnold Rampersad. (Knopf, $35.) Ellison was seemingly cursed by his failure to follow up “Invisible Man.”
THE REST IS NOISE: Listening to the Twentieth Century. By Alex Ross. (Farrar, Straus & Giroux, $30.) In his own feat of orchestration, The New Yorker’s music critic presents a history of the last century as refracted through its classical music.
SCHULZ AND PEANUTS: A Biography. By David Michaelis. (Harper/ Harper-Collins, $34.95.) Actual “Peanuts” cartoons movingly illustrate this portrait of the strip’s creator, presented here as a profoundly lonely and unhappy man.
SERVICE INCLUDED: Four-Star Secrets of an Eavesdropping Waiter. By Phoebe Damrosch. (Morrow, $24.95.) A memoir about waiting tables at the acclaimed Manhattan restaurant Per Se.
SOLDIER’S HEART: Reading Literature Through Peace and War at West Point. By Elizabeth D. Samet. (Farrar, Straus & Giroux, $23.) A civilian teacher at the Military Academy offers a significant perspective on a crucial social and political force: honor.
STANLEY: The Impossible Life of Africa’s Greatest Explorer. By Tim Jeal. (Yale University, $38.) Of the many biographies of Henry Morton Stanley, Jeal’s, which profits from his access to an immense new trove of material, is the most complete and readable.
THE STILLBORN GOD: Religion, Politics, and the Modern West. By Mark Lilla. (Knopf, $26.) With nuance and complexity, Lilla examines how we managed to separate, in a fashion, church and state.
THOMAS HARDY. By Claire Tomalin. (Penguin Press, $35.) Tomalin presents Hardy as a fascinating case study in mid-Victorian literary sociology.
TOO CLOSE TO THE SUN: The Audacious Life and Times of Denys Finch Hatton. By Sara Wheeler. (Random House, $27.95.) The story of the man immortalized in “Out of Africa.”
TWO LIVES: Gertrude and Alice. By Janet Malcolm. (Yale University, $25.) Sharp criticism meets playful, absorbing biography in this study of Stein and Toklas.
THE WHISPERERS: Private Life in Stalin’s Russia. By Orlando Figes. (Metropolitan, $35.) An extraordinary look at the gulag’s impact on desperate individuals and families struggling to survive.
THE YEARS OF EXTERMINATION: Nazi Germany and the Jews, 1939-1945. By Saul Friedländer. (HarperCollins, $39.95.) Individual testimony and broader events are skillfully interwoven.
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Correction: December 2, 2007
The list of 100 Notable Books of 2007 in the Book Review today misspells the surname of the author of the novel “Let the Northern Lights Erase Your Name.” She is Vendela Vida, not Veda. (The same error appeared in the Editors’ Choice column on Jan. 7.)
Fiction
MAN GONE DOWN
By Michael Thomas. Black Cat/Grove/Atlantic, paper, $14. This first novel explores the fragmented personal histories behind four desperate days in a black writer's life.
OUT STEALING HORSES
By Per Petterson. Translated by Anne Born. Graywolf Press, $22. In this short yet spacious Norwegian novel, an Oslo professional hopes to cure his loneliness with a plunge into solitude.
THE SAVAGE DETECTIVES
By Roberto Bolaño. Translated by Natasha Wimmer. Farrar, Straus & Giroux, $27. A craftily autobiographical novel about a band of literary guerrillas.
THEN WE CAME TO THE END
By Joshua Ferris. Little, Brown & Company, $23.99. Layoff notices fly in Ferris's acidly funny first novel, set in a white-collar office in the wake of the dot-com debacle.
TREE OF SMOKE
By Denis Johnson. Farrar, Straus & Giroux, $27. The author of "Jesus' Son" offers a soulful novel about the travails of a large cast of characters during the Vietnam War.
Nonfiction
IMPERIAL LIFE IN THE EMERALD CITY: Inside Iraq's Green Zone.
