Culture
Stephen King, Sarah Jessica Parker and More Share Their Top Books of the 21st Century
Stephen King
Stephen King has written more than 60 books, many of which have been adapted for film and television. His latest is the story collection YOU LIKE IT DARKER.
“Atonement,” by Ian McEwan ● “Christine Falls,” by Benjamin Black ● “The Goldfinch,” by Donna Tartt ● “Gone Girl,” by Gillian Flynn ● “No Country for Old Men,” by Cormac McCarthy ● “Oryx and Crake,” by Margaret Atwood ● “The Paying Guests,” by Sarah Waters ● “The Plot Against America,” by Philip Roth ● “The Sympathizer,” by Viet Thanh Nguyen ● “Under the Dome,” by Stephen King
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Min Jin Lee
Min Jin Lee has written two novels: FREE FOOD FOR MILLIONAIRES and PACHINKO, which was one of The Times’s 10 Best Books of 2017.
“All the Light We Cannot See,” by Anthony Doerr ● “Behind the Beautiful Forevers,” by Katherine Boo ● “Brooklyn,” by Colm Tóibín ● “The Buddha in the Attic,” by Julie Otsuka ● “Educated,” by Tara Westover ● “Evicted,” by Matthew Desmond ● “Gilead,” by Marilynne Robinson ● “The Known World,” by Edward P. Jones ● “Nickel and Dimed,” by Barbara Ehrenreich ● “Redeployment,” by Phil Klay
Karl Ove Knausgaard
Karl Ove Knausgaard is a Norwegian writer and essayist best known for MY STRUGGLE, a series of six autobiographical novels.
“2666,” by Roberto Bolaño ● “The Argonauts,” by Maggie Nelson ● “The Days of Abandonment,” by Elena Ferrante ● “The Flame Alphabet,” by Ben Marcus ● “The Kingdom,” by Emmanuel Carrère ● “Never Let Me Go,” by Kazuo Ishiguro ● “Small Things Like These,” by Claire Keegan ● “Storm Still,” by Peter Handke ● “Train Dreams,” by Denis Johnson ● “Voices from Chernobyl,” by Svetlana Alexievich
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Bonnie Garmus
Bonnie Garmus is the author of LESSONS IN CHEMISTRY, which was named Barnes & Noble’s book of the year in 2022.
“Between the World and Me,” by Ta-Nehisi Coates ● “Demon Copperhead,” by Barbara Kingsolver ● “Educated,” by Tara Westover ● “Genome,” by Matt Ridley ● “Harry Potter and the Half-Blood Prince,” by J.K. Rowling ● “A Heartbreaking Work of Staggering Genius,” by Dave Eggers ● “Henry David Thoreau,” by Laura Dassow Walls ● “Pobby and Dingan,” by Ben Rice ● “The Underground Railroad,” by Colson Whitehead ● “The Worst Hard Time,” by Timothy Egan
Nana Kwame Adjei‑Brenyah
Nana Kwame Adjei‑Brenyah’s debut novel, CHAIN-GANG ALL-STARS, was one of The Times’s 10 Best Books of 2023.
“Drinking Coffee Elsewhere: Stories,” by ZZ Packer ● “Ghost Of,” by Diana Khoi Nguyen ● “Greenwood,” by Michael Christie ● “Look,” by Solmaz Sharif ● “Pachinko,” by Min Jin Lee ● “Pastoralia,” by George Saunders ● “Sing, Unburied, Sing,” by Jesmyn Ward ● “Stories of Your Life and Others,” by Ted Chiang ● “Tenth of December,” by George Saunders ● “The Underground Railroad,” by Colson Whitehead
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Junot Díaz
Junot Díaz is an author whose books include THE BRIEF WONDROUS LIFE OF OSCAR WAO, which won the 2008 Pulitzer Prize for fiction.
“Americanah,” by Chimamanda Ngozi Adichie ● “Behind the Beautiful Forevers,” by Katherine Boo ● “Brother, I’m Dying,” by Edwidge Danticat ● “Kingdom Animalia,” by Aracelis Girmay ● “The Known World,” by Edward P. Jones ● “Out,” by Natsuo Kirino ● “The Savage Detectives,” by Roberto Bolaño ● “Say Her Name,” by Francisco Goldman ● “Stories of Your Life and Others,” by Ted Chiang ● “Tuff,” by Paul Beatty
Sarah Jessica Parker
Sarah Jessica Parker is an Emmy-winning actress and the founder of Zando’s literary imprint, SJP Lit.
“An American Marriage,” by Tayari Jones ● “The Bee Sting,” by Paul Murray ● “A Burning,” by Megha Majumdar ● “A Constellation of Vital Phenomena,” by Anthony Marra ● “The Corrections,” by Jonathan Franzen ● “The Goldfinch,” by Donna Tartt ● “A History of Burning,” by Janika Oza ● “The Nickel Boys,” by Colson Whitehead ● “Say Nothing,” by Patrick Radden Keefe ● “Wave,” by Sonali Deraniyagala
James Patterson
James Patterson has written more than 200 books across various genres, including collaborations with Bill Clinton and Dolly Parton. His latest books include CONFESSIONS OF THE DEAD, which he wrote with J.D. Barker, and TIGER, TIGER.
