Best Books from 2022
I’m keeping it simple this year with one post covering a baker’s dozen from all genres: the 13 current-year releases that stood out to me the most. (No rankings this time; anything from my Best of First Half post that didn’t make it through to here can be considered a runner-up.)
Fiction
Groundskeeping by Lee Cole: In Cole’s debut novel, two aspiring writers meet on a Kentucky college campus and form a romantic connection despite very different backgrounds. There are stereotypes to be overcome as Owen introduces Alma to Kentucky culture and slang. Trump’s election divides families and colleagues. The gentle satire on the pretensions of writing programs is another enjoyable element. Three-dimensional characters, vivid scenes ripe for the Netflix treatment, timely themes and touching relationships.
Stories from the Tenants Downstairs by Sidik Fofana: Fofana’s novel-in-stories orbits a Harlem apartment complex and spins bittersweet tales of ambition and disappointment in a range of vibrant voices. Endearing scoundrels are the focus in a number of stories. Minor characters from some go on to have starring roles in others. Though these tenants’ lives are filled with difficulties, their optimism and sheer joy shine through in their picaresque antics. A stellar debut from a very talented writer; Fofana should win all the prizes.
Sea of Tranquility by Emily St. John Mandel: This dazzlingly intricate novel blends historical fiction, up-to-the-minute commentary and science-fiction predictions. In 2401, the Time Institute hires Gaspery-Jacques Roberts to investigate a recurring blip in time. Fans of The Glass Hotel will recognize some characters, and those familiar with Station Eleven will find similarities in a pandemic plot that resonates with the Covid-19 experience. How does Mandel do it? One compulsively readable hit after another.
Very Cold People by Sarah Manguso: The aphoristic style of some of Manguso’s previous books continues here as discrete paragraphs and brief vignettes build to a gloomy portrait of Ruthie’s archetypical affection-starved childhood in the fictional Massachusetts town of Waitsfield in the 1980s and 90s. The depiction of Ruthie’s narcissistic mother is especially acute. So much resonated with me. This is the stuff of girlhood – if not universally, then certainly for the (largely pre-tech) American 1990s as I experienced them.
Body Kintsugi by Senka Marić: This intense work of autofiction is all the more powerful due to the second-person narration that displaces the pain of breast cancer from the protagonist and onto the reader. Coming of age in a female body was traumatic in itself; now that same body threatens to kill her. Even as she loses the physical signs of femininity, she remains resilient: Her body will document what she’s been through. As forthright as it is about the brutality of cancer treatment, the novella is also creative, playful and darkly comic.
The Hero of This Book by Elizabeth McCracken: Is it autofiction or bereavement memoir? Both and neither. In 2019, an American writer wanders London, seeing the sights but mostly reminiscing about her mother, whom she describes through bare facts and apt anecdotes. London had been a favourite destination, their final trip together falling just three years before. As well as a tribute to a beloved mother and a matter-of-fact record of dealing with ageing parents and the aftermath of loss, this is a playful cross-examination of literary genres.
The Swimmers by Julie Otsuka: Otsuka’s third novel of the Japanese American experience again employs the first-person plural, as well as the second person – rarer perspectives that provide stylistic novelty. The first two chapters are set at a pool that, for the title swimmers, serves as a locus of escape and safety. On the first page we’re introduced to Alice, whose struggle with dementia becomes central. I admired Otsuka’s techniques for moving readers through the minds of the characters, alternating range with profundity and irony with sadness.
Which Side Are You On by Ryan Lee Wong: Wong’s dynamite debut novel weaves timely issues of racism and protest into a pacy, funny story of idealism versus cynicism. Reed, an Asian American college student committed to social justice, rethinks how best to live out his values in the real world when he goes home for a few days. Wong probes the generational gap between him and his parents through snappy dialogue and enjoyable scenes that constitute an incidental tour of multi-ethnic Los Angeles.
Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin: Sam and Sadie’s friendship, which over the years becomes a business partnership that also incorporates Sam’s college roommate, Marx Watanabe, is a joy. Their creative energy and banter are enviable. Marx is the uncomplicated, optimistic go-between when Sam and Sadie butt heads and take offense at betrayals. Underneath their conflicts is a love different from, and maybe superior to, romantic love. An immersive story of friendship and obsession; nostalgic, even cathartic.