By Rajiv Chandrasekaran. Alfred A. Knopf, $25.95; Vintage, paper, $14.95. The author, a Washington Post journalist, catalogs the arrogance and ineptitude that marked America's governance of Iraq.
LITTLE HEATHENS: Hard Times and High Spirits on an Iowa Farm During the Great Depression.
By Mildred Armstrong Kalish. Bantam Books, $22. Kalish's soaring love for her childhood memories saturates this memoir, which coaxes the reader into joy, wonder and even envy.
THE NINE: Inside the Secret World of the Supreme Court.
By Jeffrey Toobin. Doubleday, $27.95. An erudite outsider's account of the cloistered court's inner workings.
THE ORDEAL OF ELIZABETH MARSH: A Woman in World History.
By Linda Colley. Pantheon Books, $27.50. Colley tracks the "compulsively itinerant" Marsh across the 18th century and several continents.
THE REST IS NOISE: Listening to the Twentieth Century.
By Alex Ross. Farrar, Straus & Giroux, $30. In his own feat of orchestration, The New Yorker's music critic presents a history of the last century as refracted through its classical music.
http://www.nytimes.com/2007/12/09/books/review/10-best-2007.html?sq=Best%20Books%20of%202007&st=cse&scp=1-spot&pagewanted=print
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December 2, 2007
Holiday Books
100 Notable Books of 2007
Correction Appended
The Book Review has selected this list from books reviewed since the Holiday Books issue of Dec. 3, 2006.
Fiction & Poetry
THE ABSTINENCE TEACHER. By Tom Perrotta. (St. Martin’s, $24.95.) In this new novel by the author of “Little Children,” a sex-ed teacher faces off against a church bent on ridding her town of “moral decay.”
AFTER DARK. By Haruki Murakami. Translated by Jay Rubin. (Knopf, $22.95.) A tale of two sisters, one awake all night, one asleep for months.
THE BAD GIRL. By Mario Vargas Llosa. Translated by Edith Grossman. (Farrar, Straus & Giroux, $25.) This suspenseful novel transforms “Madame Bovary” into a vibrant exploration of the urban mores of the 1960s, ’70s and ’80s.
BEARING THE BODY. By Ehud Havazelet. (Farrar, Straus & Giroux, $24.) In this daring first novel, a man travels to California after his brother is killed in what may have been a drug transaction.
THE BEAUTIFUL THINGS THAT HEAVEN BEARS. By Dinaw Mengestu. (Riverhead, $22.95.) A first novel about an Ethiopian exile in Washington, D.C., evokes loss, hope, memory and the solace of friendship.
BRIDGE OF SIGHS. By Richard Russo. (Knopf, $26.95.) In his first novel since “Empire Falls,” Russo writes of a small town in New York riven by class differences and racial hatred.
THE BRIEF WONDROUS LIFE OF OSCAR WAO. By Junot Díaz. (Riverhead, $24.95.) A nerdy Dominican-American yearns to write and fall in love.
CALL ME BY YOUR NAME. By André Aciman. (Farrar, Straus & Giroux, $23.) Aciman’s novel of love, desire, time and memory describes a passionate affair between two young men in Italy.
CHEATING AT CANASTA. By William Trevor. (Viking, $24.95.) Trevor’s dark, worldly short stories linger in the mind long after they’re finished.
THE COLLECTED POEMS, 1956-1998. By Zbigniew Herbert. Translated by Alissa Valles. (Ecco/HarperCollins, $34.95.) Herbert’s poetry echoes the quiet insubordination of his public life.
DANCING TO “ALMENDRA.” By Mayra Montero. Translated by Edith Grossman. (Farrar, Straus & Giroux, $25.) Fact and fiction rub together in this rhythmic story of a reporter on the trail of the Mafia, set mainly in 1950s Cuba.
