Maureen Corrigan

Maureen Corrigan, book critic for NPR's Fresh Air, is a critic-in-residence and lecturer at Georgetown University. She is an associate editor of and contributor to Mystery and Suspense Writers (Scribner) and the winner of the 1999 Edgar Award for Criticism, presented by the Mystery Writers of America.

Corrigan served as a juror for the 2012 Pulitzer Prize in Fiction. Her book So We Read On: How The Great Gatsby Came To Be and Why It Endures was published by Little, Brown in September 2014 (paperback forthcoming May 2015). Corrigan is represented by Trinity Ray at The Tuesday Lecture Agency: trinity@tuesdayagency.com

Corrigan's literary memoir, Leave Me Alone, I'm Reading! was published in 2005. Corrigan is also a reviewer and columnist for The Washington Post's Book World. In addition to serving on the advisory panel of The American Heritage Dictionary, she has chaired the Mystery and Suspense judges' panel of the Los Angeles TimesBook Prize.

If you asked mystery fans to name the most important novel of the past decade, most would say The Girl With the Dragon Tattoo — and they'd be right. In fact, Stieg Larsson's complete Millennium series, flanked by hordes of Nordic noirs by the likes of Henning Mankell, Camilla Lackberg and Jo Nesbo, have overrun the ranks of hard-boiled detective fiction, imbuing it with their distinctive strain of brittle dialogue and chill fatalism.

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TERRY GROSS, HOST:

Our book critic, Maureen Corrigan, has a review of the new novel "Friendship" by Emily Gould who made her name in the blogosphere. A recent profile in the New York Times Sunday style section described Gould as a forerunner to Lena Dunham and other confessional female bloggers, writers and filmmakers or whom over-sharing has become an art form.

There are many heroes in the tale of how James Joyce's masterpiece, Ulysses, which was banned for over 10 years throughout the English-speaking world, finally won its long battle to be legally published, sold and read. Kevin Birmingham tells that extraordinary story in his new book about Ulysses, called The Most Dangerous Book.

Any novel that opens on a young American woman running a bookshop in a small town nestled in the Welsh countryside promises a glimpse into a life lived far from the madding crowd. That's the quaint plotline Tom Rachman's new novel tells uninterruptedly for the length of one brief chapter. Thereafter, Rachman returns only occasionally to the World's End bookshop and its shelves sporting idiosyncratic labels like: Artists Who Were Unpleasant to Their Spouses; History, the Dull Bits; and Books You Pretend to Have Read but Haven't.

Transcript

TERRY GROSS, HOST:

This is FRESH AIR. Ellen Willis was the first rock critic for The New Yorker is. She was also a radical feminist writer and activist. Her work appeared in the Village Voice, where she was a columnist, as well as in Rolling Stone and The Nation.

Even the most restrained plot summary of Francine Prose's latest novel sounds like a teaser for a late night Lifetime TV movie. Here goes: In the Paris of the late 1920s, a butch lesbian race car driver named Lou Villars has her license revoked by the French government for daring to dress as a man in public. Lou goes on to become a performer in a risque review at the Chameleon Club, a smoky nightclub where threadbare artists and thrill-seeking aristocrats mingle in the half-light.

There's something romantic about biographer Amanda Vaill's device of making the Hotel Florida in Madrid the hub of her new book about the Spanish Civil War, called Hotel Florida; but, then again, there's always been something romantic about the Spanish Civil War itself. For the Spanish loyalists — who were supported by Russia and Mexico as well as the International Brigades of civilians from Europe and the Americas — the Spanish Civil War was a gallant stand against fascism.

A Bintel Brief and The Harlem Hellfighters are two New York Stories. That's why I'm combining them in this review; not because — as some purists still think — they're lesser works of literature because they're graphic novels. If Egyptian hieroglyphics, the Bayeux Tapestry, and Art Spiegelman's 1991 classic, Maus, haven't yet convinced the high-art holdouts of the value of stories told in visual sequence, nothing I say now about these two books is likely to.