“11/22/63,” by Stephen King ● “The Book Thief,” by Markus Zusak ● “Educated,” by Tara Westover ● “The Girl with the Dragon Tattoo,” by Stieg Larsson ● “Gone Girl,” by Gillian Flynn ● “Harry Potter and the Goblet of Fire,” by J.K. Rowling ● “Kitchen Confidential,” by Anthony Bourdain ● “Life,” by Keith Richards with James Fox ● “Mystic River,” by Dennis Lehane ● “Seabiscuit,” by Laura Hillenbrand
Elin Hilderbrand
Elin Hilderbrand, often referred to as the queen of beach reads, recently announced that SWAN SONG, released in June, would be the last of her Nantucket summer novels.
“Alice & Oliver,” by Charles Bock ● “American Wife,” by Curtis Sittenfeld ● “Dirt Music,” by Tim Winton ● “Euphoria,” by Lily King ● “Every Last One,” by Anna Quindlen ● “Fates and Furies,” by Lauren Groff ● “Hamnet,” by Maggie O’Farrell ● “Luster,” by Raven Leilani ● “May We Be Forgiven,” by A.M. Homes ● “The Night Circus,” by Erin Morgenstern
Annette Gordon‑Reed
Annette Gordon-Reed is a professor at Harvard University whose 2008 history, THE HEMINGSES OF MONTICELLO, won both a Pulitzer Prize and a National Book Award…
… and she also included it on her ballot, telling us,
“I couldn’t help it.”
“Between the World and Me,” by Ta-Nehisi Coates ● “The Emperor of All Maladies,” by Siddhartha Mukherjee ● “Gilead,” by Marilynne Robinson ● “The Hemingses of Monticello,” by Annette Gordon-Reed ● “The Immortal Life of Henrietta Lacks,” by Rebecca Skloot ● “The Metaphysical Club,” by Louis Menand ● “The Plot Against America,” by Philip Roth ● “The Underground Railroad,” by Colson Whitehead ● “The Warmth of Other Suns,” by Isabel Wilkerson ● “Wolf Hall,” by Hilary Mantel
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Rebecca Roanhorse
Rebecca Roanhorse is a Hugo- and Nebula-winning science fiction and fantasy novelist whose works include BLACK SUN and TRAIL OF LIGHTNING.
“Ancillary Justice,” by Ann Leckie ● “Exhalation,” by Ted Chiang ● “The Fifth Season,” by N.K. Jemisin ● “The Ministry for the Future,” by Kim Stanley Robinson ● “The Only Good Indians,” by Stephen Graham Jones ● “The Paper Menagerie and Other Stories,” by Ken Liu ● “Ring Shout,” by P. Djèlí Clark ● “The Round House,” by Louise Erdrich ● “The Saint of Bright Doors,” by Vajra Chandrasekera ● “Selected Stories,” by Theodore Sturgeon
Marlon James
Marlon James is the author of five novels, including A BRIEF HISTORY OF SEVEN KILLINGS, which won the 2015 Booker Prize.
“2666,” by Roberto Bolaño ● “As Meat Loves Salt,” by Maria McCann ● “Evicted,” by Matthew Desmond ● “The Fifth Season,” by N.K. Jemisin ● “The Good Lord Bird,” by James McBride ● “The Line of Beauty,” by Alan Hollinghurst ● “Pachinko,” by Min Jin Lee ● “Skippy Dies,” by Paul Murray ● “Wolf Hall,” by Hilary Mantel ● “The World Is What It Is,” by Patrick French
Roxane Gay
Roxane Gay is an editor, essayist and author whose best-selling nonfiction includes BAD FEMINIST and HUNGER. She is also a contributing Opinion writer for The New York Times.
“The Amazing Adventures of Kavalier & Clay,” by Michael Chabon ● “The Brutal Language of Love,” by Alicia Erian ● “Girl, Woman, Other,” by Bernardine Evaristo ● “Heavy,” by Kiese Laymon ● “Her Body and Other Parties,” by Carmen Maria Machado ● “NW,” by Zadie Smith ● “Pachinko,” by Min Jin Lee ● “Room,” by Emma Donoghue ● “Salvage the Bones,” by Jesmyn Ward ● “State of Wonder,” by Ann Patchett
Jonathan Lethem
Jonathan Lethem is a writer best known for his 1999 novel MOTHERLESS BROOKLYN.
“Aurora,” by Kim Stanley Robinson ● “Dear Cyborgs,” by Eugene Lim ● “The Employees,” by Olga Ravn ● “Erasure,” by Percival Everett ● “Hawthorn & Child,” by Keith Ridgway ● “Houses of Ravicka,” by Renee Gladman ● “How the Dead Dream,” by Lydia Millet ● “The Last Samurai,” by Helen DeWitt ● “Pity the Beast,” by Robin McLean ● “Trance,” by Christopher Sorrentino
Sarah MacLean
Sarah MacLean is an award-winning romance writer whose most recent novel is KNOCKOUT.
“After Hours on Milagro Street,” by Angelina M. Lopez ● “Again the Magic,” by Lisa Kleypas ● “Bet Me,” by Jennifer Crusie ● “Circe,” by Madeline Miller ● “Dark Needs at Night’s Edge,” by Kresley Cole ● “Forbidden,” by Beverly Jenkins ● “Georgie, All Along,” by Kate Clayborn ● “Hana Khan Carries On,” by Uzma Jalaluddin ● “A Heart of Blood and Ashes,” by Milla Vane ● “Ravishing the Heiress,” by Sherry Thomas
Ed Yong
Ed Yong is a Pulitzer Prize-winning science journalist and the author of AN IMMENSE WORLD and I CONTAIN MULTITUDES.
