Book Club: Dolly Alderton's 'Good Material'

Colm Tóibín’s 2009 novel “Brooklyn” told the story of a meek young Irishwoman, Eilis Lacey, who emigrates to New York in the 1950s out of a sense of familial obligation and slowly, diligently begins building a new life for herself. A New York Times best seller, the book was also adapted into an Oscar-nominated movie starring Saoirse Ronan — and now, 15 years after its publication, Tóibín has surprised himself by writing a sequel.“Long Island,” his new novel, finds Eilis relocated to the suburbs and, in the opening scene, confronting a sudden crisis in her marriage. On this week’s podcast, Tóibín talks to Sarah Lyall about the book and how he came to write it.

How to explain the British writer Dolly Alderton to an American audience? It might be best to let her work speak for itself — it certainly does! — but Alderton is such a cultural phenomenon in her native England that some context is probably helpful: “Like Nora Ephron, With a British Twist” is the way The New York Times Book Review put it when we reviewed her latest novel, “Good Material,” earlier this year.“Good Material” tells the story of a down-on-his-luck stand-up comic dealing with a broken heart, and it has won Alderton enthusiastic fans in America. In this week’s episode, the Book Review’s MJ Franklin discusses the book with his colleagues Emily Eakin and Leah Greenblatt. Caution: Spoilers abound!

Simon & Schuster is not growing old quietly.The venerable publishing house — one of the industry’s so-called Big 5 — is celebrating its 100th birthday this month after a period of tumult that saw it put up for sale by its previous owner, pursued by its rival Penguin Random House in an acquisition bid that fell apart after the Justice Department won an antitrust suit, then bought for $1.62 billion last fall by the private equity firm KKR.With conditions seemingly stabilized since then, the company is turning 100 at an auspicious time to celebrate its roots and look to its future. On this week’s episode, Gilbert is joined by Simon & Schuster’s publisher and chief executive, Jonathan Karp, to talk about the centennial and what it means.“It was a startup 100 years ago,” Karp says. “It was two guys in their 20s. Richard Simon and Max Schuster. They were just a couple of guys who loved books. And they made a decision that they wanted to read every book they published. … The first book was a crossword puzzle book. It was a monster success. They’d actually raised $50,000 from their friends and family. They didn’t need it. They returned the money. And the company was up and running.”We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to [email protected].

This month marks the 50th anniversary of the publication of Stephen King’s first novel, “Carrie.” In the decades since, King has experimented with length, genre and style, but has always maintained his position as one of America’s most famous writers.On this week’s episode, host Gilbert Cruz talks to the novelist Grady Hendrix, who read and re-read many of King’s books over several years, writing an essay on each as well as King superfan Damon Lindelof, the TV showrunner behind shows such as “Lost” and “The Leftovers.”Some of the books discussed in this episode: "Carrie," "Cujo," "Duma Key," "From a Buick 8," "The Tommyknockers," "The Stand," and "The Long Walk."Some of the articles referenced:Grady Hendrix's Stephen King essaysWhen Damon Lindelof, Carlton Cuse and J.J. Abrams met Stephen KingStephen King reviews Tom Perrotta's "The Leftovers"

Earlier this month, the Book Review’s staff critics — Dwight Garner, Alexandra Jacobs and Jennifer Szalai — released a list of 22 novels they have found reliably funny since Joseph Heller’s landmark comic novel “Catch-22” came out in 1961. On this week’s episode, they tell Gilbert Cruz why “Catch-22” was their starting point, and explain a bit about their process: how they think about humor, how they made their choices, what books they left off and what books led to fights along the way. (“American Psycho” turns out to be as contentious now as it was when it was first published.)“There are only a very few number of books in my lifetime that have made me laugh out loud,” Jacobs says. “And some of them no longer make me laugh out loud, because the thing about humor is it’s like this giant shifting cloud, this shape-shifting thing that changes over the course of our lives and also the life of the culture.”We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to [email protected].

If you're familiar with Tana French, it's likely for her Dublin Murder Squad series of crime novels that kicked off in 2007 with "In the Woods." But her new book, "The Hunter," a sequel to 2020's "The Searcher," takes place outside of that series.In this episode of the podcast, speaking to Sarah Lyall about her shift to new characters, French said, "I wasn't comfortable with sticking to the detective's perspective anymore. I think from the perspective of a detective, a murder investigation is a very specific thing. It's a source of power and control. It's a way that you can retrieve order after the disruption that murder has caused. But I kept thinking there are so many other perspectives within that investigation for whom this investigation is not a source of power or control or truth and justice. It's the opposite. It's something that just barrels into your life and upends it and can cause permanent damage."