The title of Maggie Shipstead's second novel is: Astonish Me. She did just that --astonish me -- with her debut novel of 2012, called Seating Arrangements. After reading that novel, I likened the then 20-something-year-old Shipstead to "Edith Wharton with a millennial generation edge." The comparison remains sound.

Let's get the negative stuff out of the way first. Teju Cole's Every Day Is For The Thief is not much of a novel. Forget plot or character development: This is a piece of writing that's all about setting. If you take what Cole is offering here and value it on its own terms, you'll probably appreciate the curious magic at work in this slim not-quite-a-novel. In chapters that stand as separate, short vignettes, Every Day Is For The Thief describes a young New York doctor's visit back to his hometown of Lagos, Nigeria.

Picture this. You're a young girl, living in a remote town in Connecticut in 1825. You've taken refuge in a neighbor's house and, as night falls, you peek out a window to see your friends and family members assembling outdoors around two crude paintings: One is of a young white woman (you); the other painting is of a man, a Native American.

Beginning in 1952, and running through 1968, there was a legendary radio show called Klavan And Finch that was on WNEW in New York City. It was a four-hour live program featuring music and antic conversation between handsome, straight man Dee Finch and his live-wire counterpart, Gene Klavan.

Lorrie Moore isn't quite a household name. This was news to me, because I thought that, given that she's the kind of writer who's published in The New Yorker and profiled in The New York Times, most culture vultures would know who she is. But, over the past couple of weeks when I mentioned her new book, Bark, in conversations, both in the halls of academe and over meals with friends, I mostly got blank stares. (One smarty confused her with that other great literary "Lorrie" — the late Laurie Colwin — whose short stories and novels are also essential reading.)

Every year, students come into my office and say, "I don't know what I want to do with my life." Of course, plenty of people in the world don't have the luxury of such cluelessness, but my students don't look like they're enjoying their privilege; they look scared and depressed, as though they've already failed some big test of character. They might find some comfort in Michael Sims' new biography of the young Henry David Thoreau called, simply, The Adventures of Henry Thoreau.

In the opening paragraph of Moby-Dick, Ishmael tells us he takes to sea whenever he feels the onset of "a damp, drizzly November in [his] soul." I know how he feels. Whenever the frigid funk of February settles in, I, too, yearn to get out of town. This year I have, thanks to two exquisite vehicles of escape fiction. Both Rachel Pastan's Alena and Katherine Pancol's The Yellow Eyes of Crocodiles are smart entertainments perfect for curling up with on a winter's night.

The second best quality Diane Johnson has as a writer is that she's so smart. Her first best quality — and one that's far more rare — is that she credits her audience with being smart, too. Whether she's writing fiction, biography or essays, Johnson lets scenes and conversations speak for themselves, accruing power as they lodge in readers' minds.

Shortly after sunrise, on the morning of Feb. 20, 1805, sailors on an American ship called the Perseverance, anchored near an uninhabited island off the coast of Chile, spied a weird vessel drifting into view. It flew no flag and its threadbare sails were slack. The captain of the Perseverance, a man named Amasa Delano, decided to come to the aid of the ship, whose name, painted in faded white letters along its bow, was the Tryal.

Dystopia is all the rage these days, especially in young adult fiction: There's the "Hunger Games" trilogy of course; Veronica Roth's "Divergent" series, in which Chicago has gone to the dogs; Cassandra Clare's "Mortal Instruments" series, inspired by a nightmare vision of Manhattan; and Stephanie Meyer's non-Twilight novel, The Host, where Earth has been colonized by alien parasites.

Midway upon the journey of our life
I found myself within a forest dark,
For the straightforward pathway had been lost.

Allowing for translation, those are the immortal opening lines of Dante's Divine Comedy. Here, some seven centuries later, are some of Lynn Darling's opening lines from her new memoir, Out of the Woods: "The summer my only child left home for college, I moved from an apartment in New York City, to live alone in a small house at the end of a dirt road in the woods of central Vermont."

It's the quintessential "dog bites man" story. I'm talking about a new book I just read about a group of famous writers who — get this -- drank too much! I know, right? That's pretty much the equivalent of saying I just read a book about a group of famous writers who used commas in their sentences.

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