This is for an in-depth review of a book, this is not to be confused with the staff recommendations page.

The Sellout (Paul Beatty)

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The Sellout: A Novel Cover Image
ISBN: 9781250083258
Availability: On Our Shelves Now
Published: Picador - March 1st, 2016

The bravest, most outlandish, I-don't-give-a-f*** work of satire I've come across in years. Beatty cuts straight to the core of America's disastrous relationship with race and eviscerates the disingenuous notion that we are living in a “post-racial” society with the most potent of weapons: humor. Political correctness is nonexistent. The narrator is a supremely likable and complex character, even if he is a slave owner/segregationist. The laughs are simultaneously gut-busting and thought-provoking; you laugh and then contemplate why exactly you're laughing in the first place. Superb.

The Mersault Investigation (Kamel Daoud)

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The Meursault Investigation: A Novel Cover Image
By Kamel Daoud, John Cullen (Translated by)
ISBN: 9781590517512
Availability: Not On Our Shelves. Usually arrives in 7-10 Days due to Covid-19 shipping delays.
Published: Other Press - June 2nd, 2015

While primarily a postcolonial re-rendering of THE STRANGER, recounted by the brother of the anonymous "Arab” killed by Camus’ anti-hero, THE MEURSAULT INVESTIGATION is also an unnerving psychological thriller, an absurdist origin story of (post)revolutionary Algeria, and a virulent screed against the nationalism and religious fundamentalism that have overrun Daoud’s home country ever since. Filled with vitriol and humor, and at times delving into surreal and metafictional realms that appropriate entire passages from THE STRANGER nearly word-for-word, THE MEURSAULT INVESTIGATION--much like the book with which it converses--is a slender novel, whose size belies its multilayered and profound content.

The Argonauts (Maggie Nelson)

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The Argonauts Cover Image
ISBN: 9781555977078
Availability: Special Order - Subject to Availability
Published: Graywolf Press - May 5th, 2015

There is no separation between the personal and the political. So, how do we live outside the oppressive strictures of heteronormative society, truly, honestly, openly loving beyond the conventions of gender and cultural conservatism? How do we connect with our deepest selves, when identity itself is an endless process of becoming? The journey of Maggie Nelson’s family--through her troubled pregnancy and her partner’s transsexuality--provides the perfect example. At once a potent blend of bare-it-all memoir, incisive cultural criticism, and a radical call to revolutionize the way we interpret identity and interpersonal relationships, THE ARGONAUTS is above all else a joyous ode to love and family.

I Am a Polar Icebreaker: Notes on SHRILL

So a few Wednesdays ago, I went to the doctor. A new doctor, chosen after much sturm und drang with insurance companies and recommendations from well-trusted friends and Internet searching. And it seemed to pay off, because when the day finally came, the doctor was fine and personable when she showed up. There were pleasantries, y'know, I was feeling nice and relaxed. And then it was time to get down to business, so the doctor looks at the computer and says to me, "So just looking at your height, I'd say we need to get you down to an ideal weight of—"

Shrill: Notes from a Loud Woman Cover Image
ISBN: 9780316348409
Availability: Special Order - Subject to Availability
Published: Hachette Books - May 17th, 2016

In the part of my memory that comes up with really good comebacks half an hour after getting into fights with people, I told that doctor off. In the part of my memory that remembers exactly how many people were present the day I ripped my pants in seventh grade gym and exactly what color underwear I was wearing that day, I know that I sat there kind of stunned and awkward for the rest of the exam and then had a fit of tears in the Uber on the way home and then was a total bitch to my therapist that afternoon when she tried to help.

But this time, I had Lindy West in my ear saying, "You know that's total bullshit." And when I got home and picked up SHRILL to reassure myself that I hadn't hallucinated that really good chapter about how women's bodies are considered public property, and size and weight are conflated with health in terrible ways, and how that's crap (the second chapter "Bones", for the curious)—I felt better. This doctor's appointment wasn't the first time I'd encountered people concern-trolling my body for "my health" (thanks, dad). It wasn't even the first time I'd had a medical professional give me an arbitrary number for "my health" that, to reach, I would have to literally slice off parts of my body. It was, however, the first time I'd had these things happen after reading SHRILL, and it was the first time that I didn't cry about it for days after.