EXIT GHOST. By Philip Roth. (Houghton Mifflin, $26.) In his latest novel Roth brings back Nathan Zuckerman, a protagonist whom we have known since his potent youth and who now must face his inevitable decline.
FALLING MAN. By Don DeLillo. (Scribner, $26.) Through the story of a lawyer and his estranged wife, DeLillo resurrects the world as it was on 9/11, in all its mortal dread, high anxiety and mass confusion.
FELLOW TRAVELERS. By Thomas Mallon. (Pantheon, $25.) In Mallon’s seventh novel, a State Department official navigates the anti-gay purges of the McCarthy era.
A FREE LIFE. By Ha Jin. (Pantheon, $26.) The Chinese-born author spins a tale of bravery and nobility in an American system built on risk and mutual exploitation.
THE GATHERING. By Anne Enright. (Black Cat/Grove/Atlantic, paper, $14.) An Irishwoman searches for clues to what set her brother on the path to suicide.
HARRY POTTER AND THE DEATHLY HALLOWS. By J. K. Rowling. (Arthur A. Levine/Scholastic, $34.99.) Rowling ties up all the loose ends in this conclusion to her grand wizarding saga.
HOUSE LIGHTS. By Leah Hager Cohen. (Norton, $24.95.) The heroine of Cohen’s third novel abandons her tarnished parents for the seductions of her grand-mother’s life in theater.
HOUSE OF MEETINGS. By Martin Amis. (Knopf, $23.) A Russian World War II veteran posthumously acquaints his stepdaughter with his grim past of rape and violence.
IN THE COUNTRY OF MEN. By Hisham Matar. (Dial, $22.) The boy narrator of this novel, set in Libya in 1979, learns about the convoluted roots of betrayal in a totalitarian society.
THE INDIAN CLERK. By David Leavitt. (Bloomsbury, $24.95.) Leavitt explores the intricate relationship between the Cambridge mathematician G. H. Hardy and a poor, self-taught genius from Madras, stranded in England during World War I.
KNOTS. By Nuruddin Farah. (Riverhead, $25.95.) After 20 years, a Somali woman returns home to Mogadishu from Canada, intent on reclaiming a family house from a warlord.
LATER, AT THE BAR: A Novel in Stories. By Rebecca Barry. (Simon & Schuster, $22.) The small-town regulars at Lucy’s Tavern carry their loneliness in “rough and beautiful” ways.
LET THE NORTHERN LIGHTS ERASE YOUR NAME. By Vendela Vida. (Ecco/HarperCollins, $23.95.) A young woman searches for the truth about her parentage amid the snow and ice of Lapland in this bleakly comic yet sad tale of a child’s futile struggle to be loved.
LIKE YOU’D UNDERSTAND, ANYWAY: Stories. By Jim Shepard. (Knopf, $23.) Shepard’s surprising tales feature such diverse characters as a Parisian executioner, a woman in space and two Nazi scientists searching for the yeti.
MAN GONE DOWN. By Michael Thomas. (Black Cat/Grove/Atlantic, paper, $14.) This first novel explores the fragmented personal histories behind four desperate days in a black writer’s life.
MATRIMONY. By Joshua Henkin. (Pantheon, $23.95.) Henkin follows a couple from college to their mid-30s, through crises of love and mortality.
THE MAYTREES. By Annie Dillard. (HarperCollins, $24.95.) A married couple find their way back to each other under unusual circumstances.
THE MINISTRY OF SPECIAL CASES. By Nathan Englander. (Knopf, $25.) A Jewish family is caught up in Argentina’s “Dirty War.”
MOTHERS AND SONS: Stories. By Colm Toibin. (Scribner, $24.) In this collection by the author of “The Master,” families are not so much reassuring and warm as they are settings for secrets, suspicion and missed connections.
NEXT LIFE. By Rae Armantrout. (Wesleyan University, $22.95.) Poetry that conveys the invention, the wit and the force of mind that contests all assumptions.
