100 books like Barn Burning

The Elephant Vanishes includes two of my favorite stories by any contemporary writer.

Set in the forested vicinity of a factory that makes elephants, “The Dancing Dwarf” follows the adventures of a marvelous dwarf who once danced for the king, alas, now pursued by soldiers of the revolution. The other side of the spectrum, “The Last Lawn of the Afternoon” partakes of the fantastic only by osmosis. The care this teenage boy takes mowing and trimming his assigned lawns feels so real it reminds me of myself.

This range keeps the reader slightly off balance and full of expectation, which might not be so exciting if we weren’t in the hands of one of the finest practitioners of the craft anywhere in the world.  

Lately I’ve been thinking a lot about this story. It’s set in Yalta, a resort town located on the Crimean Peninsula—territory that has been caught up in the Russian/Ukrainian war. Chekhov, who suffered from tuberculosis, had a home there, where he wrote much of his last and best work, including this—his most famous—story. It’s a simple tale about normal people—lovers who are married to others—and thus bucked the Russian trend of big societal themes. Chekhov’s political leanings changed so often, he said, that the “absence of lengthy verbiage of a political-social-economic nature” became the first of his six principles for a good story. (The others: objectivity, truthfulness, brevity, originality, and compassion.) Still, lately I’ve been wondering what this story would be like if Chekhov were writing it today.

Part of the allure of Chekhov’s story is the unanswered question, Will they, or won’t they? The answer, I think, may depend on where you are in your own life when you read it. Michelle Herman’s novella, “A New and Glorious Life,” reworks and expands the story, letting you linger a while longer with the lovers before they part. I think this gives them a better chance, but who knows? Joyce Carol Oates also reimagined this story in her collection Marriages and Infidelities. Vintage Oates, it reads like a fever dream.

The first film adaptation, The Lady with the Dog, made under the Soviet censor’s watchful eye, is an almost literal translation of the story. Dark Eyes, a later Soviet-Italian coproduction, stars Italian actor Marcello Mastroianni and strays pretty far from the source.

The story is a classic, of course, but what I find poignant is that famed director John Huston, adventurer and rabblerouser, chose this quiet story to adapt as his final film (The Dead), and did so, while dying, with the help of his son (screenplay) and daughter (leading role). It’s an extraordinarily faithful adaptation, even, and especially, in its slowness. (Each time I read the story, I wonder—even though I know the answer—Where is this going?) 

Joyce Carol Oates, less faithfully, reimagined the story in Marriages and Infidelities, keeping the title, but replacing Irish melancholy with American anxiety, while hewing—with Easter eggs along the way for careful readers—to its theme of intimacy and its limitations. All three versions are exquisitely sad and beautiful. 

Faulkner is a problem, and for a Southern writer, he’s a problem that must be confronted.

The Bear is about the annual hunt for the “taintless and incorruptible” Old Ben, the legendary animal living along the Tallahatchie River. It’s also about ownership and inheritance and ‘manhood,’ filtered through Faulkner’s obsessions and nostalgia and limitations.

A story that taught me that grappling with, and arguing with, a work of literature is an unending struggle but sometimes a necessary one.

Unlike Welty’s works featuring honorable or broadly comic characters, this dense story cycle was never excerpted in anthologies. It’s a trickier cast: consider Jinny Love Stark and Virgie Rainey, who cut through the languor of Depression-era Mississippi with stone-cold intention. Jinny Love plays croquet with her lover to enrage her volatile husband; she encourages her daughter to wear lizards as earrings to offend the propriety of her own controlling mother. Impoverished piano prodigy Virgie flouts her gift merely to watch her teacher go mad. Later, she trims her dead mother’s yard with sewing scissors while neighbors do the real work of laying out the body and receiving mourners. The heat presses forward. What day is it? What hour? This is weird, experimental Welty, and the payoff is sweet.

I always try to find reasons to read William Faulkner’s As I Lay Dying, the painfully sad story of a family hauling their mother’s body to her hometown in order to bury her. Addie Bundren’s life has been sad and dreary, but the path to her resting place is even more so, replete with flood and fire, as well as a post-death monologue that contains one of the most psychologically complete rationalizations in literary history. Every time I read this book, I understand each of the Bundren family members more deeply, and have greater sympathy for the yoke their circumstance has harnessed them to.

While no one would call Faulkner’s 1929 masterpiece “a surprisingly accessible read,” it remains a landmark of modernism and one of the finest examples of stream of consciousness prose. Faulkner takes readers deep into the minds of his perspective characters, showing the ways they think in real-time as they navigate a day while consumed by past traumas, unstable identities, and inherited historical burdens.

Black people, enslaved and free, sued whites in court in Mississippi and Louisiana, and sometimes they won. 

Welch researched hundreds of documents in some archives off the beaten path. She discovered a hitherto unknown chapter of African American life which changes our perspective on the legal system. 

I felt inspired by the courage and resilience of the litigants. 

Dark—ironic with the title—tale of what it means to be authentic while coming to terms with Southern heritage. There is much to understand when you see that light—the American South in its glory and graphic tumble. Christian allegory and gothic narrative drive this book. The characters are iconic and honest—largely marginalized. Written in 1932, this novel set in that time, has several insights for present day and how to tell stories and learn from the South.