“Bel Canto,” by Ann Patchett ● “Chain-Gang All-Stars,” by Nana Kwame Adjei-Brenyah ● “A Day in the Life of Abed Salama,” by Nathan Thrall ● “Exit West,” by Mohsin Hamid ● “H Is for Hawk,” by Helen Macdonald ● “The Immortal Life of Henrietta Lacks,” by Rebecca Skloot ● “Saving Time,” by Jenny Odell ● “The Swimmers,” by Julie Otsuka ● “This Is How You Lose the Time War,” by Amal El-Mohtar and Max Gladstone ● “Trust,” by Hernan Diaz
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Thomas Chatterton Williams
Thomas Chatterton Williams, a staff writer at The Atlantic, is the author of LOSING MY COOL and SELF-PORTRAIT IN BLACK AND WHITE.
“All Aunt Hagar’s Children,” by Edward P. Jones ● “Biography of X,” by Catherine Lacey ● “Eat the Document,” by Dana Spiotta ● “Ideas of Heaven: A Ring of Stories,” by Joan Silber ● “Malcolm X,” by Manning Marable ● “The Round House,” by Louise Erdrich ● “Runaway,” by Alice Munro ● “Stay True,” by Hua Hsu ● “Veronica,” by Mary Gaitskill ● “The Warmth of Other Suns,” by Isabel Wilkerson
Paul Tremblay
Paul Tremblay is an award-winning horror novelist whose latest book is HORROR MOVIE.
“2666,” by Roberto Bolaño ● “House of Leaves,” by Mark Z. Danielewski ● “Lady Joker, Vol. 1,” by Kaoru Takamura ● “The Maniac,” by Benjamín Labatut ● “Never Let Me Go,” by Kazuo Ishiguro ● “No Country for Old Men,” by Cormac McCarthy ● “The Only Good Indians,” by Stephen Graham Jones ● “Our Share of Night,” by Mariana Enriquez ● “Treasure Island!!!,” by Sara Levine ● “The Underground Railroad,” by Colson Whitehead
Nick Hornby
Nick Hornby is best known for comic novels like HIGH FIDELITY and ABOUT A BOY.
“The Amazing Adventures of Kavalier & Clay,” by Michael Chabon ● “Austerity Britain,” by David Kynaston ● “Billy Lynn’s Long Halftime Walk,” by Ben Fountain ● “Empire Falls,” by Richard Russo ● “Gilead,” by Marilynne Robinson ● “Olive Kitteridge,” by Elizabeth Strout ● “On Beauty,” by Zadie Smith ● “Pictures at a Revolution,” by Mark Harris ● “Random Family,” by Adrian Nicole LeBlanc ● “Say Nothing,” by Patrick Radden Keefe
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Scott Turow
Scott Turow is an attorney and writer best known for legal thrillers like PRESUMED INNOCENT and THE BURDEN OF PROOF.
“Bel Canto,” by Ann Patchett ● “Dreamland,” by Sam Quinones ● “The Good Lord Bird,” by James McBride ● “My Brilliant Friend,” by Elena Ferrante. Translated by Ann Goldstein. ● “On Tyranny,” by Timothy Snyder ● “The Orphan Master’s Son,” by Adam Johnson ● “The Story of a New Name,” by Elena Ferrante. Translated by Ann Goldstein ● “The Story of the Lost Child,” by Elena Ferrante. Translated by Ann Goldstein ● “Thinking, Fast and Slow,” by Daniel Kahneman ● “Those Who Leave and Those Who Stay,” by Elena Ferrante. Translated by Ann Goldstein
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Daniel Alarcón
Daniel Alarcón is a novelist (LOST CITY RADIO) and contributing writer at The New Yorker whose long-running Spanish-language podcast, Radio Ambulante, is distributed by NPR.
“The Brief Wondrous Life of Oscar Wao,” by Junot Díaz ● “Citizen,” by Claudia Rankine ● “Exit West,” by Mohsin Hamid ● “The Known World,” by Edward P. Jones ● “Lincoln in the Bardo,” by George Saunders ● “My Brilliant Friend,” by Elena Ferrante. Translated by Ann Goldstein. ● “NW,” by Zadie Smith ● “Random Family,” by Adrian Nicole LeBlanc ● “The Savage Detectives,” by Roberto Bolaño ● “Say Nothing,” by Patrick Radden Keefe
Honorée Fanonne Jeffers
Honorée Fanonne Jeffers is a poet and professor of English at the University of Oklahoma. Her debut novel, THE LOVE SONGS OF W.E.B. DU BOIS, was one of The Times’s 10 Best Books of 2021.
“Brother, I’m Dying,” by Edwidge Danticat ● “Built from the Fire,” by Victor Luckerson ● “Feminism Is For Everybody,” by bell hooks ● “Gathering Blossoms,” by Alice Walker ● “The Known World,” by Edward P. Jones ● “A Mercy,” by Toni Morrison ● “The Source of Self-Regard,” by Toni Morrison ● “Stamped from the Beginning,” by Ibram X. Kendi ● “Ties that Bind,” by Tiya Miles ● “The Warmth of Other Suns,” by Isabel Wilkerson
Lucy Sante
Lucy Sante is a writer whose last book, I HEARD HER CALL MY NAME, is a memoir of her gender transition.
