The Gypsy Moth Summer by Julia Fierro

Powered by prose at once enchanting and colloquial, true, vividly-realized characters, and a literary voice that practically reverberates with authority, Fierro’s The Gypsy Moth Summer may not only be this year’s best second novel, but its best book period. Featuring a complex plot, a many-faceted story brimming with insights into people and families at all stages of the life cycle, zoology, myth, and allegory this is the rare beach read that doubles as a novel of ideas.

Matt Salesses is an author. His wife Cathreen was recently diagnosed with stomach cancer. They need our help. Please join The Nervous Breakdown in supporting them via this YouCaring fund.

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Matt and Cathreen have two young kids and a lot of medical expenses coming their way. Please do what you can. Thanks.

I’ve read a lot of books this year, more than usual. I attribute this to, of all people, Donald Trump, who seems not to have cracked a book since college. Starting back in December, when the shock of the “election” was still fresh, I quit all social media (I’ve since relapsed on Twitter), removed the Safari app from my phone, canceled my newspaper subscription, and stopped watching all forms of televised news. It was a total media fast, and it lasted about two months, all the way into February, at which point I slowly began to fall off the wagon and return to my old ways.

An addict.

The TNB Book Club is thrilled to announce The Essex Serpent, by Sarah Perry, as its official May pick! It will be published in the United States by Custom House Books / HarperCollins on June 6, 2017.

Helen MacDonald, bestselling author of H is for Hawk, raves:

I loved this book. At once numinous, intimate and wise, The Essex Serpent is a marvelous novel about the workings of life, love and belief, about science and religion, secrets, mysteries, and the complicated and unexpected shifts of the human heart—and it contains some of the most beautiful evocations of place and landscape I’ve ever read. It is so good its pages seem lit from within. As soon as I’d finished it I started reading it again.

Sign up now to get your copy! Deadline is April 15.

Book Clubbers! In April we’re reading The Book of Joan, the incredible new novel by Lidia Yuknavitch.

The buzz is really building for this one:

The 25 Most Anticipated Books by Women for 2017, Elle Magazine

The 32 Most Exciting Books Coming Out in 2017, BuzzFeed

50 Books We Can’t Wait to Read in 2017, Nylon Magazine

33 New Books to Read in 2017, The Huffington Post

Most Anticipated, The Great 2017 Book Preview, The Millions

Also: The movie rights just sold!

Be on the lookout for Lidia’s appearance on the Otherppl podcast in the weeks to come.

The Nervous Breakdown Book Club is reading Ron Currie’s  The One-Eyed Man this month, available from Viking Press. Richard Russo calls it “a revelation, a wonder.”

Stay tuned for Ron’s appearance on the Otherppl podcast in the weeks to come.

I first heard Emily Mitchell read over a year ago at a reading series I host in Baltimore. I have a bit of a crush on female writers who explore literary oddity with sci-fi strains (although I have had a hard time defining exactly what that means—I’m thinking a mix of Margaret Atwood, Jeanette Winterson, Ursula Le Guin, and Shirley Jackson), and I was excited to host an author from just a few miles down the road, teaching at University of Maryland, who was exploring similar themes in her work.

She read a story from a forthcoming collection of short stories about a newly divorced mother who takes her daughter to a store to pick out a Companion, a robotic pet designed to help children cope with challenges and build confidence and empathy. Only the divorcee is surprised that, of all the animals her daughter could get, she chooses a spider.

Drew Barrymore, the tiny changeling who captivated the world when she befriended E.T. on screen at age 4, is a bona fide Grimm’s fairytale princess. Born to acting royalty (she’s a fourth generation Barrymore — thespian equivalent to a Kennedy), she was raised poor and in obscurity by a single mother. Her Barrymore father, John Jr., a drug-addled, abusive, and largely absentee parent decamped for good when his wife was three months pregnant with Drew. Mother Jaid, if not literally an evil stepmother, a not-good-enough mother, put Drew to work at age 11 months, in a Gaines Puppy Chow commercial, where she was bitten during her audition by the canine co-star. Jaid also presided over her daughter’s pre-adolescent descent into drugs and alcohol, taking her on late-night bacchanals to Studio 54 where, due to child-star celebrity status and non-existent parenting, nine-year-old Drew was allowed to smoke cigarettes and stay up all night, school being something she got to do only when filming a movie. The Bad Mother locked Drew in an institution (can anyone say Rapunzel?) for a year and half when Drew was 12, but was vanquished when Drew turned 14 and successfully petitioned the court for emancipation. Essentially an “orphan” at age 15, she lived alone in a West Hollywood apartment, worked the odd neighborhood waitress job (too young for a driver’s license, she required employment within walking distance) and struggled to return to acting after her very public flame-out, recounted in her first autobiography, Little Girl Lost. (“Co-written,” when Barrymore was 13, with People magazine correspondent, Todd Gold, this first person narrative, long out of print,  has become something of a collector’s item: paperback copies from second-party vendors on Amazon are currently priced as high as $1999.12.) Along the way, she acquired a fairy godfather in the form of director Steven Spielberg, a fairy godmother in acting teacher Anna Strasberg, and a professional Prince Charming in Adam Sandler with whom she made a trilogy of romantic comedies and whom she calls her “cinematic soul-mate.”

Michelle Brafman’s debut novel, Washing the Dead (Prospect Park Books, 2015) is, above all things, about the healing power of love and forgiveness, about letting go of the toxic wounds of betrayal and hurt. In fact, Brafman experienced a similar transformative purge; she admits that she felt “fluish” at times when writing it. The novel, told in first person by Barbara Blumfield when she is 17 and also when she is  53 (the two narratives woven together in what Brafman calls a double helix), centers on her family’s expulsion from their Orthodox Jewish community after her mother has an affair with a gentile. After Barbara is called back to the community thirty-five years later to perform the ritual burial washing of her beloved teacher, she is forced to confront her mother’s sins and secrets, as well as her own.