Frank Herbert’s epic novel “Dune” and its successors have been entrenched in the science fiction and fantasy canon for almost six decades, a rite of passage for proudly nerdy readers across the generations. But “Dune” is experiencing a broader cultural resurgence at the moment thanks to Denis Villeneuve’s recent film adaptations starring Timothée Chalamet. (Part 2 is in theaters now.)This week on the podcast, Gilbert Cruz talks to The Times’s critic Alissa Wilkinson, who covers movies, culture and religion, about Herbert’s novel, Villeneuve’s films and the enduring hold of Fremen lore on the audience’s imagination.“There’s a couple things that I think are really unsettling in ‘Dune,’” Wilkinson says. “One is, the vision of Frank Herbert was, I believe, to basically write a book that questioned authoritarians and hero mythology genuinely, across the board. Any kind of a hero figure he is proposing will always have things and people come up alongside that hero figure that distort their influence. Even if they intend well, if they’re benevolent, there’s still all of this really awful stuff that comes along with it. So Paul is a messiah figure — we believe he wants good things for most of the book — and then he turns on a dime or it feels like he might be turning on a dime. You can never quite tell where anyone stands in this book. And I think that is unsettling, especially because so many of the other kinds of things that we watch — the superhero movies, “Star Wars,” whatever — there’s a clear-cut good and evil fight going on. Good and evil don’t really exist in ‘Dune.’”We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to [email protected].

It’s not often that the Academy Awards give the publishing world any gristle to chew on. But at this year’s Oscars ceremony — taking place on Sunday evening — one of the Best Picture contenders is all about book publishing: Cord Jefferson’s “American Fiction” is adapted from the 2001 novel “Erasure,” by Percival Everett, and it amounts to a scathing, satirical indictment of publishers, readers and the insidious biases that the marketplace can impose in determining who tells what stories.Obviously, we recommend the movie. But even more, we recommend Everett’s novel. In this week’s episode, the Book Review’s MJ Franklin discusses the book with his colleagues Joumana Khatib, also from the Book Review, and Reggie Ugwu, a pop culture reporter at The Times. Caution: Spoilers abound for both the book and the movie.Have you read “Erasure” or seen “American Fiction,” or both? We’d love to know what you thought. Share your reactions in the comments and we’ll try to join the conversation.We’ll get you started:Joumana Khatib: “I’d read Percival Everett before. I love watching his mind on the page. He’s funny, he's irreverent, he’s sarcastic. There’s nobody that writes like him. And I have to tell you that ‘Erasure’ totally blew me away, just because of the sheer number of textures in this book. … It’s obviously a parodical novel. It’s obviously unbelievably satirical and it’s just outrageous enough that it keeps the momentum without feeling schlocky or shticky.” …Reggie Ugwu: “He has a great sense of pace, like he never wastes time. … You can tell that it’s the work of a very sophisticated and mature writer who knows exactly what to leave on the page and exactly what he can cut. There are some moments where I marveled when he would just leap the plot forward in a few lines.”Send your feedback about this episode, and about the Book Review’s podcast in general, to [email protected].

Tommy Orange’s acclaimed debut novel, “There There” — one of the Book Review’s 10 Best Books of 2018 — centered on a group of characters who all converge on an Indigenous powwow in modern-day Oakland, Calif. His follow-up, “Wandering Stars,” is both a prequel and a sequel to that book, focusing specifically on the character Orvil Red Feather and tracing several generations of his family through the decades before and after the events of “There There.” This week, Orange visits the podcast to discuss “Wandering Stars” as well as the book he has read most in his life, Clarice Lispector's "The Hour of the Star." Orange explained how he decided to write a historical novel while sticking with the characters and story line from his earlier book.“I got drawn in by this part of history because it was so specific to my tribe,” Orange says. “I don’t necessarily love reading historical fiction, but if it’s driven from the interior and it’s character driven, it’s compelling to me. So figuring out the types of humans they might have been or things they might have thought or felt, that was a way for me to try to figure out how to make them real. and that’s sometimes on a sentence level and sometimes on a, like, what are their motivations or what are they doing in their day-to-day lives? What do they want?”

Tricia Romano’s new book, “The Freaks Came Out to Write,” is an oral history of New York’s late, great alternative weekly newspaper The Village Voice, where she worked for eight years as the nightlife columnist. Our critic Dwight Garner reviewed the book recently — he loved it — and he visits the podcast this week to chat with Gilbert Cruz about oral histories in general and the gritty glamour of The Village Voice in particular.“You would pick it up and it was so prickly,” Garner says. “The whole thing just felt like this production that someone had really thought through, from the great cartoons to the great photographs to the crazy hard news in the front to the different voices in back. It all came together into a package. And there are still great writers out there, but it doesn’t feel the same anymore. No one has really taken over, to my point of view. ... There’s no one-stop shopping to find the great listings at every club and every major theater, just a great rundown of what one might be interested in doing.”We would love to hear your thoughts about this episode, and about the Book Review’s podcast in general. You can send them to [email protected].