What did I read in 2024? The best book I read last year was Ovid’s Metamorphoses (8 CE).  Best books, really, in translations by Arthur Golding and Charles Martin.  My “best book of the year” answer will never be interesting.  America’s librarian Nancy Pearl asked, somewhere on Twitter, if people thought they had already read the best book they would ever encounter.  The answers were, by far, that they had not, which is even possible, for them, but I have read The Odyssey and King Lear and Alice’s Adventure in Wonderland and so on, a lot of books, a lot of great, great books.  The odds are low. Maybe the best book of 2025 will be The Odyssey.  It has been a while.  My favorite book, maybe. I kept up on my French, and learned a lot of Portuguese.  A week of intensive French in a classroom in Porto helped a lot.  I could use some more of those. I read some long books: Rebecca West’s Black Lamb and Grey Falcon (1941), Ferdowsi’s Shahnameh: The Persian Book of Kings (1110), Gertrude Stein’s The Making of Americans (1925), the first 2,200 pages or so of Cao Xueqin’s The Story of the Stone (c. 1760) and Louis-Ferdinand Céline’s Voyage au bout de la nuit (1931), barely over six hundred pages but in such difficult French that I am counting it, am I ever. I built little projects around several books, piling more Persian books around Shanameh and Chinese literature around The Story of the Stone.  I did the same thing during the summer with Arabic literature while reading The Arabian Nights (13th c.) in Husain Haddawy’s great, not especially long, translation, adding modern poetry by Adonis and Mahmoud Darwish and a novel and book of stories by Naguib Mahfouz.  My kind of fun. Let’s see.  I read nine Percival Everett books, including James (2024) just a bit before everyone else read it.  How odd it felt to have read anew book that so many other people were reading. The best contemporary book I read, though, was easily Judi Dench’s Shakespeare: The Man Who Pays the Rent.  It is “Dench and her interviewer friend working through every Shakespeare role she ever did, all of which she still has memorized,” enormously pleasurable for those of us who enjoy such things. What will I read in 2025? Some more long books, I hope.  I have barely over a hundred pages of The Story of the Stone left.  I enjoyed John Cowper Powys’s eccentric Wolf Solent (1929) last summer and will try The Glastonbury Romance (1932), preposterously long, any day now.  Then what – The Tale of Genji?  Another of the big Chinese monsters?  Maybe Vassily Grossman’s Stalingrad?  Someday, anyway, with luck. If Anthony Powell’s A Dance to the Music of Time (1951-75) counts as one novel, which it does not, that will be one of my long ones.  Brad “Neglected Books” Bigelow is hosting a year-long readalong, one short novel per month.  I just finished the first book, A Question of Upbringing (1951) and will tag along for a while.  Unfortunately discussions will be on Zoom but what are ya gonna do, who wants to write anything anymore. Speaking of which, in the spirit of reading the Greek plays, I would like to begin a Not Shakespeare project, let’s say next fall, where I read and write about not all but many of the plays of Shakespeare’s contemporaries.  Marlowe, Jonson, Chapman, The Spanish Tragedy, those folks, not that one could not also read some Shakespeare along the way.  A play every two weeks maybe?  If anyone is interested in joining in, please let me know. The WPA poster can be found at the Library of Congress site.  I have put it up before.  It is full of truth.

A different kind of month with a different category of reading. CHINA Mountain Home: The Wilderness Poetry of Ancient China (5th-13th cent.), tr. David Hinton – The teenagers in The Story of the Stone play various games based on their memorization of massive amounts of classical Chinese poetry.  I revisited an arbitrary sliver of it, the “mountains and rivers” school, in David Hinton’s Buddhist-leaning translation.  It made the Qing games look artificial and perhaps decadent.  But it also emphasized a difficulty, or pleasure, of the vast length of the Chinese tradition.  English-speaking children in the 18th century, or today, could not memorize and play games using thousand-year-old English poems.  No such thing, no such language. The Story of the Stone, Vol. 3: The Warning Voice & The Story of the Stone, Vol. 4: The Debt of Tears (c. 1760), Cao Xueqin – Please look here and here for notes on these books. Selected Stories (1918-26), Lu Xun – The Chinese literary tradition must have been oppressive in some ways, but here a young modern writer revitalizes the Chinese short story using the same tools that European and American writers were using: Turgenev and Chekhov. Love in a Fallen City (1944), Eileen Chang – And here is another writer fully aware of her own tradition – one story even has what sure looks like a parody of a bit of The Story of the Stone – while pulling in every outside influence available. Cold Mountain Poems (1958) & Riprap (1959), Gary Snyder – The other direction, an American poet immersed in Chinese poetry.  The first little book is a translation of Cold Mountain, the most “outsider” of the great “mountains and rivers” poets, while Riprap is Snyder’s absorption of the sensibility into his own voice. Ts'ao Yin and the K'ang-hsi Emperor, Bondservant and Master (1966), Jonathan D. Spence – He uses a different orthography, but Ts’ao Yin is also Cao Yin, the grandfather of Cao Xueqin, author of China’s greatest novel.  