ON CHESIL BEACH. By Ian McEwan. (Nan A. Talese/Doubleday, $22.) Consisting largely of a single sex scene played out on a couple’s wedding night, this seeming novel of manners is as much a horror story as any McEwan has written.
OUT STEALING HORSES. By Per Petterson. Translated by Anne Born. (Graywolf Press, $22.) In this short yet spacious Norwegian novel, an Oslo professional hopes to cure his loneliness with a plunge into solitude.
THE RELUCTANT FUNDAMENTALIST. By Mohsin Hamid. (Harcourt, $22.) Hamid’s chilling second novel is narrated by a Pakistani who tells his life story to an unnamed American after the attacks of 9/11.
REMAINDER. By Tom McCarthy. (Vintage, paper, $13.95.) In this debut, a Londoner emerges from a coma and seeks to reassure himself of the genuineness of his existence.
THE SAVAGE DETECTIVES. By Roberto Bolaño. Translated by Natasha Wimmer. (Farrar, Straus & Giroux, $27.) A craftily autobiographical novel about a band of literary guerrillas.
SELECTED POEMS. By Derek Walcott. Edited by Edward Baugh. (Farrar, Straus & Giroux, $25.) The Nobel Prize winner Walcott, who was born on St. Lucia, is a long-serving poet of exile, caught between two races and two worlds.
THE SEPTEMBERS OF SHIRAZ. By Dalia Sofer. (Ecco/HarperCollins, $24.95.) In this powerful first novel, the father of a prosperous Jewish family in Tehran is arrested shortly after the Iranian revolution.
SHORTCOMINGS. By Adrian Tomine. (Drawn & Quarterly, $19.95.) The Asian-American characters in this meticulously observed comic-book novella explicitly address the way in which they handle being in a minority.
SUNSTROKE: And Other Stories. By Tessa Hadley. (Picador, paper, $13.) These resonant tales encapsulate moments of hope and humiliation in a kind of shorthand of different lives lived.
THEN WE CAME TO THE END. By Joshua Ferris. (Little, Brown, $23.99.) Layoff notices fly in Ferris’s acidly funny first novel, set in a white-collar office in the wake of the dot-com debacle.
THROW LIKE A GIRL: Stories. By Jean Thompson. (Simon & Schuster, paper, $13.) The women here are smart and strong but drawn to losers.
TIME AND MATERIALS: Poems, 1997-2005. By Robert Hass. (Ecco/Harper-Collins, $22.95.) What Hass, a former poet laureate, has lost in Californian ease he has gained in stern self-restraint.
TREE OF SMOKE. By Denis Johnson. (Farrar, Straus & Giroux, $27.) The author of “Jesus’ Son” offers a soulful novel about the travails of a large cast of characters during the Vietnam War.
TWENTY GRAND: And Other Tales of Love and Money. By Rebecca Curtis. (Harper Perennial, paper, $13.95.) In this debut collection, a crisp, blunt tone propels stories both surreal and realistic.
VARIETIES OF DISTURBANCE: Stories. By Lydia Davis. (Farrar, Straus & Giroux, paper, $13.) Dispensing with straight narrative, Davis microscopically examines language and thought.
THE VIEW FROM CASTLE ROCK: Stories. By Alice Munro. (Knopf, $25.95.) This collection offers unusually explicit reflections of Munro’s life.
WHAT IS THE WHAT. The Autobiography of Valentino Achak Deng: A Novel. By Dave Eggers. (McSweeney’s, $26.) The horrors, injustices and follies in this novel are based on the experiences of one of the Lost Boys of Sudan.
WINTERTON BLUE. By Trezza Azzopardi. (Grove, $24.) An unhappy young woman meets an even unhappier drifter.
