Maureen Corrigan

Maureen Corrigan, book critic for NPR's Fresh Air, is a critic-in-residence and lecturer at Georgetown University. She is an associate editor of and contributor to Mystery and Suspense Writers (Scribner) and the winner of the 1999 Edgar Award for Criticism, presented by the Mystery Writers of America.

Corrigan served as a juror for the 2012 Pulitzer Prize in Fiction. Her book So We Read On: How The Great Gatsby Came To Be and Why It Endures was published by Little, Brown in September 2014 (paperback forthcoming May 2015). Corrigan is represented by Trinity Ray at The Tuesday Lecture Agency: trinity@tuesdayagency.com

Corrigan's literary memoir, Leave Me Alone, I'm Reading! was published in 2005. Corrigan is also a reviewer and columnist for The Washington Post's Book World. In addition to serving on the advisory panel of The American Heritage Dictionary, she has chaired the Mystery and Suspense judges' panel of the Los Angeles TimesBook Prize.

Copyright 2015 NPR. To see more, visit http://www.npr.org/.

Transcript

TERRY GROSS, HOST:

Here's only a partial list of great American writers whose names came to mind as I was reading T. Geronimo Johnson's new novel, Welcome to Braggsville: Tom Wolfe, Mark Twain, Toni Morrison, H.L. Mencken, Don DeLillo, David Foster Wallace, Norman Mailer and Ralph Ellison, Ralph Ellison, Ralph Ellison. Johnson's timely novel is a tipsy social satire about race and the oh-so-fragile ties that bind disparate parts of this country into an imperfect and restless union.

A climb "to the top of a greasy pole" are the immortal words coined by 19th century British Prime Minister Benjamin Disraeli to describe his rise to political power. Disraeli was two-time prime minister under Queen Victoria, as well as a novelist and famous wit whose way with a catchy phrase was rivaled in the 19th century only by his younger admirer, Oscar Wilde. But when he entered politics in the 1830s, Disraeli was burdened by debt and, even more seriously, by his Jewish parentage.

"Does this obituary make me look fat?"

The narrator of Rachel Cusk's new novel Outline is a novelist and divorced mother of two who has agreed to teach a summer course in creative writing in Athens. The novel itself is composed of some 10 conversations that she has with, among others, her seatmate on the plane flying to Greece, her students in the writing class, dinner companions and fellow teachers.

Almost Famous Women is the kind of "high concept" short-story collection that invites skepticism. These stories are about 13 historical women whose names you mostly might sort-of recognize. Beryl Markham, Butterfly McQueen and Shirley Jackson are slam-dunks, but Romaine Brooks and Joe Carstairs are a bit blurrier. While the family names of Allegra Byron, Dolly Wilde and Norma Millay betray their relation to important figures, we don't know what they did. And who the heck was Hazel Eaton or Tiny Davis?

No, it's not a posthumously published mystery novel by the late, great composer and conductor. Rather, Death by Pastrami by Leonard S. Bernstein is a collection of short stories mostly about life in the garment district of New York City. This Leonard Bernstein knows whereof he writes: He owned and managed a garment factory; now, in his 80s, he's published his first work of fiction, making him a veritable Grandma Moses of the garment district.

For this year's Best Books of the Year list, I reject the tyranny of the decimal system. Some years it's simply more than 10. Here, then, are my top 12 books of 2014. All of the disparate books on my list contain characters, scenes or voices that linger long past the last page of their stories. In fact, The Empire of Necessity by Greg Grandin, which is my pick for Book of the Year, came out in January and I haven't stopped thinking about it since.

Expect to be good for nothing for a long time after you read Ron Rash. His writing is powerful, stripped down and very still: It takes you to a land apart, psychologically and geographically, since his fiction is set in Appalachia.

Many years ago, Laurie Colwin began an essay she wrote about the magic of roast chicken like this: "There is nothing like roast chicken. It is helpful and agreeable, the perfect dish no matter what the circumstances. Elegant or homey, a dish for a dinner party or a family supper, it will not let you down." Substitute the phrase "Laurie Colwin's writing" for the words "roast chicken," take some poetic allowances with the word "dish," and you'll have an approximate description of Colwin's own elusive magic.

Pages