“Anniversaries,” by Uwe Johnson. Translated by Damion Searls ● “Feral City,” by Jeremiah Moss ● “The Friend,” by Sigrid Nunez ● “It Gets Me Home, This Curving Track,” by Ian Penman ● “Jacket Weather,” by Mike DeCapite ● “The Mars Room,” by Rachel Kushner ● “Same Bed Different Dreams,” by Ed Park ● “The Savage Detectives,” by Roberto Bolaño ● “Stay True,” by Hua Hsu ● “Voices from Chernobyl,” by Svetlana Alexievich
Gary Shteyngart
Gary Shteyngart has written five novels, one of which, ABSURDISTAN, was named one of The Times’s 10 Best Books of 2006.
“Bangkok Wakes to Rain,” by Pitchaya Sudbanthad ● “The Collected Stories of Amy Hempel,” by Amy Hempel ● “Educated,” by Tara Westover ● “Exit West,” by Mohsin Hamid ● “The Master,” by Colm Tóibín ● “Netherland,” by Joseph O’Neill ● “Outline,” by Rachel Cusk ● “Postwar,” by Tony Judt ● “Veronica,” by Mary Gaitskill ● “The Warmth of Other Suns,” by Isabel Wilkerson
Anand Giridharadas
Anand Giridharadas is a writer and former foreign correspondent whose books include THE PERSUADERS and WINNERS TAKE ALL.
“The Argonauts,” by Maggie Nelson ● “Behind the Beautiful Forevers,” by Katherine Boo ● “Dark Money,” by Jane Mayer ● “Far From the Tree,” by Andrew Solomon ● “A Little Life,” by Hanya Yanagihara ● “Maximum City,” by Suketu Mehta ● “My Struggle: Book 2,” by Karl Ove Knausgaard ● “One of Us,” by Asne Seierstad ● “Random Family,” by Adrian Nicole LeBlanc ● “The Year of Magical Thinking,” by Joan Didion
Jessamine Chan
Jessamine Chan’s debut novel, THE SCHOOL FOR GOOD MOTHERS, was named by Barack Obama as one of his favorite books of 2022.
“Chain-Gang All-Stars,” by Nana Kwame Adjei-Brenyah ● “Cinema Love,” by Jiaming Tang ● “Easy Beauty,” by Chloé Cooper Jones ● “Invisible Child,” by Andrea Elliott ● “Kairos,” by Jenny Erpenbeck ● “Matrix,” by Lauren Groff ● “Minor Feelings,” by Cathy Park Hong ● “Never Let Me Go,” by Kazuo Ishiguro ● “Pure Colour,” by Sheila Heti ● “Torn Apart,” by Dorothy Roberts
Michael Robbins
Michael Robbins is the author of several poetry collections, including WALKMAN and THE SECOND SEX.
“Alien vs. Predator,” by Michael Robbins ● “Communal Luxury,” by Kristin Ross ● “Cruel Optimism,” by Lauren Berlant ● “Fossil Capital,” by Andreas Malm ● “Keats’s Odes,” by Anahid Nersessian ● “Lila,” by Marilynne Robinson ● “Planet of Slums,” by Mike Davis ● “Poemland,” by Chelsey Minnis ● “Stolen Life,” by Fred Moten ● “Veronica,” by Mary Gaitskill
Alma Katsu
Alma Katsu is a genre-spanning writer whose books include RED WIDOW and THE HUNGER.
“Gone Girl,” by Gillian Flynn ● “Jonathan Strange and Mr Norrell,” by Susanna Clarke ● “Lincoln in the Bardo,” by George Saunders ● “The Little Friend,” by Donna Tartt ● “The Little Stranger,” by Sarah Waters ● “Never Let Me Go,” by Kazuo Ishiguro ● “The Only Good Indians,” by Stephen Graham Jones ● “The Swimmers,” by Julie Otsuka ● “The Time Traveler’s Wife,” by Audrey Niffenegger ● “Wolf Hall,” by Hilary Mantel
Megan Abbott
Megan Abbott is the Edgar-winning author of 11 novels, including DARE ME, THE TURNOUT and BEWARE THE WOMAN.
“Blonde,” by Joyce Carol Oates ● “Gone Girl,” by Gillian Flynn ● “Life After Life,” by Kate Atkinson ● “A Little Life,” by Hanya Yanagihara ● “Lost Girls,” by Robert Kolker ● “My Sister, the Serial Killer,” by Oyinkan Braithwaite ● “Nemesis,” by Philip Roth ● “Random Family,” by Adrian Nicole LeBlanc ● “Winter’s Bone,” by Daniel Woodrell ● “The Year of Magical Thinking,” by Joan Didion
Joshua Ferris
Joshua Ferris has written five novels, including THEN WE CAME TO THE END, which won the 2008 PEN/Hemingway Award.
“The Corrections,” by Jonathan Franzen ● “The Gathering,” by Anne Enright ● “Gilead,” by Marilynne Robinson ● “The Known World,” by Edward P. Jones ● “No Country for Old Men,” by Cormac McCarthy ● “No One Is Talking About This,” by Patricia Lockwood ● “NW,” by Zadie Smith ● “The Savage Detectives,” by Roberto Bolaño ● “Tinkers,” by Paul Harding ● “Wolf Hall,” by Hilary Mantel
Ann Napolitano
Ann Napolitano is a novelist whose last book, HELLO BEAUTIFUL, was the 100th pick of Oprah’s Book Club.
