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. So We Read On, her forthcoming book on the extraordinary "second act" of The Great Gatsby, will be published by Little, Brown in September 2014.

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.

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.


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.

It's such a goofy title. Let Me Be Frank with You is the latest installment in the odyssey of Frank Bascombe, the New Jersey Everyman Richard Ford introduced almost 30 years ago in his novel, The Sportswriter. Two more Frank Bascombe novels followed, and now this: a brilliant collection of four interconnected short stories of about 60 pages each in which Ford is indeed "being Frank" Bascombe with us once again, as well as being "frank" about all sorts of touchy topics in America, such as race, politics, the economy, old age and the oblivion that awaits us all.

The disaster began on a day shift around lunchtime at a mine in Chile's Atacama Desert: Miners working deep inside a mountain, excavating for copper, gold and other minerals, started feeling vibrations. Suddenly, there was a massive explosion and the passageways of the mine filled up with a gritty dust cloud.

A new Hilary Mantel book is an Event with a "capital "E." Here's why: The first two best-selling novels in Mantel's planned trilogy about Thomas Cromwell, Wolf Hall and Bring Up the Bodies, each won the Man Booker Prize — that's a first.

Last year, the big debate in the world of books was over the question of whether or not a novel has to feature "likeable" main characters in order for readers to identify with them or make us want to stick with their stories. The debate had a sexist tinge to it: Female characters seemed especially burdened with the need to be pleasing.

Sarah Waters' new novel, The Paying Guests, is a knockout, which isn't a word any of her characters would use.

The book opens in 1922: The Edwardian Age, with its high collars and long skirts, is dead; the Jazz Age is waiting to be born — at least, that's the case in the suburban backwater of London where Waters' main character, a 26-year-old spinster named Frances Wray, lives with her mother.

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Transcript

TERRY GROSS, HOST:

I admired Ben Lerner's last novel a lot; in fact, I ended my review of Leaving the Atocha Station by saying that "reading it was unlike any other novel-reading experience I've had for a long time." I could say the very same thing about Lerner's brilliant new novel, 10:04, which leads me to wonder: Just how many singular reading experiences can one novelist serve up? And if every one of Lerner's novels is singular, doesn't that make them, in a way, repetitive?

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