Onward to 2009

The Guardian previews some of the books to be published next year. Among others included is Pynchon, which everyone must certainly be aware of now, as well as AS Byatt, Geoffrey Dyer, and Kazuo Ishiguro (although his is not a novel but a short story collection).

Philip Roth is also publishing a new novel, which makes something like 4 in the last 8 years. That’s excessive.

If Amis’s new novel looks designed to be provocative, then the same is true of the forthcoming one by Philip Roth, The Humbling (also out in September). The extraordinary sexual attractiveness of Roth’s venerable male characters has long been a discussion point; in this new novel, Roth surpasses himself by having his ageing hero embark on a fantastically kinky relationship with – wait for it – a ravishing young lesbian.

The Rothophiles out there can tell us if this is Roth’s first major foray into the realm of lesbianism.

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Mickey Sabbath’s Wife in Sabbath’s Theatre becomes a lesbian.
I’m not sure a book every two years is excessive. There’s a lot of writers who come out with books a lot more frequently.

Sounds like Roth is just going to tear apart all of America’s ultra-hetero fantasies one by one.

I don’t think it’s excessive, esp. when you consider that Everyman and Indignation are truly novellas.

I don’t think it’s excessive, either; though, in fact, it’s six novels in eight years….


The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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