THE YIDDISH POLICEMEN’S UNION. By Michael Chabon. (HarperCollins, $26.95.) Cops, thugs, schemers, rabbis, chess fanatics and obsessives of every stripe populate this screwball, hard-boiled murder mystery set in an imagined Jewish settlement in Alaska.
Nonfiction
AGENT ZIGZAG: A True Story of Nazi Espionage, Love, and Betrayal. By Ben Macintyre. (Harmony, $25.95.) The exploits of Eddie Chapman, a British criminal who became a double agent in World War II.
ALEXIS DE TOCQUEVILLE: A Life. By Hugh Brogan. (Yale University, $35.) Brogan’s combative biography takes issue with Tocqueville’s misgivings about democracy.
ALICE: Alice Roosevelt Longworth, From White House Princess to Washington Power Broker. By Stacy A. Cordery. (Viking, $32.95.) A biography of Theodore Roosevelt’s shrewd, tart-tongued older daughter.
AMERICAN CREATION: Triumphs and Tragedies at the Founding of the Republic. By Joseph J. Ellis. (Knopf, $26.95.) This history explores an underappreciated point: that this country was constructed to foster arguments, not to settle them.
THE ARGUMENT: Billionaires, Bloggers, and the Battle to Remake Democratic Politics. By Matt Bai. (Penguin Press, $25.95.) An exhaustive account of the Democrats’ transformative efforts, by a political reporter for The New York Times Magazine.
ARSENALS OF FOLLY: The Making of the Nuclear Arms Race. By Richard Rhodes. (Knopf, $28.95.) This artful history focuses on the events leading up to the pivotal 1986 Reykjavik summit meeting between Reagan and Gorbachev.
THE ART OF POLITICAL MURDER: Who Killed the Bishop? By Francisco Goldman. (Grove, $25.) The novelist returns to Guatemala, a major inspiration for his fiction, to try to solve the real-life killing of a Roman Catholic bishop.
BROTHER, I’M DYING. By Edwidge Danticat. (Knopf, $23.95.) Danticat’s cleareyed prose and unflinching adherence to the facts conceal an undercurrent of melancholy in this memoir of her Haitian family.
CIRCLING MY MOTHER. By Mary Gordon. (Pantheon, $24.) Gordon’s deeply personal memoir focuses on the engaged and lively Catholicism of her mother, a glamorous career woman who was also an alcoholic with a body afflicted by polio.
CLEOPATRA’S NOSE: 39 Varieties of Desire. By Judith Thurman. (Farrar, Straus & Giroux, $27.95.) These surgically analytic essays of cultural criticism showcase themes of loss, hunger and motherhood.
CULTURAL AMNESIA: Necessary Memories From History and the Arts. By Clive James. (Norton, $35.) Essays on 20th-century luminaries by one of Britain’s leading public intellectuals.
THE DAY OF BATTLE: The War in Sicily and Italy, 1943-1944. Volume Two of the Liberation Trilogy. By Rick Atkinson. (Holt, $35.) A celebration of the American experience in these campaigns.
THE DIANA CHRONICLES. By Tina Brown. (Doubleday, $27.50.) The former New Yorker editor details the sordid domestic drama that pitted the Princess of Wales against Britain’s royal family.
THE DISCOVERY OF FRANCE: A Historical Geography From the Revolution to the First World War. By Graham Robb. (Norton, $27.95.) Robb presents France as a group of diverse regions, each with its own long history, intricate belief systems and singular customs.
DOWN THE NILE: Alone in a Fisherman’s Skiff. By Rosemary Mahoney. (Little, Brown, $23.99.) Mahoney juxtaposes her solo rowing journey with encounters with the Egyptians she met.
DRIVEN OUT: The Forgotten War Against Chinese Americans. By Jean Pfaelzer. (Random House, $27.95.) How the Chinese were brutalized and demonized in the 19th-century American West — and how they fought back.