JEN MICHALSKI: Washing the Dead explores themes of exile, forgiveness, and redemption in an Orthodox Jewish community in Milwaukee, and you start it off with a bang: an affair. So where did that come from?

MICHELLE BRAFMAN: Yes, the inciting event in the book occurs when the main character, Barbara, discovers that her mother is having an affair, and so begins the family’s exile from their spiritual community. I’ve been told that the story reads a bit like a mystery, and as you read on, you learn that nothing that happens in these opening pages, including the affair, is as it seems. Affairs are complicated, I think. Perhaps they are often less about succumbing to some hot sticky lust and more about escaping an unbearable emotional intensity or healing old wounds or filling unmet needs for love or myriad other motivations. I wasn’t thinking so clinically, though, when I decided to use the affair as a means to launch this family into the diaspora. The idea evolved from digging into my characters’ family history and imagining how the carnage from their secrets might be expressed via misdirected and destructive efforts to secure love.

Jerry Gabriel’s second collection of fiction, The Let Go (Queens Ferry Press, April 2015) is old school. The reader is transported back to a golden age of the long, simmering short story, with its distinctly American milieu—the working class rust belt, boys at the cusp of adulthood, simmering cold war politics. As writer Charles Baxter notes, Gabriel’s characters are “barely hanging on and fear the let go”—of jobs, of identity, of innocence. And yet it’s hard not to feel the affection Gabriel has for them. The collection is less a suicide note of the American dream than a love letter to the tenacity of those caught it its clutches.

JEN MICHALSKI: The first thing that struck me after finishing The Let Go (and this is something my girlfriend points out to me all the time, for I do the same thing in my writing), is that, in addition to their mid-western milieu, so many of your characters are at the cusp of manhood (late adolescence or early twenties). Do you feel that your own crossover into adulthood had an impact on your writing life that is reflected in your choice of younger protagonists, or do you feel you are finally at a safe, wise distance to examine the folly of youth (and too close to write about, say, parenthood and mid-life). Or is it something else completely that drives you towards the troubled young souls in your work?

Chris Leslie-Hynan is a very busy man these days. With the success of his first novel, Ride Around Shining, he has been touring on and off for well over the last year. I caught up with him somewhere around Las Vegas to discuss his novel and also some of the biases and expectations he had to confront when writing about race, class, and envy.

It wasn’t too long ago that I thought undergoing chemo, again, would be the worst thing that could happen to me. I endured the first round a little under two years ago in the wake of a breast cancer diagnosis, the chemo infused through a medically inserted port just under my collarbone. Since then, I’ve had a lumpectomy, the port removed, radiation, recurrence, a double mastectomy with reconstruction, a hysterectomy, another recurrence, and another surgery. And in a few days I’ll be undergoing chemo once more, and I’m actually anxious to get started because, of course, chemo isn’t the worst thing. A particularly stubborn kind of cancer that keeps popping up again is. So on my last chemo-free weekend for the next several months, my husband, Joe, and I dropped my daughters off at my mom’s and bought tickets to Mad Max: Fury Road.

NOAH CICERO:  I finished your book and loved it.

Thanks for giving me a copy, I’m going to read Ben’s now.

I’m lying on a couch being really lazy, writing this.  I feel so lazy lately, I think it’s because I’m going off my medication, Seroquel XR, it basically causes me to sleep 10 hours a night, so I can’t even work a 40-hour week.  I factually don’t have enough energy to do it.  I can’t wake up before 8 a.m., and I can’t work the late shift without worrying about the stupid pill. All because I got really into Buddhism and meditate now and feel happy and okay with everything, so maybe I rewired myself and can go on.

Here are some questions:

Netflix’s new original series Bloodline begins with one of those familiar tropes of fiction, film, and television alike: the return of the prodigal son. In Bloodline, the prodigal son is Danny (Ben Mendelsohn), the oldest of four, who returns to his family’s hotel for a 45th anniversary celebration. Back home, his two brothers and sister await, seeming to dread his arrival and the chaos they expect to come along with him. His younger brother, Kevin (Norbert Leo Butz), believes he will only hurt their elderly parents, while his sister Meg (Linda Cardellini) just wants to placate. His brother John (Kyle Chandler), is the only sibling excited to see Danny come home. Behind the siblings looms their father Robert (Sam Shepard) and mother Sally (Sissy Spacek), who are big fish in the little pond of their small Florida Keys town. Something happened, long ago, that haunts them all and centers around Danny, who has become the family scapegoat. It takes several episodes to get a hint of what this central event is: the death of a sister, Sarah, which happened during a boat trip with Danny thirty years before.

Television in the new millennium can be a glorious place, where boundaries are pushed regularly, often by Hollywood heavyweights. It’s where directors such as David Fincher and Martin Scorsese come to experiment with long-form storytelling, and where renowned actors like Kevin Spacey, Jessica Lange, Steve Buscemi, Glenn Close, Kyra Sedgwick, and many others are willing to commit their time and talents. Sometimes there’s the allure of a great story that can be told in one season (an enticement that drew bona fide movie stars Woody Harrelson and Matthew McConaughey to HBO’s True Detective). Other times, there’s the appeal of both creativity and freedom (Kevin Bacon only has to shoot 15 episodes a season of Fox’s The Following, allowing him to pursue big screen roles while also enjoying a steady paycheck). With the advent of edgy original programming across networks like AMC, Showtime, FX, Netflix, and HBO, the appeal of working in television has never been higher.