“Americanah,” by Chimamanda Ngozi Adichie ● “The Brief Wondrous Life of Oscar Wao,” by Junot Díaz ● “Cloud Atlas,” by David Mitchell ● “Demon Copperhead,” by Barbara Kingsolver ● “Far From the Tree,” by Andrew Solomon ● “Homegoing,” by Yaa Gyasi ● “The Master,” by Colm Tóibín ● “Station Eleven,” by Emily St. John Mandel ● “The Underground Railroad,” by Colson Whitehead ● “Wolf Hall,” by Hilary Mantel
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
John Irving
John Irving is the author of THE WORLD ACCORDING TO GARP, THE CIDER HOUSE RULES and A PRAYER FOR OWEN MEANY, among other novels.
“The Absolutist,” by John Boyne ● “Burma Sahib,” by Paul Theroux ● “Cutting for Stone,” by Abraham Verghese ● “Last Night,” by James Salter ● “The Nix,” by Nathan Hill ● “Peeling the Onion,” by Günter Grass ● “A Saint from Texas,” by Edmund White ● “Shadow Country,” by Peter Matthiessen ● “Warlight,” by Michael Ondaatje ● “Why Be Happy When You Could Be Normal?,” by Jeanette Winterson
Tiya Miles
Tiya Miles is a professor of history at Harvard University whose books include ALL THAT SHE CARRIED, which won the 2021 National Book Award for nonfiction, and the just-published NIGHT FLYER.
“Frederick Douglass,” by David W. Blight ● “The Hemingses of Monticello,” by Annette Gordon-Reed ● “Less,” by Andrew Sean Greer ● “The Omnivore’s Dilemma,” by Michael Pollan ● “People Love Dead Jews,” by Dara Horn ● “The Round House,” by Louise Erdrich ● “Salvage the Bones,” by Jesmyn Ward ● “The Swerve,” by Stephen Greenblatt ● “The Underground Railroad,” by Colson Whitehead
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Jami Attenberg
Jami Attenberg is a writer whose new novel, A REASON TO SEE YOU AGAIN, comes out in September.
“Bright Dead Things,” by Ada Limón ● “The Corrections,” by Jonathan Franzen ● “Fun Home,” by Alison Bechdel ● “Grief Is For People,” by Sloane Crosley ● “Heavy,” by Kiese Laymon ● “How to Write an Autobiographical Novel,” by Alexander Chee ● “Just Kids,” by Patti Smith ● “Pachinko,” by Min Jin Lee ● “There Are More Beautiful Things Than Beyoncé,” by Morgan Parker ● “True Biz,” by Sara Novic
Stephen L. Carter
Stephen L. Carter, a professor at Yale Law School, has written critically acclaimed nonfiction as well as six novels, including THE EMPEROR OF OCEAN PARK.
“Bourgeois Dignity,” by Deirdre McCloskey ● “Exit West,” by Mohsin Hamid ● “The Fabric of Civilization,” by Virginia Postrel ● “The Human Stain,” by Philip Roth ● “Inventing The Enemy,” by Umberto Eco ● “March,” by Geraldine Brooks ● “The Overstory,” by Richard Powers ● “Silence,” by Jane Brox ● “That All Shall Be Saved,” by David Bentley Hart ● “What It Means When a Man Falls from the Sky,” by Lesley Nneka Arimah
1 of these, so far, appears on the 100 Best list.
(This page will update throughout the
week.)
Sarah Schulman
Sarah Schulman is a novelist, playwright and nonfiction writer whose most recent book is LET THE RECORD SHOW.
“Citizen,” by Claudia Rankine ● “The Freezer Door,” by Mattilda Bernstein Sycamore ● “Memorial Drive,” by Natasha Trethewey ● “Minor Detail,” by Adania Shibli ● “The Rediscovery of America,” by Ned Blackhawk ● “They Were Her Property,” by Stephanie E. Jones-Rogers ● “Vanguard,” by Martha S. Jones ● “The Viral Underclass,” by Steven W. Thrasher ● “We Could Have Been Friends, My Father and I,” by Raja Shehadeh ● “The Women’s House of Detention,” by Hugh Ryan
Elizabeth Hand
Elizabeth Hand is the author of 20 novels, most recently A HAUNTING ON THE HILL.
“The Enchanted,” by Rene Denfeld ● “Henry Darger,” by John M. MacGregor ● “Ill Will,” by Dan Chaon ● “James Tiptree Jr.,” by Julie Phillips ● “Just Kids,” by Patti Smith ● “The Little Stranger,” by Sarah Waters ● “Magic for Beginners,” by Kelly Link ● “Night of the Living Rez,” by Morgan Talty ● “The Old Ways,” by Robert Macfarlane ● “Pattern Recognition,” by William Gibson
Dion Graham
Dion Graham is an actor whose award-winning audiobook narrations include Jonathan Eig’s KING and Colson Whitehead’s CROOK MANIFESTO.
“American War,” by Omar El Akkad ● “Black Leopard, Red Wolf,” by Marlon James ● “Chasing Me to My Grave,” by Winfred Rembert ● “The Dark Forest,” by Cixin Liu ● “Evicted,” by Matthew Desmond ● “A Heartbreaking Work of Staggering Genius,” by Dave Eggers ● “His Name Is George Floyd,” by Robert Samuels and Toluse Olorunnipa ● “King: A Life,” by Jonathan Eig ● “Washington Black,” by Esi Edugyan
Jeremy Denk
Jeremy Denk is a classical pianist and the recipient of a MacArthur Foundation “genius grant.” His memoir, EVERY GOOD BOY DOES FINE, was published in 2022.
