The Books I’ve Read in 2021

This is a running list of the books I’ve read in 2021 (I will update this over the course of the year):

1. Anka Radakovich, The Wild Girls Club
2. Pat Barker, Regeneration
3. Jane L. Mansbridge, Why We Lost the ERA
4. Michael Azzarad, Our Band Could Be Your Life
5. Renee Rosen, White Collar Girl
6. Anthony Haden-Guest, Studio 54, Disco, and the Culture of the Night
7. Jon Savage, England’s Dreaming
8. V.S. Naipaul, A House for Mr. Biswas
9. Siegfried Sassoon, Memoirs of an Infantry Officer
10. J.G. Ballard, Running Wild
11. J.G. Ballard, Empire of the Sun
12. Elaine Showalter, The Female Malady
13. Flannery O’Connor, The Complete Stories
14. Tim Lawrence, Love Saves the Day
15. Shirley Jackson, The Road Through the Wall
16. Martin Amis, Inside Story
17. Souvankham Thammavongsa, How to Pronounce Knife
18. Paul Fussell, The Great War and Modern Memory
19. Bryan Washington, Memorial
20. J.G. Ballard, The Kindness of Women
21. Rebecca West, The Return of the Soldier
22. Harvard Sitkoff, A New Deal for Blacks
23. Robert S. McElvaine, The Great Depression
24. Yaa Gyasi, Transcendent Kingdom
25. Sophie Ward, Love and Other Thought Experiments
26. Amity Shlaes, The Forgotten Man
27. Lynn Steger Strong, Want
28. Raven Leilani, Luster
29. J.G. Ballard, Concrete Island
30. Shirley Jackson, Hangsaman
31. Sylvia Plath, The Unabridged Journals of Sylvia Plath
32. Rachel Devlin, Relative Intimacy
33. Shirley Jackson, The Bird’s Nest
34. Rumaan Alam, Leave the World Behind
35. Mariko Tamaki, Laura Dean Keeps Breaking Up with Me
36. Gabrielle Bell, Inappropriate
37. J.G. Ballard, Hello America
38. J.G. Ballad, Millennium People
39. Adam Levin, Hot Pink
40. Catharine Arnold, Pandemic 1918
41. Matt Fraction, Big Hard Sex Criminals Volume 2
42. Bob Rosenthal, Cleaning Up New York
43. Gay Talese, Thy Neighbor’s Wife
44. J.G. Ballard, The Unlimited Dream Company
45. Richard Ford, Let Me Be Frank with You
46. The Best American Short Stories 2020
47. Vera Brittain, Testament of Youth
48. Lydia Millet, Omnivores
49. Peter Shapiro, Turn the Beat Around
50. Lydia Millet, George Bush, Dark Prince of Love
51. Don DeLillo, Great Jones Street
52. Lydia Millet, My Happy Life
53. China Mieville, October
54. Danielle Evans, The Office of Historical Corrections
55. Italo Calvino, The Baron in the Trees
56. Lydia Millet, Everyone Pretty
57. [Literary biography, title omitted for moral reasons]
58. Alison Bechdel, The Secret to Superhuman Strength
59. Jack Kerouac, The Dharma Bums
60. Tim O’Brien, Going After Cacciato
61. Lysley Tenorio, The Son of Good Fortune
62. Lydia Millet, How the Dead Dream
63. Tim O’Brien, If I Died in a Combat Zone
64. Tim O’Brien, Northern Lights
65. Nelson George, The Death of Rhythm and Blues
66. Richard Ford, Sorry for Your Trouble
67. Nelson George, Hip Hop America
68. Ernest R. May, The World War & American Isolation 1914-1917
69. Kazuo Ishiguro, Klara and the Sun
70. Tim O’Brien, The Nuclear Age
71. Lydia Millet, Love in Infant Monkeys
72. Richard Wright, Black Boy
73. Gay Talese, The Bridge
74. Lydia Millet, Ghost Lights
75. Gay Talese, Fame and Obscurity
76. Gay Talese, The Over Reachers
77. John D’Emilo and Estelle B. Freedman, Intimate Matters
78. Richard Wright, The Outsider
79. Richard Russo, Trajectory
80. Tim O’Brien, The Things They Carried
81. Jonathan Ames, A Man Named Doll
82. Gay Talese, Honor Thy Father
83. Lydia Millet, Magnificence
84. Alex Espinoza, Cruising
85. Mary Helen Washington, The Other Blacklist
86. Nelson George, Post-Soul Nation
87. J.G. Ballard, Rushing to Paradise
88. Darin Strauss, The Queen of Tuesday
89. Brett Harvey, The Fifties
90. Gayle E. Pitman, The Stonewall Riots: Coming Out in the Streets
91. Richard Russo, The Destiny Thief
92. Duncan Hannah, Twentieth Century Boy
93. Tove Ditlevsen, The Copenhagen Trilogy
94. Richard Russo, Everybody’s Fool
95. Langston Hughes, Not Without Laughter
96. Matt Fraction, Sex Criminals #5
97. Matt Fraction, Sex Criminals #6
98. Tim O’Brien, In the Lake of the Woods
99. Richard Wright, The Man Who Lived Underground
100. George Scuhlyer, Black No More
101. Paul Wilson, Center Square: The Paul Lynde Story
102. Ishamel Reed, The Terrible Twos
103. Rudolph Fisher, The Conjure-Man Dies
104. Lydia Davis, The Complete Short Stories of Lydia Davis
105. Ann Quin, Berg
106. Arna Bontremps, Black Thunder
107. A. Scott Berg, World War I and America
108. J.G. Ballard, Kingdom Come
109. Anna Kavan, I Am Lazarus
110. Joshua Cohen, The Netanyahus
111. Joshua Cohen, Four New Messages
112. Anna Kavin, Ice
113. Allan Berube, Coming Out Under Fire
114. Anna Kavan, Machines in the Head
115. Irwin Shaw, Five Decades
116. Ishamel Reed, Juice!
117. Martin Duberman, Stonewall
118. Lisa Wade, American Hookup
119. Moa Romanova, Goblin Girl
120. Ana Quin, Passages
121. Ishamael Reed, Mumbo Jumbo
122. Ben Passmore, Sports is Hell
123. Adrian Tomine, The Loneliness of the Long-Distance Cartoonist
124. Darin Strauss, Half a Life
125. Adrian Tomine, Killing and Dying
126. Anna Kavan, A Charmed Circle
127. Ishmael Reed, The Last Days of Louisiana Red
128. Joshua Cohen, Moving Kings
129. Ishmael Reed, Yellow Back Radio Brokedown
130. Ishamel Reed, Reckless Eyeballing
131. Anna Kavin, The Parson
132. Ishmael Reed, Flight to Canada
133. Ishmael Reed, The Freelance Pallbearers
134. Ishmael Reed, The Terrible Threes
135. Elizabeth Cobbs, The Hello Girls
136. Matt Fraction, Who Killed Jimmy Olsen?
137. Lindy West, Shit, Actually
138. Lauren Oyler, Fake Accounts
139. William T. Vollmann, No Immediate Danger
140. Ishmael Reed, Japanese by Spring
141. Patricia Lockwood, No One is Talking About This
142. Kristen Radtke, Seek You