Nonfiction
In Love by Amy Bloom: Bloom’s husband, Brian Ameche, was diagnosed with early-onset Alzheimer’s in his mid-60s, having exhibited mild cognitive impairment for several years. Brian quickly resolved to make a dignified exit while he still, mostly, had his faculties. This achieves the perfect tone, mixing black humour with teeth-gritted practicality as Bloom chronicles their relationship, the final preparations, his assisted suicide at Dignitas in Switzerland, and the aftermath. An essential, compelling read.
Sinkhole: A Natural History of a Suicide by Juliet Patterson: This gorgeously written family memoir approaches its subject matter with brave tenderness. In December 2008, poet Patterson’s father died by suicide near his Minnesota home. He wasn’t an obvious risk. Yet there was family history: both of Patterson’s parents lost their fathers to suicide. She returns to Kansas on research trips to unearth her grandfathers’ lives. Throughout, sinkholes, common in Kansas, are both reality and metaphor for the chasm a suicide leaves.
Blurb Your Enthusiasm: An A-Z of Literary Persuasion by Louise Willder: A delightful bibliophile’s miscellany about ways of pithily spreading excitement about books. Over the last 25 years, Willder has written jacket copy for thousands of Penguin releases, so she has it down to a science as well as an art. (Reviewing is an adjacent skill.) The art of the first line, serialization and self-promotion, guidelines for good writing, differences between British and American jacket copy, the use of punctuation, and so much more. Very funny to boot.
Poetry
Inside the Storm I Want to Touch the Tremble by Carolyn Oliver: Carolyn used to blog at Rosemary and Reading Glasses and won the Agha Shahid Ali Prize for this debut collection. Every line feels tirelessly honed to elicit maximal meaning and a memorable sound. Traditional forms are adapted to great effect. Chronic illness, gardening, and everyday sexual danger are themes, but the poems that pierced me most were about her son: quirky things he says, but also the reality of modern parenting, where active shooter drills are de rigueur.
This year’s best-of selections (the ones I own in print, anyway; the rest were read on Kindle or have already gone back to the library).
Have you read any of my 2022 favourites?
What releases do I need to catch up on right away?
The Best Books from the First Half of 2022
Yes, it’s that time of year already! At first I thought I wouldn’t have enough 2022-released standouts to fill a post, but the more I looked through my list the more I realized that, actually, it has been a pretty good reading year. It remains to be seen, of course, how many of these will make it onto my overall best-of year list, but for now, these are my highlights. I made it up to an even 20 by including one that doesn’t release until July. Fiction is winning thus far! I give review excerpts below and link to the full text here or elsewhere.
Fiction
Our Wives under the Sea by Julia Armfield: Miri is relieved to have her wife back when Leah returns from an extended deep-sea expedition. Something went wrong with the craft when it was too late to evacuate, though. Chapters alternate between Miri describing their new abnormal and Leah recalling the voyage. As Miri tries to tackle life admin for both of them, she feels increasingly alone. This is a sensitive study of love, grief and dependency. Armfield gives an increasingly eerie story line a solid emotional foundation.
These Days by Lucy Caldwell: A beautiful novel set in Belfast in April 1941. We see the Second World War mostly through the eyes of the Bell family – especially daughters Audrey, engaged to be married to a young doctor, and Emma, in love with a fellow female first aider. The evocation of a time of crisis is excellent. The lack of speech marks, fluid shifting between perspectives, and alternation between past and present tense keep the story from seeming too familiar or generic. All of the female characters have hidden depths.
Groundskeeping by Lee Cole: In Cole’s debut novel, two aspiring writers meet on a Kentucky college campus and form a romantic connection despite very different backgrounds. There are stereotypes to be overcome as Owen introduces Alma to Kentucky culture and slang. Trump’s election divides families and colleagues. The gentle satire on the pretensions of writing programs is another enjoyable element. Three-dimensional characters, vivid scenes ripe for the Netflix treatment, timely themes and touching relationships: alright!