“Austerlitz,” by W.G. Sebald ● “Consider the Lobster,” by David Foster Wallace ● “Jeff in Venice, Death in Varanasi,” by Geoff Dyer ● “A Little Devil in America,” by Hanif Abdurraqib ● “Luster,” by Raven Leilani ● “The Possessed,” by Elif Batuman ● “Random Family,” by Adrian Nicole LeBlanc ● “The Rest Is Noise,” by Alex Ross ● “Runaway,” by Alice Munro ● “Sound Within Sound,” by Kate Molleson
Morgan Jerkins
Morgan Jerkins is a journalist, editor and the author of several books, including THIS WILL BE MY UNDOING.
“Barracoon,” by Zora Neale Hurston ● “Colorless Tsukuru Tazaki and His Years of Pilgrimage,” by Haruki Murakami ● “Erasure,” by Percival Everett ● “The Future Is History,” by Masha Gessen ● “Girl, Woman, Other,” by Bernardine Evaristo ● “How to Say Babylon,” by Safiya Sinclair ● “In the Dream House,” by Carmen Maria Machado ● “Looking for Lorraine,” by Imani Perry ● “Sing, Unburied, Sing,” by Jesmyn Ward
Michael Roth
Michael Roth is the president of Wesleyan University.
“The Amazing Adventures of Kavalier & Clay,” by Michael Chabon ● “The Argonauts,” by Maggie Nelson ● “In Love,” by Amy Bloom ● “Lose Your Mother,” by Saidiya Hartman ● “Lost Children Archive,” by Valeria Luiselli ● “On Earth We’re Briefly Gorgeous,” by Ocean Vuong ● “Septology,” by Jon Fosse. Translated by Damion Searls ● “Thinking, Fast and Slow,” by Daniel Kahneman ● “The Topeka School,” by Ben Lerner ● “A Visit From the Goon Squad,” by Jennifer Egan
Ryan Holiday
Ryan Holiday is the author of 12 books, including RIGHT THING, RIGHT NOW and THE DAILY STOIC, and co-owns a bookstore in Bastrop, Texas.
“Caste,” by Isabel Wilkerson ● “The Choice,” by Edith Eger ● “Deep Work,” by Cal Newport ● “How the Word Is Passed,” by Clint Smith ● “Mastery,” by Robert Greene ● “The River of Doubt,” by Candice Millard ● “The Road,” by Cormac McCarthy ● “So You’ve Been Publicly Shamed,” by Jon Ronson ● “The Tiger,” by John Vaillant ● “Tunnel 29,” by Helena Merriman
Culture
Poetry Challenge Day 3: W.H. Auden, The Poet and His Technique
Now that we’ve memorized the first half of our poem, let’s learn a little more about the man who wrote it. (Haven’t memorized anything yet? Click here to start at the beginning.)
For most of his life, Wystan Hugh Auden (1907-73) was a star. He was widely read, quoted, argued over and gossiped about, achieving a level of fame that few writers now — and not many then — could contemplate. His New York Times obituary did not hesitate to call him “the foremost poet of his generation.”
Celebrity of that kind is ephemeral, but Auden’s words have continued to circulate in the half century since his death. Maybe you’ve heard some of them before. In the 1994 film “Four Weddings and a Funeral,” his poem “Funeral Blues” is recited by Matthew (John Hannah) over the casket of his lover, Gareth (Simon Callow).
In the Gen-X touchstone “Before Sunrise” (1995), Jesse (Ethan Hawke) regales Celine (Julie Delpy) with an impression of Dylan Thomas reading Auden’s “As I Walked Out One Evening.”
In both these scenes, the characters use Auden’s poetry to give voice to a longing for which they otherwise might not have words. Auden’s poetry is often useful in that way. It speaks to recognizable human occasions, and it isn’t always all about him.
“The More Loving One” might not be something you’d quote at a funeral or on a date, but it is almost effortlessly quotable — the perfect expression of a thought you never knew you had:
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
Ken Burns, filmmaker
The word “I” occurs five times in this stanza, but we don’t know much about the person speaking. His personality is camouflaged and revealed by craft.
Auden, born in the northern English cathedral city of York, began practicing that craft as a schoolboy, and honed it at Oxford. Not long after graduating in 1928, he was anointed by critics and readers as the great hope of modern English poetry. A charismatic, divisive figure, he gathered acolytes, imitators and haters.
He swam in the intellectual and ideological crosscurrents of the 1930s, drawing Marxism, psychoanalysis and mystical nationalism into his writing. Assimilating a daunting array of literary influences — Old English and Ancient Greek, French chansons and Icelandic sagas — he forged a poetic personality that was bold, confiding and seductive.
His love poems of that era were candid, discreet dispatches from a calendar of feverish entanglements, wrenching breakups and one-night stands, usually with other men. He also wrote about the feverish politics of the time — class conflict; the rise of fascism; the Spanish Civil War — in ringing rhetoric he later disavowed.
In 1939 Auden moved to America, acquiring U.S. citizenship after World War II. In New York he fell in love with Chester Kallman, a young American writer who became his life partner.
It was a complicated relationship, starting as a passionate affair and enduring through decades of domestic companionship and creative collaboration. Kallman’s refusal to be sexually exclusive wounded Auden, a dynamic that poignantly shades this poem’s most memorable couplet:
If equal affection cannot be,
Let the more loving one be me.
