Some fiction authors are rather formulaic while others vary their approach with almost every novel — and I like both kinds of writers.

Formulaic positives? There’s comfort in knowing (approximately) what to expect. Non-formulaic positives? The delicious element of surprise. If the authors are good, satisfaction is guaranteed either way.

Plus formulaic authors often offer enough differences in each of their books to satisfy a reader’s yen for variety, and non-formulaic authors frequently have recurring elements in their works. So there’s some blurring between the two “camps.”

I recently finished my third Lisa Genova novel, Left Neglected. As with her also-great Still Alice and Inside the O’Briens, a character faces a major neurological challenge — with the story told from the perspective of that character and Genova covering all the medical and emotional bases. But there are variations: A different kind of neurological challenge in each of the three novels, whether ultimately fatal or not. Female protagonists in Still Alice and Left Neglected, a male protagonist in Inside the O’Briens. Affluent families in Still Alice and Left Neglected, a less-affluent family in Inside the O’Briens. Adult children in Still Alice and Inside the O’Briens, younger kids in Left Neglected. Etc.

Lee Child of Jack Reacher series fame also has his formula: The roaming Jack goes to a new place, trouble arises, Reacher deals with that trouble, Jack leaves town. But then there’s the variety: a new locale in almost every book, different kinds of trouble in almost every book, new supporting characters in almost every book, and so on. The 24th Reacher novel, Blue Moon, was released late last month, and I have no doubt it will be another Child page-turner when I get to it.

Excellent authors of thriller, detective, or mystery series frequently fit into the formulaic but not totally formulaic camp. Agatha Christie, Janet Evanovich, Sue Grafton, Tony Hillerman, Martin Cruz Smith, and many others.

In each of his 20 Rougon-Macquart novels published between 1871 and 1893, Emile Zola featured one or more members of those R-M families and usually offered an overarching theme: alcoholism in The Drinking Den, retailing in The Ladies’ Delight, mining in Germinal, art in The Masterpiece, rail travel in The Beast in Man, etc. So, those compelling Zola books were similar in a way, yet the characters of course had varied personalities and fates, and the aforementioned themes were also quite varied.

Some authors who often avoid a formula from novel to novel?

Margaret Atwood is certainly one. She’s expertly handled contemporary fiction (such as Cat’s Eye), historical fiction (Alias Grace), and of course “speculative” fiction (including The Handmaid’s Tale and its recent sequel The Testaments). But there are certain commonalities amid Atwood’s genre-jumping, most notably a feminist sensibility and other kinds of social awareness.

We also have J.K. Rowling. After she finished her seven blockbuster Harry Potter books, she wrote the decidedly non-magical/very sobering novel The Casual Vacancy. Then Rowling switched things up again with a crime series (four so far) starring private investigator Cormoran Strike. She skillfully nailed each of the three genres — and, while her approach in each is different, there are common elements such as deep sympathy for the underdog and a keen awareness of evil in the world.

Aldous Huxley is best known for his dystopian sci-fi classic Brave New World, but he also penned un-BNW-like novels such as Point Counter Point — a societal chronicle reminiscent of some 19th-century British literary fiction. Huxley displayed enough versatility to almost seem like different writers.

Authors you feel fit into either the formulaic or non-formulaic categories?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which covers overly aggressive driving and many other topics — is here.

With Halloween only a few days in the rearview mirror, who are some scary characters in literature? Overtly scary, subtly scary, Richard Scarry…oops, he’s the children’s book author, and I rarely discuss children’s books.

Anyway, I’ll name 26 (13 + 13) scary characters, going back in time by the novel’s publication date. Some are scary in the horror-movie sense, while others are physically or emotionally abusive — or just generally villainous.

Perry of Liane Moriarty’s Big Little Lies (2014) is a wealthy banker with a hidden-from-society side of being a domestic abuser and sexual-predator sicko.

Lord Voldemort of J.K. Rowling’s seven Harry Potter books (2007 going back to 1997) is a no-brainer (though he was more lacking a nose than brain). The (hor)crux of the matter: LV is pathologically evil and menacing, as Harry well knows.

Anton Chigurh of Cormac McCarthy’s No Country for Old Men (2005) is a psychopathic murderer who even has one potential victim flip a coin to “decide” whether he’ll kill her or not.

Martin Vanger, a disturbed corporate CEO and serial killer in Stieg Larsson’s The Girl With the Dragon Tattoo (2005).

Francine Whiting of Richard Russo’s Empire Falls (2001) is an ultra-wealthy widow who basically controls a Maine town with meanness and manipulation.

Baby Kochamma of Arundhati Roy’s The God of Small Things (1997) — an adult despite her name — is so spiteful that she ruins the lives of several family members.