Days of Sand by Aimée de Jongh: This Great Depression-era story was inspired by the work of photographers such as Dorothea Lange. John Clark is following in his father’s footsteps as a photographer, leaving NYC for the Oklahoma panhandle. Locals are suspicious of John as an outsider, especially when they learn he is working to a checklist. Whether a cityscape or the midst of a dust storm, de Jongh’s scenes are stark and evocative. It’s rare for me to find the story and images equally powerful in a graphic novel, but that’s definitely the case here.
Dance Move by Wendy Erskine: The 11 stories in Erskine’s second collection do just what short fiction needs to: dramatize an encounter, or a moment, that changes life forever. Her characters are ordinary, moving through the dead-end work and family friction that constitute daily existence, until something happens, or rises up in the memory, that disrupts the tedium. Erskine being from Belfast, evidence of the Troubles is never far away. Her writing is blunt and edgy, with no speech marks plus flat dialogue and slang.
Antipodes by Holly Goddard Jones: Riveting stories of contemporary life in the American South and Midwest. Some have pandemic settings; others are gently magical. All are true to the anxieties of modern careers, marriage and parenthood. Endings elicit a gasp, particularly the audacious inconclusiveness of “Exhaust,” a tense tale of a quarreling couple driving through a blizzard. Worry over environmental crises fuels “Ark,” about a pyramid scheme for doomsday preppers. Nickolas Butler and Lorrie Moore fans will find much to admire.
Sea of Tranquility by Emily St. John Mandel: This dazzlingly intricate novel blends historical fiction, up-to-the-minute commentary and science-fiction predictions. In 2401, the Time Institute hires Gaspery-Jacques Roberts to investigate a recurring blip in time. Fans of The Glass Hotel will recognize some characters, and those familiar with Station Eleven will find similarities in a pandemic plot that resonates with the Covid-19 experience. How does Mandel do it? One compulsively readable hit after another.
Very Cold People by Sarah Manguso: The aphoristic style of some of Manguso’s previous books continues here as discrete paragraphs and brief vignettes build to a gloomy portrait of Ruthie’s archetypical affection-starved childhood in the fictional Massachusetts town of Waitsfield in the 1980s and 90s. The depiction of Ruthie’s narcissistic mother is especially acute. So much resonated with me. This is the stuff of girlhood – if not universally, then certainly for the (largely pre-tech) American 1990s as I experienced them.
How High We Go in the Dark by Sequoia Nagamatsu: Just the right blend of literary fiction and science fiction. Opening in 2031 and stretching another 70 years into the future, this linked short story collection imagines how a pandemic reshapes the world and how communication and connection might continue after death. All but one story are in the first person, so they feel like personal testimonies. The whole is greater than the sum of the parts. The focus on illness and bereavement, but also on the love that survives, made this a winner.
The Swimmers by Julie Otsuka: Otsuka’s third novel of the Japanese American experience again employs the first-person plural, as well as the second person – rarer perspectives that provide stylistic novelty. The first two chapters are set at a pool that, for the title swimmers, serves as a locus of escape and safety. On the first page we’re introduced to Alice, whose struggle with dementia becomes central. I admired Otsuka’s techniques for moving readers through the minds of the characters, alternating range with profundity and irony with sadness.
French Braid by Anne Tyler: My 17th from Tyler, and easily her best new work in 18 years. It joins my other favourites such as Dinner at the Homesick Restaurant which reveal a dysfunctional family’s quirks through a close look, in turn, at the various members. Mercy is a painter and essentially moves into her studio, but without announcing it, and her husband Robin spends the next 25+ years pretending they still share a home. Other surprises from Tyler this time: a mild sex scene and a gay character. A return to form. Brava!
Nonfiction
In Love by Amy Bloom: Bloom’s husband, Brian Ameche, was diagnosed with early-onset Alzheimer’s in his mid-60s, having exhibited mild cognitive impairment for several years. Brian quickly resolved to make a dignified exit while he still, mostly, had his faculties. This achieves the perfect tone, mixing black humour with teeth-gritted practicality as Bloom chronicles their relationship, the final preparations, his assisted suicide at Dignitas in Switzerland, and the aftermath. An essential, compelling read.