Yiyun Li, writer
In America, Auden distanced himself from the radical politics of his earlier career and embraced Anglican Christianity. His intellectual preoccupations shifted toward religion and existentialism — to the kinds of big questions we think about late at night, or when we look to the sky.
Making the leap from wunderkind to grand old man without seeming to stop in middle age, he became a mentor for several generations of younger poets. He was a prolific and punctual contributor of reviews and essays to various publications, including this one, for which he wrote a rave of J.R.R. Tolkien’s “The Fellowship of the Ring” in 1954.
Through it all, Auden devoted fanatical attention to the finer points of poetic technique. His notebooks are full of numbers, word lists and markings that show just how deep this commitment went. He counted every syllable, measured every stress.
He gathered rhymes and other words with a lexicographer’s zeal and a crossword puzzler’s precision.
The third stanza of “The More Loving One” is a miniature showcase of Auden’s skill. Of the four epigrams arrayed before us, it may be the most technically perfect.
Admirer as I think I am
Of stars that do not give a damn,
I cannot, now I see them, say
I missed one terribly all day.
W.H. Auden, poet
The rhythm is flawless, without an extra syllable or an accent out of place. The grammar is also fastidious. Here is a single sentence, springloaded with equivocation, beginning with one idea and sliding toward its opposite.
This quatrain is the poem’s ideal formal representation of itself, a kind of proof of concept: four lines of impeccable iambic tetrameter in an AABB rhyme scheme. The by-the-book regularity of this stanza should give you a leg up in memorizing it, and you can test yourself below!
But the rest of the poem is an argument against perfection, just as it is a celebration of uncertainty and humility — as we’ll see tomorrow.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
Admirer as I think I am
Of stars that do not give a damn,
Tap a word above to fill in the highlighted blank.Your first task: Learn the first two lines!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
Culture
Book Review: ‘Permanence,’ by Sophie Mackintosh
PERMANENCE, by Sophie Mackintosh
Sophie Mackintosh’s novels are always speculative in some way, with either the author or her characters forging a world governed by its own logic and rules. In their boldness and their ability to convey the violence of patriarchy, they recall the work of Jacqueline Harpman — not only the cherished “I Who Have Never Known Men,” but also “Orlanda,” her wild riff on Virginia Woolf’s “Orlando.”
Like Harpman, Mackintosh has a spare and confident hand. Her work is sometimes described as dreamlike; certainly, its contours are sketched with rapidity and confidence and relatively little detail. Her prose operates according to the same principle, at once lyrical and precise, like this from her second novel, “Blue Ticket”: “On the ground was a dead rabbit, disemboweled. Still fresh, the dark loops of its insides glistening like jam.”
When Mackintosh writes about masculine power, she does so in a way that articulates both its seductions and its terrors. Her newest novel, “Permanence,” is less explicitly concerned with the structure of patriarchy, but it has the same erotic charge as her earlier work, the same preoccupation with social prohibitions and the thrill that comes from breaking them.
Like “Blue Ticket,” “Permanence” turns on a highly pronounced binary. In “Blue Ticket,” adolescent girls are issued either a blue or white ticket on the day of their first period. A white ticket denotes a future of marriage and children, a blue ticket one of work — even, it seems, a career. The divide is stark and self-evidently faulty, its coarseness an expression of the brutalizing regime the characters are trapped in.
“Permanence” features a similar opposition, neatly delineated. Clara and Francis are conducting an illicit affair. One morning, they wake up in an alternate reality where they are openly living together. The novel shuttles between these two worlds, one ordinary and familiar, the other a curdled paradise for adulterers.
The thinness of this “city of impermanence” — “fluid, cohesive and yet disparate” — emerges at once. The sky is “uncannily blue,” the newspaper bears no date, the edge of the city is marked by “a slick ring of water, as far as the eye could see.”
Still, a boundary cannot keep the other world from seeping in. Initially, elegantly, this is a problem in the structure of desire. Having been provided the life they dreamed of, in which their longing for each other is fully met, Clara and Francis begin to experience, to their uneasy surprise, boredom and discontent.
Without absence, the intensity of their desire for each other wanes. They even begin, or at least Francis does, to long for the relief of their ordinary life: “Another day ahead of them of petting, giggling, lying around. It seemed insubstantial suddenly, though only the day before he had felt he could do it forever.”
Soon enough, it becomes clear that the problem between Francis and Clara doesn’t lie in the outside impediments of the world they live in, but in their relationship itself. Francis remains troublingly himself — a married father of a small child, reluctant to leave his family, however much he is in love with Clara: “He did love her, and he did want to be with her. … But he already had reality elsewhere, reality which he sometimes felt trapped by, he would admit, but which he could not truly imagine cutting loose.”
“Permanence” might seem like an outlier in the current array of articles and books about open marriages and polyamory, and at first glance the line of distinction between the two worlds, much like the division between blue and white tickets, seems almost old-fashioned. But as Mackintosh persuasively illustrates, the familiar emotions of jealousy, infatuation and eventually indifference — these persist and can flourish in any relationship, however free of prohibition.
“You want this,” Clara tells herself, and then, “You no longer want this,” as it occurs to her that “maybe it was in absence that they loved each other best, and most honestly.”
In her work, Mackintosh devises scenarios that are bold and almost aggressively simplified. But her terrain is complexity and contradiction, and in her hands these oppositions twist and turn in on themselves.