And I don't experience a fraction of what Lindy West experiences in SHRILL, is the thing. I am still acceptably small and shrinkable; my body can compress itself into straight sizes and does not unduly make itself known on planes, in restaurants, in public transit. But my natural shape and size is still a "concern" to people around me, and it's hard not to hate and fear my squishy bits for that. The strength to not do that—to push back and get loud and defend my right to take up space—I have to thank Lindy West for.

This might be the most personally honest thing I've ever blogged for this website, but if you think this is honest, you need to go read SHRILL. SHRILL brings a new meaning to "brutally honest," in that it lures you in with hilarity and pop culture criticism and then sucker-punches you in the tit with the West's reality of being a loud, unapologetic, funny fat woman in our fatphobic, perfection-obsessed culture. This book is funny as hell, and powerful as all-get out, and incredibly important. Important, because West doesn't hold back any details on how vitriolically hated she has been for being a woman who dares to have opinions in a public space.

My first exposure to Lindy West, and a lot of people's first exposure to her, was when her piece "How to Make a Rape Joke", a response to Daniel Tosh's hideously unfunny "rape joke" controversy, went viral in the summer of 2012. According to RAINN, every 107 seconds, someone is sexually assaulted in the United States—the majority of those someones being women. Please imagine, if you somehow avoided this controversy, how absolutely exhausting it was to be a young woman in the summer of 2012, when a bunch of men you'd formerly felt safe with came charging in frothing hordes to every social media site you'd formerly enjoyed, all to feverishly defend the ability of mostly white, privileged dudes to tell careless jokes about one of the most horrifying, violent, and demeaning things that one in four women will experience. It was a pretty brutal summer.

But West's piece came into the conversation like a bucket of cold water, and for me and many women I knew, it became a rallying cry. For me, still in college and still finding my legs to stand on when faced with the visceral evidence of my male peers' disregard for my bodily autonomy, Lindy West became my #goals. To be that articulate and capable of defending not just myself but the women around me—damn. I wanted to be able to do that. In West's essay-chapter "You're So Brave for Wearing Clothes and Not Hating Yourself!" West discusses her own acceptance of her fat body: "I am unassailable. I am a polar icebreaker… I can absorb blows—literal and metaphorical—meant for other women, smaller women, more breakable women—women who need me." As I straddle the line between breakable and unassailable, that line hits me where I live. And it makes me feel safe. I finally have someone on my side.

My notes from reading SHRILL are absurdly all-over-the-place: quotes from my review copy with six asterisks in front of them and ten exclamation points after; stuff in all-caps like "UGH YES THANK YOU"; my sole comment for the chapter "The Tree" is "owwwwwww christ"—this is what West's writing does to you. It makes you fist-pump emphatically; it makes you think truly and deeply about other people's experiences and how—and more importantly why—your own have been different. It's tough to read sometimes, not gonna lie, because that's what happens when a writer is this open and candid about her life, but ultimately, it's heartening. This book is not a relentless stream of negativity. Far from it.

I did nearly pop a rib laughing at this book. West's desert-dry wit and turn of phrase find humor in absolutely every painful or awkward life situation there is. Even when it's something we're told not to talk about—though usually that, in West's book, is the perfect reason to talk about something. The first chapter of this book is about periods. There are many stories about the online harassment she's flooded with as an outspoken feminist writer—harassment we are usually told is "just part of the internet." There is an unabashedly unashamed and emotionally devastating chapter, in which the familiar daily calculus of making decoy purchases at the drugstore so as to not be judged for the one thing you actually need to buy, becomes the lead-in for the story of her abortion (shared with the world last year when #shoutyourabortion was trending to help end the stigma around the procedure). There's still a tremendous pressure for women not to share their experiences of these things—harassment, menstruation, termination of accidental pregnancies—which, in SHRILL, means it's high time we started being loud about them.

West believes unwaveringly in building a better world with her championing of under-recognized humanity, and you know what the best part it? All those trolls and haters and vicious misogynists—some of them, West tells us, change their minds. Her story in SHRILL of a troll who reached out to her and apologized made me cry—not from empathetic pain at his cruelty, but in awestruck disbelieving hope and joy that maybe more trolls and haters and vicious misogynists will change their minds. And it's a good reminder for me, too, when I get exhausted and angry and fed-up with being silenced and shamed and misunderstood, not to take the easy way out—the easy way being more silence and more anger, or just to hate everything. Because it's easy, West reminds us, to hate things. Hate is lazy. Sincerity is harder—but worth it.