Everything Is True by Roopa Farooki: Second-person, present-tense narration drops readers right into the life of a junior doctor. In February 2020, Farooki’s sister Kiron died of breast cancer. During the first 40 days of the initial UK lockdown, she continues to talk to Kiron. Grief opens the door for magic realism. There is also wry humour, wordplay, slang and cursing. A hybrid work that reads as fluidly as a novel while dramatizing real events, this is sure to appeal to people who wouldn’t normally pick up a bereavement or medical memoir.
Body Work by Melissa Febos: A boldly feminist essay collection that explores how autobiographical writing can help one face regrets and trauma and extract meaning from the “pliable material” of memory. “In Praise of Navel Gazing” affirms the importance of women airing their stories of abuse and thereby challenging the power structures that aim to keep victims silent. “A Big Shitty Party” warns of the dangers of writing about real people. “The Return” employs religious language for the transformation writing can achieve.
All Down Darkness Wide by Seán Hewitt: This poetic memoir about love and loss in the shadow of mental illness blends biography, queer history and raw personal experience. The book opens, unforgettably, in a Liverpool graveyard where Hewitt has assignations with anonymous men. His secret self, suppressed during teenage years in the closet, flies out to meet other ghosts: of his college boyfriend; of men lost to AIDS during his 1990s childhood; of English poet George Manley Hopkins; and of a former partner who was suicidal. (Coming out on July 12th from Penguin/Vintage (USA) and July 14th from Jonathan Cape (UK). My full review is forthcoming for Shelf Awareness.)
Poetry
Thorpeness by Alison Brackenbury: This tenth collection features abundant imagery of animals and the seasons. Alliteration is prominent, but there is also a handful of rhymes. Family history and the perhaps-idyllic rural underpin the verse set in Lincolnshire and Gloucestershire as Brackenbury searches for ancestral graves and delivers elegies. I especially loved “Aunt Margaret’s Pudding,” a multipart poem about her grandmother’s life. There are also playful meetings between historical figures.
Some Integrity by Padraig Regan: The sensual poems in this debut collection are driven by curiosity, hunger and queer desire. Flora and foods are described as teasing mystery, with cheeky detail. An unusual devotion to ampersands; an erotic response to statuary; alternating between bold sexuality and masochism to the point of not even wanting to exist; a central essay on the Orlando nightclub shooting and videogames – the book kept surprising me. I loved the fertile imagery, and appreciated Regan’s exploration of a nonbinary identity.
Love Poems in Quarantine by Sarah Ruhl: Having read Ruhl’s memoir Smile, I recognized the contours of her life and the members of her family. Cooking and laundry recur: everyday duties mark time as she tries to write and supervises virtual learning for three children. “Let this all be poetry,” she incants. Part 2 contains poems written after George Floyd’s murder, the structure mimicking the abrupt change in focus for a nation. Part 3’s haiku and tanka culminate in a series on the seasons. A welcome addition to the body of Covid-19 literature.
Rise and Float by Brian Tierney: Although it tackles heavy subjects like grief and mental health, the collection’s candor and stunning images transform the melancholy into the sublime. Much of the verse is in the first person, building an intimate portrait of the poet and his relationships. A family history of mental illness and electroshock treatment occasions a visit to a derelict psychiatric hospital. Recurring metaphors of holes dramatize a struggle against the void. Tierney’s close attention lends beauty to bleak scenes.
Vinegar Hill by Colm Tóibín: I didn’t realize when I started that this was Tóibín’s debut collection; so confident is his verse, I assumed he’d been publishing poetry for decades. There’s a wide range of tone, structures and topics. Bereavements and chemotherapy are part of a relatable current events background. Irish-Catholic nostalgia animates a witty sequence from “The Nun” to “Vatican II.” Come along on armchair travels. Poems are based around anecdotes or painterly observations. The line breaks are unfailingly fascinating.
What are some of the best books you’ve read so far this year?
What 2022 releases do I need to catch up on right away?
Book Serendipity, March to April 2022
This is a bimonthly feature of mine. I call it Book Serendipity when two or more books that I read at the same time or in quick succession have something in common – the more bizarre, the better. Because I usually 20–30 books on the go at once, I suppose I’m more prone to such incidents. The following are in roughly chronological order.
(I always like hearing about your bookish coincidences, too! Laura had what she thought must be the ultimate Book Serendipity when she reviewed two novels with the same setup: Groundskeeping by Lee Cole and Last Resort by Andrew Lipstein.)