Real-life dictator Rafael Trujillo, a murderer, torturer, and rapist from Julia Alvarez’s historical novel In the Time of the Butterflies (1994).

Zenia of Margaret Atwood’s The Robber Bride (1993) wreaks havoc on the lives of three women who (initially) considered her a friend.

Nathan Locke of John Grisham’s The Firm (1991) is a thug who’s second in command at the novel’s titular law firm — a white-collar front for the mob.

Frank Bennett of Fannie Flagg’s Fried Green Tomatoes at the Whistle Stop Cafe (1987) is a scarily abusive husband to Ruth.

Annie Wilkes of Stephen King’s Misery (1987) puts a captive writer through a mental wringer while also physically assaulting him in gut-wrenching ways. She has a history as a serial killer, too.

Esteban Trueba of Isabel Allende’s The House of the Spirits (1982) becomes wealthy as well as violent and right-wing, though he has some redeeming qualities.

Colton Wolf of Tony Hillerman’s People of Darkness (1980) is a chillingly methodical killer for hire — with one person doing the hiring another criminal: ultra-wealthy mining magnate B.J. Vines, who began amassing his fortune via mass murder.

Rufus Weylin of Octavia E. Butler’s Kindred (1979) is a despicable slaveowner and rapist — a two-strikes-you’re-out lack of humanity.

Nurse Ratched of Ken Kesey’s One Flew Over the Cuckoo’s Nest (1962) holds sadistic sway over a psychiatric ward, and is not afraid to use lobotomy as revenge.

Cathy of John Steinbeck’s East of Eden (1952) is cold and amoral enough to set a fire that kills her parents and shoot her husband, among other ghoulish deeds.

Undine Spragg of Edith Wharton’s The Custom of the Country (1913) is so consumed with climbing the social ladder that she treats many people like dirt, even driving her second husband to suicide.

Gilbert Osmond of Henry James’ The Portrait of a Lady (1881) is the cruel, narcissistic husband of protagonist Isabel Archer — and has a hidden unsavory past.

Fyodor Karamazov of Fyodor Dostoevsky’s The Brothers Karamazov (1880) is a bad husband, bad father, and all-round bad dude.

Henleigh Grandcourt of George Eliot’s Daniel Deronda (1876) is a wealthy, sadistic man who makes wife Gwendolen miserable. (They’re pictured above in a screen adaptation of the novel.)

Count Fosco of Wilkie Collins’ The Woman in White (1859) is a charming but chilling man who concocts a clever, dastardly scheme to make a financial killing.

Rigaud (aka Lagnier) of Charles Dickens’ Little Dorrit (1857) is a murderer and blackmailer.

Simon Legree of Harriet Beecher Stowe’s Uncle Tom’s Cabin (1852) is another slaveholder — a cruel, brutish, heartless man.

Roger Chillingworth of Nathaniel Hawthorne’s The Scarlet Letter (1850) is Hester Prynne’s nasty husband who returns after seemingly being lost at sea and acts fiendishly toward Hester and the man he suspects is the father of Hester’s born-out-of-wedlock daughter Pearl.

Henri of Alexandre Dumas’ Georges (1843) is a spoiled, scary racist. (One interesting fact about that lesser-known Dumas novel is that it’s the only one in which the part-black author of The Count of Monte Cristo and The Three Musketeers heavily focused on issues of color.)

Brian de Bois-Guilbert of Sir Walter Scott’s Ivanhoe (1820) is a power-hungry, violent, and arrogant 12th-century military man who — like the aforementioned Esteban Trueba — has some redeeming qualities.

I’ve obviously just scratched the surface here. What fictional characters have you found to be alarming?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which features a parade of weird trick-or-treaters — is here.

One of the many jaw-dropping spectacles offered by the dumpster fire of the corrupt and incompetent Trump administration is seeing how low Rudy Giuliani (pictured above) can go.

Trump’s personal lawyer — like the president himself — is greedy, erratic, a liar, and a crook. What a comedown for someone lauded as “America’s Mayor” when he headed New York City at the time of 9/11.

Of course, Giuliani was overrated back then — and a stone-cold racist to boot. But, still, his reputation has fallen so precipitously since 2001 that calling him a clown in 2019 would be an insult to clowns.

Anyway, all that’s an introduction to the theme of this week’s blog post: fictional characters whose reputations sharply or somewhat decrease in a novel — whether deservedly so, a la the real-life Rudy G.; or wrongly so, like the protagonist in a book I read last week.