The Man in the Yellow Shirt

I hit a cafe on the edge of Prospect Heights, a place where I knew I would not be bothered. If another writer who knew me entered through the doors, then he would almost certainly ignore me in this cafe. There are some venues in Brooklyn that possess such an innate social code, one that is ideal for introverts and one that was particularly suited to the misanthropic headspace I had willed myself into.

For a good ninety minutes, I occupied my table with unabated joy, reading and writing in blissful peace. I knocked off the remainder of Patricia Lockwood’s No One is Talking About This in one greedy gulp. Then I cracked open my Dell laptop and wrote two pages of the script for a live show I am staging in mid-October. Two pages of moral philosophy cloaked in salacious banter. What fun! This was a first draft that I had nearly finished, but that I was slightly behind on. Still, I wasn’t about to self-flagellate myself. I could leave such lacerations to the online trolls who still pestered me from time to time. And if they got too unruly, I could always block them. I was in a fairly happy place. The script would come from my head and heart, as all scripts inevitably did. The hope was to complete the draft before the end of Labor Day Weekend, a three-day period that most people seemed to agree was the final nail in summer’s coffin. While others would fritter their time away catching the last gasps of the sun, I would be a productive monkey — even if this involved hunkering over like a marsupial while walking up and down Flatbush Avenue and eating an inordinate amount of bananas. There are always madcap methods you can summon to meet your quota.