It’s hardly a surprise when the central character in “Blue Ticket” decides to eschew her designation and have a child, declaring, “True and false were no longer opposing binaries. My body was speaking to me in a language I had not heard before.” Nor is it especially startling when discontent chases Clara and Francis from one world to the other, unraveling their relationship.
What is more disquieting is the surreptitious ease with which Mackintosh’s speculative worlds start to align with our own, allowing the reader to see how so many of the old prohibitions and conventions — around choice, around marriage — remain, somehow, firmly in place.
That moment of recognition, in a landscape that is startlingly alien, is the source of Mackintosh’s power as a writer.
PERMANENCE | By Sophie Mackintosh | Avid Reader Press | 240 pp. | $28
Culture
Poetry Challenge Day 2: Love, How It Works and What It Means
Maybe you woke up this morning haunted by the first four lines of W.H. Auden’s “The More Loving One” — or tickled by its tongue-in-cheek handling of existential dread. (Not ringing any bells? Click here to begin the Poetry Challenge).
This is a love poem. Perhaps that seems like an obvious thing to say about a poem with “Loving” in its title, but there isn’t much romance in the opening stanza.
Looking up at the stars, I know quite well
That, for all they care, I can go to hell,
But on earth indifference is the least
We have to dread from man or beast.
Ada Limón, poet
Nonetheless, the poem soon makes clear that love is very much on its mind.
How should we like it were stars to burn
With a passion for us we could not return?
David Sedaris, writer
The polished informality gives the impression of a decidedly cerebral speaker — someone who’s looking at love philosophically, thinking about how it works and what it means.
If equal affection cannot be,
Let the more loving one be me.
Reginald Dwayne Betts, poet
Musing this way — arguing in this fashion — he stands in a long line of playful, thoughtful poetic lovers going back at least to the 16th century. He sounds a bit like Christopher Marlowe’s passionate shepherd:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
Auden’s poem, like Marlowe’s, is written in four-beat lines:
How should we like it were stars to burn
With a passion for us we could not return?
Josh Radnor, actor
And it features strong end rhymes:
If equal affection cannot be,
Let the more loving one be me.
Samantha Harvey, writer
These tetrameter couplets represent a long-established poetic love language. Not too serious or sappy, but with room for both earnestness and whimsy. And even for professions of the opposite of love, as in this nursery rhyme, adapted from a 17th-century epigram:
I do not like thee, Doctor Fell
The reason why I cannot tell.
But this I know and know full well
I do not like thee, Doctor Fell.
There is some of this anti-love spirit in Auden’s poem too, but it mainly follows a general rule of love poetry: The person speaking is usually the more loving one.
This makes sense. To write a poem requires effort, art, inspiration. To speak in verse is to tease, to cajole, to seduce, all actions that suggest an excess of desire. That’s why it’s conventional to refer to the “I” in a poem like this as the Lover and the “you” as the Beloved. The line “Let the more loving one be me” could summarize a lot of the love poetry of the last few thousand years.
But who, in this case, is the beloved? This isn’t a poem to the stars, but about them. Or maybe a poem that uses the stars as a conceit and our complicated feelings about them as a screen for other difficult emotions.
What the stars have to do with love is a tricky question. The answer may just be that the poem assumes a relationship and then plays with the implications of its assumption.
This kind of play also has a long history. Since love is both abstract and susceptible to cliché, poets are eager to liken it to everything else under the sun: birds, bees, planets, stars, the movement of the tides and the cycle of the seasons. Andrew Marvell’s “Definition of Love,” from the 1600s, wraps its ardor in math:
As lines, so loves oblique may well
Themselves in every angle greet;
But ours so truly parallel,
Though infinite, can never meet.
The literary term for this is wit. The formidable 18th-century English wordsmith Samuel Johnson defined a type of wit as “a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike.” “The most heterogeneous ideas are yoked by violence together,” he wrote; that kind of conceptual discord defines “The More Loving One.”
The second stanza is, when you think about it, a perfect non sequitur. A hypothetical, general question is asked:
How should we like it were stars to burn
With a passion for us we could not return?
Mary Roach, writer
The answer is a personal declaration that is moving because it doesn’t seem to apply only or primarily to stars:
If equal affection cannot be,
Let the more loving one be me.
Tim Egan, writer
Does this disjunction make it easier or harder to remember? Either way, these couplets start to reveal just how curious this poem is. We might find ourselves curious about who wrote them, and whom he might have loved. Tomorrow we’ll get to know Auden and his work a little better.
Play a game to learn it by heart. Need more practice? Listen to Ada Limón, Matthew McConaughey, W.H. Auden and others recite our poem.
Question 1/6
How should we like it were stars to burn
With a passion for us we could not return?
Tap a word above to fill in the highlighted blank.
Your task today: Learn the second stanza!
Let’s start with the first couplet in this stanza. Fill in the rhyming words.
Ready for another round? Try your hand at the 2025 Poetry Challenge.
Edited by Gregory Cowles, Alicia DeSantis and Nick Donofrio. Additional editing by Emily Eakin,
Joumana Khatib, Emma Lumeij and Miguel Salazar. Design and development by Umi Syam. Additional
game design by Eden Weingart. Video editing by Meg Felling. Photo editing by Erica Ackerberg.
Illustration art direction by Tala Safie.
Illustrations by Daniel Barreto.
Text and audio recording of “The More Loving One,” by W.H. Auden, copyright © by the Estate of
W.H. Auden. Reprinted by permission of Curtis Brown, Ltd. Photograph accompanying Auden recording
from Imagno/Getty Images.
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