- The same sans serif font is on Sea State by Tabitha Lasley and Lean Fall Stand by Jon McGregor – both released by 4th Estate. I never would have noticed had they not ended up next to each other in my stack one day. (Then a font-alike showed up in my TBR pile, this time from different publishers, later on: What Strange Paradise by Omar El Akkad and When We Were Birds by Ayanna Lloyd Banwo.)
- Kraftwerk is mentioned in The Facebook of the Dead by Valerie Laws and How High We Go in the Dark by Sequoia Nagamatsu.
- The fact that bacteria sometimes form biofilms is mentioned in Hybrid Humans by Harry Parker and Slime by Susanne Wedlich.
- The idea that when someone dies, it’s like a library burning is repeated in The Reactor by Nick Blackburn and In the River of Songs by Susan Jackson.
- Espresso martinis are consumed in If Not for You by Georgina Lucas and Wahala by Nikki May.
- Prosthetic limbs turn up in Groundskeeping by Lee Cole, The Book of Form and Emptiness by Ruth Ozeki, and Hybrid Humans by Harry Parker.
- A character incurs a bad cut to the palm of the hand in After You’d Gone by Maggie O’Farrell and The Book of Form and Emptiness by Ruth Ozeki – I read the two scenes on the same day.
- Catfish is on the menu in Groundskeeping by Lee Cole and in one story of Antipodes by Holly Goddard Jones.
Reading two novels with “Paradise” in the title (and as the last word) at the same time: Paradise by Toni Morrison and To Paradise by Hanya Yanagihara.
- Reading two books by a Davidson at once: Damnation Spring by Ash and Tracks by Robyn.
- There’s a character named Elwin in The Five Wounds by Kirstin Valdez Quade and one called Elvin in The Two Lives of Sara by Catherine Adel West.
- Tea is served with lemon in The Beginning of Spring by Penelope Fitzgerald and The Two Lives of Sara by Catherine Adel West.
- There’s a Florence (or Flo) in Go Tell It on the Mountain by James Baldwin, These Days by Lucy Caldwell and Pictures from an Institution by Randall Jarrell. (Not to mention a Flora in The Sentence by Louise Erdrich.)
There’s a hoarder character in Olga Dies Dreaming by Xóchitl González and The Book of Form and Emptiness by Ruth Ozeki.
- Reading at the same time two memoirs by New Yorker writers releasing within two weeks of each other (in the UK at least) and blurbed by Jia Tolentino: Home/Land by Rebecca Mead and Lost & Found by Kathryn Schulz.
- Three children play in a graveyard in Falling Angels by Tracy Chevalier and Build Your House Around My Body by Violet Kupersmith.
- Shalimar perfume is worn in These Days by Lucy Caldwell and The Five Wounds by Kirstin Valdez Quade.
- A relative is described as “very cold” and it’s wondered what made her that way in Very Cold People by Sarah Manguso and one of the testimonies in Regrets of the Dying by Georgina Scull.
Cherie Dimaline’s Empire of Wild is mentioned in The Sentence by Louise Erdrich, which I was reading at around the same time. (As is The Beginning of Spring by Penelope Fitzgerald, which I’d recently finished.)
- From one poetry collection with references to Islam (Bless the Daughter Raised by a Voice in Her Head by Warsan Shire) to another (Auguries of a Minor God by Nidhi Zak/Aria Eipe).
- Two children’s books featuring a building that is revealed to be a theatre: Moominsummer Madness by Tove Jansson and The Unadoptables by Hana Tooke.
- Reading two “braid” books at once: Braiding Sweetgrass by Robin Wall Kimmerer and French Braid by Anne Tyler.
- Protests and teargas in The Sentence by Louise Erdrich and The Book of Form and Emptiness by Ruth Ozeki.
- Jellyfish poems in Honorifics by Cynthia Miller and Love Poems in Quarantine by Sarah Ruhl.
- George Floyd’s murder is a major element in The Sentence by Louise Erdrich and Love Poems in Quarantine by Sarah Ruhl.
What’s the weirdest reading coincidence you’ve had lately?