That’s when the man in the yellow shirt arrived.

Now I know enough about color theory to understand that yellow is considered the color of happiness and the color of jaundice or pestilence. And the man had the aesthetic duality of a coin: cadaverous and gaunt from the back, disheveled and corpulent in the front. One expected some deity to pluck this incongruous man into the air with two giant fingers and flip him over in order to determine which of the two most problematic continents should be decimated first. Would it be the plumper side or the deader side of the man that would seal the deal? This was obviously a question beyond my mortal understanding.

Wispy sideburns crawled down the sides of the man’s face like bushy birthmarks branded by some baleful demon. The man looked somewhere between fifty-five and seventy years old. And he unsettled me. Because he insisted on standing. Standing in a position so that you would never quite see his face, which instinctively escaped all light and disguised his natural and joyless crags within some gentrified penumbra.

There were plentiful tables in the cafe, but he refused to sit. He had the obduracy of a Lovecraftian manservant who was prepared to lead you into some ghastly underworld populated by bestial brutes, who would then proceed to tear your flesh apart with their bare claws. And he stood with his arms constantly behind his back, with his left knuckle clenched in a strange symbol whereby his thumb and forefinger forged a strange circle — almost as if he was part of some secret society responsible for most of the world’s ills.

The man in the yellow shirt stood two feet closer to me than I deemed comfortable. Social distancing has certainly rejiggered the norm of what was acceptably close, but you could usually count on your fellow human beings to intuit what was right. The man in the yellow shirt operated outside of natural instinct and I was forced to conclude that he was a messenger sent by Belphegor.

There was a woman at the table near the window. The woman had spent much of the time sighing stertorously. She resented reading her book and wanted everyone in the cafe to know it. This was, of course, the most passive-aggressive display of narcissism that one sees in cafes.

Meanwhile, the man in the yellow shirt stood in place. He didn’t even sip the coffee that he had ordered. He had placed it on the edge of the cabinet that housed two trash receptacles. He was as frozen and as expressionless as a stone sentinel. As I was to later observe, he had actually ordered three hot beverages. But he only seemed to possess only one beverage at a time. Did he simply order hot beverages as a pretext? He stood as if he was born to wait. A more advanced and rehearsed version of the “fuck my life” look that you see on people over forty who commute to a corporate job that they clearly despise. Perhaps the man in the yellow shirt had arrived as a warning.

The exasperated woman packed up her things. And I seized the table near the window with the legerdemain of a subway commuter snagging the last available subway seat during rush hour. It seemed as if I was in the clear.

But then the man in the yellow shirt adjusted his standing position so that he was exactly two feet too close to me at this new table! And he turned his back to me. The man’s mathematical precision unsettled me further. And I did my best to bury my nose in the next book in my pile.

I wondered if the man in the yellow shirt was some version of me from the future. But he was slightly taller than me. And he had a full head of hair that was a disastrous mop of white. If he had come from the future, I suppose it is possible that scientists fifteen years from now could have corrected my male pattern baldness and extended my height. But I knew myself well enough to know that I would never assent to such cosmetic assaults on my authenticity. I would grow old gracefully, thank you very much.

I considered politely asking the man to back off. But given the way that he seemed to know the exact distance with which to unsettle me, I nixed this option. For all I knew, this was only the beginning of his subtly invasive moves.

I closed my eyes for a second and, when I opened them, the man in the yellow shirt had disappeared without a trace! Had I imagined him? Reader, I had not! As you can see, I did successfully photograph him while sitting at the second table.

I do not know if the man in the yellow shirt is targeting other cafe regulars in Brooklyn. But let my report serve as a warning. Who knows? Perhaps he just wanted to be loved.