Chinese scholars, in search of the actual characters and the actual teenage fairy tale garden, had tracked down every scrap available about Cao Xueqin’s family history, giving Spence the material to write a dissertation on the social history of the period focused on one figure.  Cao Xueqin’s grandfather was analogous to today’s Chinese billionaire, managing companies in close cooperation with the state but part of a power structure distinct from the government bureaucracy.  Spence explained a lot of my puzzles about the background of the novel. MFA Highlights: Arts of China (2013) – Presumably an author or authors are involved but I could not figure that out.   Because of its maritime wealth, Bostonians have given their Museum of Fine Arts has an outstanding collection of Chinese art, some of it on display here.  If you are reading The Story of the Stone, do not hesitate to visit your nearest Asian art collection.  The ceramics and clothing, in particular, were a big help.  For example, the silk robe pictured uses a peacock-feather-wrapped thread that is featured in a heroic sewing scene in the novel.  Useful to see that in person.   FICTION The Female Quixote (1752), Charlotte Lennox – Please see this post. The Crucible  (1953), Arthur Miller Nights at the Alexandra (1987), William Trevor Every Arc Bends Its Radian (2024), Sergio de la Pava – His last novel packed with American football, I wondered if this new novel was some kind of compromise with his agent, since it is, for a while, a detective novel.  But no, it goes off – actually literally gets on – the rails and turns into another novel entirely, one likely to bore and mystify mystery fans.  Some of it bored me.  But I enjoy de la Pava’s voice and intelligence, and he seems to be writing the books he wants to write.   IN  FRENCH AND PORTUGUESE La fleur de l'age (1949), Colette – More little bits of Colette.  Back to the music hall and so on.  A theme of love among the aged, there in the title, is new. Fidelidade (1958), Jorge de Sena Becket (1959), Jean Anouilh

At the two-thirds mark, after 80 chapters of the 120, three big changes hit The Story of the Stone (c. 1760 / 1791).  First, David Hawkes, the original translator of the Penguin edition, dies; John Minford finishes the job.  Second, the author of the novel, Cao Xueqin, dies, leaving a lot for textual scholars of the novel to do.  Are the last 40 chapters an edit of Cao Xueqin’s drafts, or maybe complete inventions by someone else, or something in-between?  The Penguin book, The Story of the Stone, Volume 4: The Debt of Tears, adds “edited by Gao E,” which is as far as I will go.  I have kept reading as if none of this matters. The third change, though, which began in the last few chapters of the previous volume, is that the world of the novel is collapsing.  The beautiful teenage garden Arcadia can only last so long.  The “real,” adult world is having its problems – money trouble – but the true villain is time.  The characters age.  The teenagers become, tragically, marriageable.  The garden empties out; the idyll ends. The novel becomes unbearably sad.  That is another way to describe the change. A key character dies, with plenty of warning, but still.  The mood of the prose fits the event: The wedding chamber was a long way off, and the guests heard nothing of the weeping, but from the Naiad’s House, in a brief interval of silence between their lamentations, they heard a faint snatch of music in the distance.  They strained their ears to catch it, but it was gone.  Tan-chun and Li Wan went into the garden to listen again, but all they could hear was the rustling of the bamboos in the wind.  The moonlight cast a wavering shadow on the wall.  It was an eerie, desolate night.  (98, 377) If only more of the novel were written like this. Cao Xueqin occasionally, not often but once in a while, uses time-shifted scenes, describing events in one location and then jumping back a bit to look at something happening simultaneously elsewhere in the garden.  The device is especially effective in this part of The Story of the Stone, where the author announces the death, an event of the greatest importance, in what is in a sense the wrong place, and then goes back to let us experience it in person.  Like Faulkner or what have you.  We are so used to this device now but it took a while for Western novelists to figure it out, Tristram Shandy’s herky-jerky line notwithstanding. A number of other curious things are scattered through this chunk of the novel.  Another terrible double-suicide love affair, a compressed parallel to the best story in the previous volume.  A vendor brings the family some wonderful artifacts to sell, including a magnificent Mother Pearl that attracts other pearls to it, like a magnet.  A long digression on music and the playing of the qin, adding to the inventory of this novel about everything: ‘And before you think of playing, be sure to dress in a suitable style – preferably in a swansdown cape or other antique robe.  Assume the dignified manner of the ancients, a manner in keeping with the chosen instrument of the sages.  Wash your hands.’ (86, 154) Seriously, before you do anything put on your swansdown cape and wash your hands.  ‘Do let’s put an end to this depressing conversation,’ said Jia She, ‘and have another drink.’ (92, 261) One more volume to go.