Six Degrees of Separation: From Our Wives Under the Sea to Groundskeeping
This month we began with Our Wives Under the Sea by Julia Armfield, one of my favourite novels of the year so far. It fuses horror-tinged magic realism with an emotionally resonant story of disconnection and grief. My review is here. I met the lovely Julia Armfield at the 2019 Sunday Times Young Writer of the Year Award ceremony at the London Library. (See also Kate’s opening post.)
#1 This morning I was reading in Slime, Susanne Wedlich’s wide-ranging popular science book about primordial slime and mucus and biofilms and everything in between, about the peculiar creatures that thrive in the high-pressure deep sea level known as the hadal zone – which is of great significance in Armfield’s book. One of these is the hadal snailfish.
#2 I wish I could remember how I first heard about The Sound of a Wild Snail Eating by Elisabeth Tova Bailey (2010). Possibly the Bas Bleu catalogue? In any case, it was one of the books I requested on interlibrary loan during one of our stays with my parents in Maryland. Bailey, bedbound by chronic illness, saw in the snail that lived on her bedside table a microcosm of nature and animal behaviour. It’s a peaceful book about changing one’s pace and expectations, and thereby appreciating life.
#3 The book is still much admired in nature writing circles. In fact, it was mentioned by Anita Roy, one of the panellists at last year’s New Networks for Nature conference – except she couldn’t remember the author’s name so asked the audience if anyone knew. Yours truly called it out (twice, so I could be heard over my face mask). Anyway, Josie George is in a similar position to Bailey and A Still Life records how she has cultivated close observation skills of the nature around her. I believe she was even inspired to keep a snail at one point.
#4 Still Life is one of my favourite A.S. Byatt novels (this is not the first time I’ve used one of her novels that happens to have the same title as another book as a link in my chain; see also September 2020’s). Back in 2010, Erica Wagner, then literary editor of The Times and one of my idols (she’s American), happened to mention in her column the manner of death of a character in Still Life. Except she had it wrong. I e-mailed to say so, and got referred to in a follow-up column soon thereafter as a “perceptive reader” (i.e., know-it-all) who spotted the error; she used it as an opportunity to reflect on the tricksy nature of memory.
#5 When I wrote to Wagner, I remarked that the real means of death was similar to Thomas Merton’s, which is why it was fresh in mind though I hadn’t read the Byatt in years. (It would be ripe for rereading, in fact.) No spoilers here, so only look into Merton’s death if you’re morbidly curious and don’t mind having a novel’s ending ruined. I’ve not read an entire book by Merton yet, but have encountered his wisdom piecemeal via lots of references made by other authors and the daily excerpts in the one-year devotional book A Year with Thomas Merton, which I must have worked my way through in 2009.
#6 Merton was a Trappist monk based in Kentucky. In the process of introducing his girlfriend, Alma, a Bosnian American who grew up in northern Virginia, to the state where she’s come to live, Owen, the protagonist of Lee Cole’s debut novel, Groundskeeping, takes her to see Merton’s grave at the Abbey of Our Lady of Gethsemani, near Bardstown, Kentucky. Literary grave hunting is one of my niche hobbies, and Groundskeeping, like Our Wives Under the Sea, is one of my top novels of 2022 so far.
So, I’ve gone from one reading year highlight to another, via two instances of me being a book nerd. Deep sea creatures, slime and snails, accidental deaths, and literary grave spotting: it’s been an odd chain! That’s just what I happened to come up with this morning, right after I wrote my review of Groundskeeping for BookBrowse; I’d started a chain yesterday afternoon and came up with something completely different before getting stuck on link #4. It goes to show you how arbitrary and off-the-cuff this meme can be, though I know others pick a strategy and stick with it, or first choose the books and then shoehorn them in.
Where will your chain take you? Join us for #6Degrees of Separation! (Hosted on the first Saturday of each month by Kate W. of Books Are My Favourite and Best.) Next month’s starting point is True History of the Kelly Gang by Peter Carey. I can’t remember if I still have a copy – pretty much all of my books are now packed in advance of our mid-May move – but if I find it, I should be sure to actually read it!
Have you read any of my selections? Tempted by any you didn’t know before?
Bookish Beck = Rebecca Foster. American transplant to England. Freelance proofreader and book reviewer.
Bookish Beck 