Congratulations, de Blasio, You Played Yourself

On Saturday night, Mayor Bill de Blasio looked upward into the heavens, denying the existence of heavy rain, thunder, lightning, and all the other meterological accoutrements that tend to arrive with a Category 1 hurricane, and declared that his Central Park concert — his great plan to “reopen” New York City — would go on. He carried on with the intransigent gusto of a Flat Earther and the obstinacy of a hopeless fool.

The crowd, as chronicled by City & State reporter Jeff Coltin, was confused. A pink LED screen telegraphed clear safety language urging the crowd to move quickly and calmly to the exits. Then, after the majority of the crowd departed the area, the Mayor himself leaped on stage a mere eight minutes after the safety announcements and declared, in his booming voice, “We want to bring the concert back. Listen to me. We want to bring it back. We need everyone for a brief period of time move to someplace safe because of thunder and lightning. And then we’re going to bring the concert back. For your safety…Move to somewhere indoors briefly nearby. We’re going to get you an update shortly. We hope to bring it back shortly and finish the whole show. Okay? Get someplace safe right now.”

There was, of course, no area that was “somewhere indoors” anywhere close to the Great Lawn, the location of de Blasio’s “We Love NYC: The Homecoming Concert.” There were, however, plenty of trees. Magnets for lightning.

As Coltin observed, some people had waited in line for two and a half hours to get into the show. Most did not wear masks. Setting aside the reckless gamble that de Blasio had made with the delta variant by instituting a lax entry policy (attendees were only required to have one dose of the two shot vaccine), it was rather astonishing that he had decided to take on an equally irresponsible risk with Hurricane Henri.

Then after de Blasio’s volte-face, an official voice emerged over the speakers announcing that the event was canceled.

There was never a contingency plan for this concert — despite significant advance notice about the hurricane.

Bill de Blasio has been a largely ridiculous Mayor throughout the last eight years. His clown car escapades have included a risible run as President, an unpardonable pizza solecism, in which he ate a slice with a knife and fork, and his remarkably idiotic call for New Yorkers to “go on with your lives + get out on the town despite Coronavirus” in March 2020.

If there’s one thing that unites New Yorkers, left and right, it is their universal hatred of Bill de Blasio. (To add insult to incompetence, de Blasio was also loudly booed tonight at the concert. The only other jeer came when Staten Island was mentioned. I put forth the reasonable proposition that when you are belittled with the same enmity meted out to New York’s least respected borough, you have probably failed at your job.)

De Blasio was undoubtedly riding high after his longtime enemy, Governor Andrew Cuomo, went down in flames and was forced to resign in the wake of numerous allegations of sexual harassment. But de Blasio somehow did what no other New York Mayor, not even David Dinkins, has done: he played himself.

Pitchfork Dating Review: Anna Gaca

You have to be pretty stupid to date during the pandemic. You have to pretend that everything is fine and splashy — even when it turns out that your date is a hateful and sour critic from Pitchfork who has never felt a single emotion in her adult life, a writer now wasting her formative years taking out her failings and resentments on beloved pop music albums. I suppose that this is what some people in New York call earning a living.

Still, I decided to give Anna Gaca a try in my own capacity as a professional critic. Some may argue that dating is way too personal of an experience to warrant a snarky review. Still, if Lorde could bare her heart and soul on Solar Power and be attacked for her vulnerability, why then not apply the same rude and ruthless approach to dating a music critic? In the interest of full disclosure, I was paid $600 by Chuck Woolery, with the understanding that Mr. Woolery himself would give me a call the next morning and chortle “two and two” over the phone in his ongoing attempts to prove his relevancy.

Gaca and I met in a slightly divey gastropub on the edge of Prospect Heights. I picked a round wooden table adjacent to an open window, positioning myself so that the light would accentuate my best side and I would appear thoughtful and approachable. I slowly sipped on a pint of eight dollar lager to uphold my masculinity. Gaca showed up ten minutes late with a decided “I just woke up in Bushwick and put something random on” vibe. She was clearly unprepared for the date, although I recognized her look of performative impoverishment from pictures I had seen of her on the Internet.