DUE CONSIDERATIONS: Essays and Criticism. By John Updike. (Knopf, $40.) Updike’s first nonfiction collection in eight years displays breathtaking scope as well as the author’s seeming inability to write badly.
EASTER EVERYWHERE: A Memoir. By Darcey Steinke. (Bloomsbury, $24.95.) A minister’s daughter confronts her own spiritual rootlessness.
EDITH WHARTON. By Hermione Lee. (Knopf, $35.) This meticulous biography shows Wharton’s significance as a designer, decorator, gardener and traveler, as well as a writer.
THE FATHER OF ALL THINGS: A Marine, His Son, and the Legacy of Vietnam. By Tom Bissell. (Pantheon, $25.) Bissell mixes rigorous narrative accounts of the war and emotionally powerful scenes of the distress it brought his own family.
THE FLORIST’S DAUGHTER. By Patricia Hampl. (Harcourt, $24.) In her fifth and most powerful memoir, Hampl looks hard at her relationship to her Midwestern roots as her mother lies dying in the hospital.
FORESKIN’S LAMENT: A Memoir. By Shalom Auslander. (Riverhead, $24.95.) With scathing humor and bitter irony, Auslander wrestles with his Jewish Orthodox roots.
GOMORRAH: A Personal Journey Into the Violent International Empire of Naples’ Organized Crime System. By Roberto Saviano. Translated by Virginia Jewiss. (Farrar, Straus & Giroux, $25.) This powerful work of reportage started a national conversation in Italy when it was published there last year.
THE HOUSE THAT GEORGE BUILT: With a Little Help From Irving, Cole, and a Crew of About Fifty. By Wilfrid Sheed. (Random House, $29.95.) A rich homage to Gershwin, Berlin and other masters of the swinging jazz song.
HOW DOCTORS THINK. By Jerome Groopman. (Houghton Mifflin, $26.) Groopman takes a tough-minded look at the ways in which doctors and patients interact, and at the profound problems facing modern medicine.
HOW TO READ THE BIBLE: A Guide to Scripture, Then and Now. By James L. Kugel. (Free Press, $35.) In this tour through the Jewish scriptures (i.e., the Old Testament, more or less), a former professor of Hebrew seeks to reclaim the Bible from the literalists and the skeptics.
HOW TO TALK ABOUT BOOKS YOU HAVEN’T READ. By Pierre Bayard. Translated by Jeffrey Mehlman. (Bloomsbury, $19.95.) A French literature professor wants to assuage our guilt over the ways we actually read and discuss books.
IMPERIAL LIFE IN THE EMERALD CITY: Inside Iraq’s Green Zone. By Rajiv Chandrasekaran. (Knopf, $25.95.) The author, a Washington Post journalist, catalogs the arrogance and ineptitude that marked America’s governance of Iraq.
THE INVISIBLE CURE: Africa, the West, and the Fight Against AIDS. By Helen Epstein. (Farrar, Straus & Giroux, $26.) Rigorous reporting unearths new findings among the old issues.
LEGACY OF ASHES: The History of the CIA. By Tim Weiner. (Doubleday, $27.95.) A comprehensive chronicle of the American intelligence agency, from the days of the Iron Curtain to Iraq, by a reporter for The New York Times.
LENI: The Life and Work of Leni Riefenstahl. By Steven Bach. (Knopf, $30.) How Hitler’s favorite director made “Triumph of the Will” and convinced posterity that she didn’t know what the Nazis were up to.
LEONARD WOOLF: A Biography. By Victoria Glendinning. (Free Press, $30.) Glendinning shows Virginia Woolf’s accomplished husband as passionate, reserved and, above all, stoical.
A LIFE OF PICASSO: The Triumphant Years, 1917-1932. By John Richardson. (Knopf, $40.) The third, penultimate installment in Richardson’s biography spans a dauntingly complicated time in Picasso’s life and in European history.
