I am fascinated by work, especially women at work. I am an immigrant, a child of immigrants, a former scientist, and for most of life, have been conditioned to work because if I could not work, then why else was I here? Yet work is not strictly an emblem of immigrant grit or the model minority mindset. It can be made funny, surreal, existential, and it’s a rich subject to tackle. More often than not, work is treated as taboo. It’s ignored or deemed too prosaic to discuss. Who wants to see what goes on insidethe factory? I do. I’m obsessed with stories that showcase the factory.
Joan lives on her own terms. And she is okay. Really. Caught between the cultural expectations of her Chinese heritage and her American upbringing, Joan has chosen instead to make work her home. As a successful doctor at a busy New York City hospital, she finds comfort in being just another cog in the vast, orderly machine of the ICU. But to those who know her, Joan can be a puzzle.
Life, unlike medicine, doesn’t always follow a prescribed set of procedures, of course. Family turmoil and loss start to permeate the boundaries Joan has drawn around her. And all the while, cases of a new virus keep rising, and the world hurtles toward an uncertain future. Will Joan be okay?
Part of my inspiration for Joan came from Murata’s novella about a single, childless, thirty-something-year-old woman who works in a convenience store and loves the work that she does. I blazed through this book thanks to its smart plotting, provocative social commentary, and wickedly delicious humor. The book was originally written in Japanese and once it became an international best-seller, translated into English. I think it’s important for all predominantly English-speaking readers to read more translations of East Asian writers, and for those who haven’t, this is usually the first book I recommend.
The premise of this book is how to be the ultimate anti-workaholic, and from that concept alone, I was hooked. Our protagonist decides to spend a year doing nothing, literally a year of rest and relaxation. She sleeps, eats, and watches lots of VHS movies. Moshfegh is one of the most exciting young writers of contemporary literature. Her wit could cut through granite, and as ridiculous as the premise is, she manages to pull it off. Reading this book was like giving in to my Id. Sometimes all I want to do is watch myself be lazy.
Named a Best Book of the Year by The Washington Post, Time, NPR, Amazon,Vice, Bustle, The New York Times, The Guardian, Kirkus Reviews, Entertainment Weekly, The AV Club, & Audible
A New York Times Bestseller
"One of the most compelling protagonists modern fiction has offered in years: a loopy, quietly furious pillhead whose Ambien ramblings and Xanaxed b*tcheries somehow wend their way through sad and funny and strange toward something genuinely profound." - Entertainment Weekly
"Darkly hilarious . . . [Moshfegh's] the kind of provocateur who makes you laugh out loud while drawing blood." -Vogue
Here is a dark comedy for the office worker. Office dysfunction is unique but also ubiquitous and lends itself well to, of course, Kafkaesque and Orwellian absurdity. One day, people just start getting fired, which leads to growing paranoia and more dysfunction. I like stories that don’t explain too much. Thanks to the pandemic, life, especially work life, has become increasingly amorphous and unreal. What is balance anymore? Where is the line? It’s refreshing to be immersed in a world even more bizarre than the one that workaholics now seem to be living in.
Ever wondered what your boss does all day?Or if there is a higher - perhaps an existential - significance to Microsoft Word malfunctions? This astonishing debut is a scathingly funny look at a group of office workers who have no idea what the unnamed corporation they work for actually does.When it looks like the company may be taken over, fear of redundancy unleashes a deliciously Kafkaesque plot full of the tedium and mistrust of corporate life and the backstabbing bitchiness of our survival-of-the-fittest instincts. We meet Pru, the ex-grad student-turned-spreadsheet drone; Laars, the hysteric whose work anxiety follows him into…
A friend once described her early years of motherhood as non-stop work but also total idleness. Galchen’s slim book of collected observations and witticisms about babies and motherhood, some only one dazzling paragraph long, made me pause to savor each word. I liken reading this book to reading fun poetry or admiring a pop-up gallery. You can read a bit of this book every day, without losing the thread. Each chapter (they are very mini chapters) made me see the world in a new light. Many made me laugh out loud with joy.
In this enchanting miscellany, Galchen notes that literature has more dogs than babies (and also more abortions), that the tally of children for many great women writers-Jane Bowles, Elizabeth Bishop, Virginia Woolf, Janet Frame, Willa Cather, Patricia Highsmith, Iris Murdoch, Djuna Barnes, Mavis Gallant-is zero, that orange is the new baby pink, that The Tale of Genji has no plot but plenty of drama about paternity, that babies exude an intoxicating black magic, and that a baby is a goldmine.
A frequent question I am asked is what my work, my day-to-day activities, as a writer are like. The answer is that it’s pretty mundane. Physically I sit at my desk for many hours without standing up. I can see it in my dog’s eyes that I am boring to watch. But inside my head, lots of trains, planes, and electric automobiles are flying around. Pulitzer Prize-winner Annie Dillard puts into words, so eloquently, what writers are preoccupied about and how we manage to get our work done. Also, a slim book, clocking in at 111 pages of brilliance.
"For nonwriters, it is a glimpse into the trials and satisfactions of a life spent with words. For writers, it is a warm, rambling, conversation with a stimulating and extraordinarily talented colleague." — Chicago Tribune
From Pulitzer Prize-winning Annie Dillard, a collection that illuminates the dedication and daring that characterizes a writer's life.
In these short essays, Annie Dillard—the author of Pilgrim at Tinker Creek and An American Childhood—illuminates the dedication, absurdity, and daring that characterize the existence of a writer. A moving account of Dillard’s own experiences while writing her works, The Writing Life offers deep insight into one…
Charley Byrne isn’t really living. She hunkers down in her apartment above the bookstore she manages, until quirky activist Xander Wallace lures her out of social exile with the prospect of friendship and romance. Charley joins Xander’s circle of diverse friends and thrives, even leaving her comfort zone to join protests in a city struggling with social justice ills.
But the new friendships bring back-to-back betrayals that threaten the bookstore—Charley’s haven—and propel her into a dangerous depression, in a stark reminder that friendship has the power to destroy as well as save lives. Can her friends save the store? And Charley?
"A beautifully crafted story of friendship and self-discovery set amidst the harsh realities of today's world. Superb!" -Eileen O'Finlan, author of Erin's Children
Charley Byrne isn't really living. At age 29, she hunkers down in her apartment above the bookstore she manages, afraid of a 7-year curse. Then quirky activist Xander Wallace lures her out of social exile with the prospect of friendship and romance. Charley joins Xander's circle of friends diverse in their heritage, race, gender and sexual orientation. She thrives, even leaving her comfort zone to join protests in a city struggling with social justice ills.
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