There was a time in which a date with a Pitchfork contributor was a monument years in the making, but, on my date with her, Gaca asked me to be satisfied with everyday beauty. When I stood up to say hello and offer a pre-conversational hug, sniffing up the gastropub’s jasmine air, Gaca punched me in the face and loosened one of my bicuspids. “I’m only here because of Chuck,” she said. Fair enough. If it had not been for Mr. Woolery’s ongoing campaign to steal back his hosting job from Andy Cohen, the two of us clearly wouldn’t be there. Gaca appeared to be emulating the pugilism of early-1990s riot grrrl bands, but without any of the subtle hooks of Bikini Kill or Heavens to Betsy. Her blunt uppercut to my jaw was, shortly after I recovered from the painful sting, without the vibrancy of purposeful fourth-wave feminism. No startling changeups. Not even an improvised kick to the shin. Just a mild act of distracting violence intended to disguise the truth that Gaca wasn’t very interesting at all.

Gaca wore a faded gray Bernie Sanders T-shirt, a wool coat that Gaca described as “twee as fuck” (in the summer?), and her bangs, as I anticipated, dangled below her eyes with a slovenly recklessness, cloaked by onyx sunglasses that suggested one too many lines snorted up her beak the night before. Imagine someone who had studied Diane Keaton circa 1975 a little too closely and mish-mashed this aesthetic with the disheveled garb of a starving Pratt student heavily into Gothic punk and you have some idea of the walking sartorial disaster known as Anna Gaca.

Gaca then handed me a tracklist. The date was apparently going to be divided into seventeen songs. I appreciated this self-aware, scaled-back approach to dating. It had the makings of a meaningful concept album, but was very disappointing in the execution. Gaca’s first track was “Let Me Tell You About Myself,” a tedious trance-like number in which Gaca relied too much on stilted hand gestures while offering general details about her interests. Lots of cliched talk about preferred television shows, memes, and, strangely enough, real estate. It was all very tedious. But then Gaca has been putting out material like this for several years. Longtime Gaca collaborator Puja Patel’s sinister influence was all over this track, as Gaca droned on and on about how Pitchfork was a force to be feared.

The sheer pretentiousness of this opening track could not prepare me for the blathering second track, “I Drink to Avoid My Problems,” which Gaca performed noisily while downing two vodka shots. I had seen such casual alcoholism before and had been there many times myself. But there was nothing especially interesting here. Gaca cleaved to this dirge of self-loathing and self-pity with all the inflexibility of a hot yoga teacher refusing to crack open the window on a summer day. Several people in the bar offered me looks of remorse and sympathy.

The most promising track on the Gaca date was “I’m Going to Tell You Something Personal,” in which Gaca briefly opened up about herself. Some story involving a turtle in third grade that I found slightly moving. Even so, the track’s late placement wasn’t enough to salvage her disastrous set. To date Gaca is to not feel a tug on your sleeve or a stare directly into your eyes. As a potential lover, Gaca feels like she’s doing far less than she’s capable of.

When I went to pay the bill, I couldn’t help but feel an overwhelming sense of disappointment. So many promising women in Brooklyn to date and I had to endure a pedestrian misanthrope? Had I really landed into some trouble with my dentist over a potential romance as dull and as tepid as Gaca? When I told Mr. Woolery about what had happened the next morning, his forceful chortle was a lonely bleat adding yet another layer to my COVID-enhanced depression. The implication you get on a date with Gaca is that she does not want to do this, not like this, forever; that true happiness is beyond her understanding, no matter how many times she drops chintzy phrases like “deep blue shadow over the water” in her overwrought, purposeless, and mean-spirited writing.

Audio Drama: “Pattern Language: An Iris for Emily”

We recently released the third part of our four-part Season 2 finale, “Pattern Language.” This is the fifth of six new episodes that we are releasing biweekly this summer, representing “Phase III” of the second season. This story is part of the second season of The Gray Area. You can follow the overarching story through this episode guide.