LITTLE HEATHENS: Hard Times and High Spirits on an Iowa Farm During the Great Depression. By Mildred Armstrong Kalish. (Bantam, $22.) Kalish’s soaring love for her childhood memories saturates this memoir, which coaxes the reader into joy, wonder and even envy.
LONG WAY GONE: Memoirs of a Boy Soldier. By Ishmael Beah. (Sarah Crichton/-Farrar, Straus & Giroux, $22.) A former child warrior gives literary voice to the violence and killings he both witnessed and perpetrated during the Sierra Leone civil war.
THE NINE: Inside the Secret World of the Supreme Court. By Jeffrey Toobin. (Doubleday, $27.95.) An erudite outsider’s account of the cloistered court’s inner workings.
THE ORDEAL OF ELIZABETH MARSH: A Woman in World History. By Linda Colley. (Pantheon, $27.50.) Colley tracks the “compulsively itinerant” Marsh across the 18th century and several continents.
PORTRAIT OF A PRIESTESS: Women and Ritual in Ancient Greece. By Joan Breton Connelly. (Princeton University, $39.50.) A scholar finds that religion meant power for Greek women.
RALPH ELLISON: A Biography. By Arnold Rampersad. (Knopf, $35.) Ellison was seemingly cursed by his failure to follow up “Invisible Man.”
THE REST IS NOISE: Listening to the Twentieth Century. By Alex Ross. (Farrar, Straus & Giroux, $30.) In his own feat of orchestration, The New Yorker’s music critic presents a history of the last century as refracted through its classical music.
SCHULZ AND PEANUTS: A Biography. By David Michaelis. (Harper/ Harper-Collins, $34.95.) Actual “Peanuts” cartoons movingly illustrate this portrait of the strip’s creator, presented here as a profoundly lonely and unhappy man.
SERVICE INCLUDED: Four-Star Secrets of an Eavesdropping Waiter. By Phoebe Damrosch. (Morrow, $24.95.) A memoir about waiting tables at the acclaimed Manhattan restaurant Per Se.
SOLDIER’S HEART: Reading Literature Through Peace and War at West Point. By Elizabeth D. Samet. (Farrar, Straus & Giroux, $23.) A civilian teacher at the Military Academy offers a significant perspective on a crucial social and political force: honor.
STANLEY: The Impossible Life of Africa’s Greatest Explorer. By Tim Jeal. (Yale University, $38.) Of the many biographies of Henry Morton Stanley, Jeal’s, which profits from his access to an immense new trove of material, is the most complete and readable.
THE STILLBORN GOD: Religion, Politics, and the Modern West. By Mark Lilla. (Knopf, $26.) With nuance and complexity, Lilla examines how we managed to separate, in a fashion, church and state.
THOMAS HARDY. By Claire Tomalin. (Penguin Press, $35.) Tomalin presents Hardy as a fascinating case study in mid-Victorian literary sociology.
TOO CLOSE TO THE SUN: The Audacious Life and Times of Denys Finch Hatton. By Sara Wheeler. (Random House, $27.95.) The story of the man immortalized in “Out of Africa.”
TWO LIVES: Gertrude and Alice. By Janet Malcolm. (Yale University, $25.) Sharp criticism meets playful, absorbing biography in this study of Stein and Toklas.
THE WHISPERERS: Private Life in Stalin’s Russia. By Orlando Figes. (Metropolitan, $35.) An extraordinary look at the gulag’s impact on desperate individuals and families struggling to survive.
THE YEARS OF EXTERMINATION: Nazi Germany and the Jews, 1939-1945. By Saul Friedländer. (HarperCollins, $39.95.) Individual testimony and broader events are skillfully interwoven.
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Correction: December 2, 2007
The list of 100 Notable Books of 2007 in the Book Review today misspells the surname of the author of the novel “Let the Northern Lights Erase Your Name.” She is Vendela Vida, not Veda. (The same error appeared in the Editors’ Choice column on Jan. 7.)
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