Thank goodness I write these down. FICTION The Story of the Stone, Vol. 2: The Crab-flower Club (c. 1760), Cao Xueqin – written up long ago. Cartucho (1931) & My Mother's Hands (1938), Nellie Campobello – Brutal vignettes of the Mexican revolution by a diehard partisan, a child at the time, later an important figure in Mexican modern dance.  The title tough guy Cartucho (Cartridge) is killed on the first page.  The rate of killing is not one per page, but close.  The later book is more of a tribute to Campobello’s mother but still incredibly violent.  If you wonder why Fernanda Melchor’s novels are the way they are, or why that one section of 2666 is the way it is, well, here is an ancestor. The Horizontal Man (1946), Helen Eustis Last Seen Wearing (1952), Hillary Waugh – By pure chance the two mysteries I read this month were both set at Smith College in Northampton, Massachusetts.  Or, you know, “Smith,” made fictional, but not really hiding much.  I did not know this in advance.  The novels are tonally opposites.  The murdered English professor in The Horizontal Man, and everyone who knew him, is neurotic or worse.  Smith is one high-strung, Freudian place. He liked his tall old house.  It had a bitter friendly ugliness, like a hideous spinster who has learned the grim humor of the disappointments of life.  (205 of the Library of America edition) While Last Seen Wearing is an early, influential police procedural, literally inspired by the Dragnet radio show, all about legwork and dead-end leads told in plain language.  A little bit of detective novel nonsense slips in, but not too much. Smith College, was, I presume, a pleasant and safe place at the time, with fewer lunatics and predators than most places. The Passion (1987), Jeanette Winterson So Much Blue (2017), Percival Everett – The typical – usual – same every time – Everett narrator is an abstract painter in this one, interweaving three stories in three genres (in one life).  Suggested in the Stars (2020), Yoko Tawada Our Evenings (2024), Alan Hollinghurst   POETRY The Dispossessed (1948) & Homage to Mistress Bradstreet (1953), John Berryman Some Trees (1956), John Ashbery 95 Poems (1958) & 73 Poems (1963), E. E. Cummings Expressions of Sea Level (1964) & Collected Poems 1951-1971 (but I only read 1951-65), A. R. Ammons I never write anything anymore about the poetry I read.  I do not know why.   TRAVEL My Life as an Explorer (1926), Roald Amundsen – written up over here. The Best American Food and Travel Writing 2024 (2024), various – I learned a lot.  Some of the prose was quite purple, which surprised me, given the tendencies these days, but why bother writing about grilled cheese sandwiches or gas station food if you’re not going to write.   IN FRENCH & PORTUGUESE Vingt Mille Lieues sous les mers (1870), Jules Verne – best read with constant reference to your globe and your beautiful illustrated childhood encyclopedia.  Seeing Verne’s many debts to Poe is interesting. La steppe rouge (1923), Joseph Kessel – The journalist’s first book, sad, violent stories set during or soon after the Bolshevik revolution.  Kessel is highly skeptical.  Given the high interest of the subject matter, I am surprised that this book has never made it to English.  To any young translator from French: it is short, easy, about interesting people and events, and in the public domain.  Please see the Book around the Corner review of The Red Steppe that led me to the book. L'Étrange Défaite. Témoignage écrit en 1940 (1946), Marc Bloch – Besides being among the greatest modern historians, Bloch had a special place in Lyon because of his service, and death, in the French Resistance.  I finally got to his frustrated memoir of his official military service in World War II, where he managed the French army’s gasoline supplies in the Low Countries and was evacuated with the British troops at Dunkirk.  The essay about the reasons for the French defeat were less interesting because they have been so thoroughly absorbed. As Duas Águas do Mar (1992), Francisco José Viegas – An early entry in one of the few long-running detective series in Portuguese, written by a bigshot in the Portuguese literary scene.  Editor of their Bookforum-like magazine, for example; a perpetual guest on the literary panel shows.  I wish someone else would write some Portuguese detective novels for me, because this one was thin, sometimes I suspected contemptuous of the genre.  There is a scene where the insomniac police detective goes through a drawer – his own drawer! – listing every object.  The novel literally ends with the same character preparing, step by step by step, a dish of eggs and ham and potatoes.  Now, given that I read the book to improve my Portuguese, these scenes were great.  Tedious fiction; terrific language exercises.  French language-learners owe Georges Simenon a lot.