Liz Wright is the Kids Specialist at Brazos Bookstore, though she likes to remind people she created the Gender & Sexuality section on the main floor as well. She received her BA from Wellesley College, where she spent four years learning how to raise her voice and the voices of other women. Her writing has appeared in BUST Magazine and Minerva Rising Literary Journal. This fall, she’ll pursue her MA and MFA in Children’s Literature and Writing for Children at Simmons College, where she’ll be the Dean’s Fellow for Children’s Literature.

Pym's Cup: A Review of Barbara Pym's EXCELLENT WOMEN

In the world of Barbara Pym, a single, thirty-year-old woman is a bona fide spinster. Mildred Lathbury is just such a specimen: an unmarried woman in post-WWII England who works part-time “at an organization which helped impoverished gentlewomen, a cause very near to my own heart, as I felt that I was just the kind of person who might one day become one.”

Excellent Women Cover Image
By Barbara Pym, A. N. Wilson (Introduction by)
ISBN: 9780143104872
Availability: Not On Our Shelves. Usually arrives in 7-10 Days due to Covid-19 shipping delays.
Published: Penguin Classics - December 26th, 2006

Translation Spotlight

Of the many books I remember buying from my days as a Brazos customer, the one that distinctly stands out is Santiago Gamboa’s NECROPOLIS. Gamboa was a new name for me at the time, but I instantly relished the wisdom of my purchase. NECROPOLIS wasn’t a book that I liked; it was a book that I loved. Organized like a Russian nesting doll, the many stories contained inside the novel—which all take place inside a hotel in Jerusalem—were smart, worldly, and written with a narrative verve characteristic of Roberto Bolaño (think 2666 with a lot less murder).

Night Prayers Cover Image
By Santiago Gamboa, Howard Curtis (Translated by)
ISBN: 9781609453114
Availability: Special Order - Subject to Availability
Published: Europa Editions - March 1st, 2016

Translation Spotlight: Mark Steps Out ON THE EDGE

The economy in Spain is bleak; one can learn this from reading contemporary fiction alone. Toni Sala’s recent novel, THE BOYS, hit upon this repeatedly, lashing out at the injustice felt by the younger generation, as well as their parents generation, largely left without the security of retirement. Rafael Chirbes’ enormously ambitious novel, ON THE EDGE, takes this same topic but explores it through the corruption of the human soul. Yes, much of Spain is bankrupt financially, he seems to say, but morally as well, and has been for a long time.

On the Edge Cover Image
By Rafael Chirbes, Margaret Jull Costa (Translated by), Valerie Miles (Afterword by)
ISBN: 9780811222846
Availability: Special Order - Subject to Availability
Published: New Directions - January 25th, 2016

Not For That Hour, Not For That Place: On Orhan Pamuk’s A STRANGENESS IN MY MIND

As far as street vendors go, Mevlut Karataş is not quite as despondent as The Decemberists’ Eli (the Barrow Boy), nor is he as manic as John Kennedy Toole’s Ignatius J. Reilly.

A Strangeness in My Mind: A novel Cover Image
By Orhan Pamuk, Ekin Oklap (Translated by)
ISBN: 9780307700292
Availability: Special Order - Subject to Availability
Published: Knopf - October 20th, 2015

Lawrence Lenhart holds an MFA from The University of Arizona. His work appears or is forthcoming in Alaska Quarterly Review, Fourth Genre, Guernica, Gulf Coast, Passages North, Prairie Schooner, and elsewhere. He teaches fiction and nonfiction at Northern Arizona University and is a reviews editor and assistant fiction editor of DIAGRAM.

Darling Didion: On Tracy Daugherty’s THE LAST LOVE SONG

Joan Didion first came to me in a Christmas package from Indiana, Pennsylvania, in the form of SLOUCHING TOWARDS BETHLEHEM. Emily, my birthday twin and fellow writer, said that she heard Didion was a “badass” and seemed like someone I would like. I read the preface at my kitchen table, seeming to understand. Then I got to the end, to this sentence, which continues to haunt me: “That is the one last thing to remember: writers are always selling somebody out.”

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The Last Love Song: A Biography of Joan Didion Cover Image
Unavailable from Brazos Bookstore
ISBN: 9781250010025
Availability: Out of Print - Not Available for Order
Published: St. Martin's Press - August 25th, 2015