Here are a number of useful links: (The Gray Area website) (the iTunes feed) (the Libsyn RSS feed) (the Podchaser feed)

Here’s the synopsis:

Emily McCorkle has landed the media appearance of a lifetime: a guest spot on the most respected talk show in America. But why is the host so concerned with her private details? And why are so many skeletons from her past making guest appearances? And who is the strange man with the hot dogs? (Running time: 38 minutes, 1 second.)

Written, produced, and directed by Edward Champion.

CAST:

Emily McCorkle: Belgys Felix
Ophelia Kakanakis: Carol Jacobanis
June: Monica Ammerman
The Fajita Demon: Pete Lutz
The Cunning Demon: Leanne Troutman
Morris Pressman: David Tao
Jimmy Markson: Heath Martin
Johnson: Hilah Hadaway
Emily’s Mom: Melissa Medina
Emily’s Dad: David Sirkus
Chelsea: Katrina Clairvoyant
Maya: Tanja Milojevic
Ed Champion: Edward Champion
Reporter #1: Glenn Bulthius
Reporter #2: Alice Fox
and Zack Glassman as The Receptionist

Creature Voices by Samantha Cooper and Rachel Baird

Incidental music licensed through Neosounds and MusicFox.
Additional music composed by Edward Champion.

Sound design, editing, engineering, and mastering by a bald man in Brooklyn who has become a TikTok junkie seemingly against his will.

Thank you for listening

If you’d like to support this independent audio production and learn more about how we made it, for only $20, you can become a Season 2 Subscriber! You’ll get instant access to all episodes as we finish them — months before release. Plus, you’ll get access to exclusive interviews and more than 400 minutes of behind-the-scenes commentary! Here are some behind-the-scenes photos and videos pertaining to this episode that we made during the more than two years of production we put into the second season.

Behind the Scenes:

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Part of my writing process involves performing all the dialogue out loud to make sure that it works. Rhythm, zest, and real emotion are all very important and this is really the only way to get it right! My bedroom is the venue for these strange one man shows (although I have sometimes taken these on the road to friends' houses to get feedback — one of my S2 stories caused a roomful of people who nudged me to read it to mist up, which was a huge surprise). I'm getting closer to finishing the season finale and here's a bit from it — oddly enough, this part was inspired by the idea of a two woman version of MY DINNER WITH ANDRE with a huge moral question at the center! I'm taking quite a few risks with this story and I hope I pull it off! (Incidentally, I watched MY DINNER WITH ANDRE three times before writing this section.) #writing #performing #dialogue #rhythm #zest #passion #art #mydinnerwithandre

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This morning, I recorded with the mighty @monica.ammerman. who is also working on a new web series called @someonenew.theseries. I met Monica in an improv class a few years back, knew that she had comedic chops, and cast her in Seaaon 1 as Henrietta, Queen of the Knights, in "Loopholes " But I also had the sense that she could do drama very well. Comedic actors are often underestimated and frequently untapped on this front and I'm the type of guy who likes to cast actors based on what others DON'T see. But Monica, who is super great to work with, brought a lot of wonderful understatement to this character that had me seeing how quietly courageous she was. Nuance that the two of us tweaked together. Monica inspired me to get us asking questions about this character's religious upbringing. And this turned out to be a fun and marvelous recording session! Thank you so much, Monica, for going along for the ride! This is a very bold and experimental story and I'm grateful to have such keen collaborators unpacking the emotional ambiguities, which are essential to creating something that packs a punch! Here's a clip of us layering a short monologue about forgiving people. The take we ended up using (not this one) is incredible! #audiodrama #acting #character #background #nuance #ambiguity #subtlety #dimension #comedy #drama #improv #forgiveness #monologue

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It's a wrap! Pardon my bad angle. But the Six Week Push is now at an end! Aside from some remote files I'm waiting on and a July weekend session, I have all of Season 2 in the can! Some 550 GB were recorded in the last year and a half. 120 speaking roles. 1,000 pages of script. Now I have to edit this thing. Many thanks to my stupendously talented cast, who brought so many surprising interpretations to these colorful characters and helped me to become a more daring and instinctive director. Pictured here are @belgys_felix and @caroljacobanis, who both did a terrific job recording today. Now I'm going to lie down for a bit! #wrap #production #audiodrama #recording #voiceover #actors #acting

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