Virginia Woolf took her greatest risks as an artist in 1930. Fresh off the success of Orlando and To The Lighthouse, she embarked on The Waves, a more experimental, more fluid novel than her previous works. (She describes it in her diary triumphantly as “my first book in my own style.”) If The Waves marked an invigorating period of self-expression for Woolf, the process of writing it—and editing it—was nonetheless taxing. (“Never,” she laments, “have I screwed my brain so tight over a book.”) In an entry dated April 11th, 1931, Woolf, who was balancing a few writing projects at the time, complains about revision: “I am so tired of correcting my own writing… And the cramming in and the cutting out… But I have no pen—well, it will just make a mark. And not much to say, or rather too much and not the mood.”
Sunshine State by Sarah Gerard: “Sarah Gerard follows her breakout novel, Binary Star, with the dynamic essay collection Sunshine State, which explores Florida as a microcosm of the most pressing economic and environmental perils haunting our society.”
Void Star by Zachary Mason: “Not far in the future the seas have risen and the central latitudes are emptying, but it’s still a good time to be rich in San Francisco, where weapons drones patrol the skies to keep out the multitudinous poor.”
Devil on the Cross by Ngũgĩ wa Thiong’o: “An impassioned cry for a Kenya free of dictatorship and for African writers to work in their own local dialects, Devil on the Cross has had a profound influence on Africa and on post-colonial African literature.”
Also this month: We’ll interview Melissa Febos and Dodai Stewart, and review new books by George Saunders and Durga Chew-Bose.