That was John Grisham’s page-turner The Racketeer, whose Malcolm Bannister attorney character is serving 10 years in prison for helping a client he didn’t know was taking part in criminal activity. Malcolm loses his freedom, his law license, his professional reputation, his wife and son, the regard of his retired state trooper father, and more. But Malcolm (who is African American) has some information that can get him out of jail, and we watch how that scenario plays out — a scenario that includes a really clever plot twist.

Hester Prynne of Nathaniel Hawthorne’s The Scarlet Letter also loses her reputation in her 17th-century Puritan community — despite being a good, admirable person. Her “crime”? Having a child out of wedlock. Of course, that was a bigger thing back then than it is now, but the unkindness and hypocrisy of her not-without-sin neighbors is still pretty breathtaking. Plus the male in the sexual equation doesn’t face any public infamy, though he is wracked with guilt.

Now for a few fictional characters, like the real-life Giuliani, who deservedly lost their good names — with some deserving of a little sympathy and others not.

In Liane Moriarty’s The Husband’s Secret, the titular character has a sterling reputation in his household and the world before the (awful) titular secret is discovered.

Willie Stark is an idealistic lawyer early in Robert Penn Warren’s All the King’s Men — but he becomes thoroughly corrupt after being elected governor. So Stark’s ethical reputation takes a big hit, though his part-real/part-fake populism keeps him relatively popular among some constituents.

Janine of Richard Russo’s Empire Falls divorces decent guy Miles to take up with local jerk Walt — and also becomes very conceited after losing a lot of weight. She doesn’t really become a bad person, but many in town (including the teen daughter of Janine and Miles) certainly lose some regard for her.

Gervaise of Emile Zola’s The Drinking Den is initially a hardworking woman who manages to open her own Paris laundry and also marries fellow teetotaler Coupeau. He’s a decent man, but goes downhill after being injured in an accident — becoming a lazy alcoholic and dragging Gervaise into that same lifestyle. Both lose their good names.

In the realm of less-realistic fiction, Quirinus Quirrell of J.K. Rowling’s first Harry Potter book has enough wizard-world standing to become a professor at Hogwarts. But he rashly put himself in a position to be controlled by Lord Voldemort for nefarious purposes, so QQ’s status — not to mention his chances of staying alive — hit rock bottom.

Can you name some characters who fit this post’s theme?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which takes a funny and admiring look at rec sports for kids in my town — is here.

In the case of many novels, readers basically know the general parameters of what will happen. In the case of many other novels, the plot destination is a complete or near-complete unknown (unless a review or too-talkative friend gives things away 🙂 ). Either type of novel has the potential to be compelling.

But can a novel be truly compelling if you kind of know what will happen? The obvious answer is “yes,” because lots of the appeal is in the journey: how the author gets to the expected conclusion, how characters deal with things, the quality of writing, and so on. Also, there are still usually some unexpected moments.

For instance, I read Lisa Genova’s excellent Inside the O’Briens last week, and — as in that author’s earlier novel Still Alice — a character is stricken with a devastating incurable disease early on (Huntington’s in the O’Briens and Alzheimer’s in Alice). But even though we know bad things are in store for the protagonist — Boston police officer Joe O’Brien — we are drawn to how he realizes he’s sick, how he and his family react to the Huntington’s diagnosis, and so on. Plus there’s still plenty of suspense, because Joe and his wife Rosie’s four adult children (a firefighter, a dancer, a yoga instructor, and a bartender) each have a 50-50 chance of possessing the death sentence of the Huntington’s gene. Do they want to take the blood test?

The very title of Gabriel Garcia Marquez’s Chronicle of a Death Foretold informs readers that a character will be murdered, but the author maintains lots of interest through such means as Santiago not being warned of his fate even though many people knew about the threat he was under.

Harper Lee’s classic To Kill a Mockingbird definitely contains some surprises, but we unfortunately know for certain — as the book’s iconic trial begins — that innocent, falsely accused black man Tom Robinson will be convicted by a racist all-white jury in the 1930s U.S. South.

Of course, historical fiction has all kinds of elements we know are coming, but those novels can still be gripping — including their humanizing of the past. One of many examples is Mark Twain’s Personal Recollections of Joan of Arc. Most readers are aware of the heroic story of Joan, her rigged trial, and her gruesome early-in-life death by burning, but Twain takes us on a fascinating journey along the way.

Another historical-fiction example is Anita Diamant’s The Red Tent — whose protagonist is Dinah, a minor character in the Bible. But her parents are Leah and Jacob, and her grandparents are Rebecca and Isaac, so people versed in the Old Testament know what happens in the lives of those four famous personages.

Novels whose outcomes are almost a complete mystery to people reading them for the first time? Some of my favorites include Charlotte Bronte’s Jane Eyre (will Jane and Rochester’s romance ultimately work out?), Fyodor Dostoevsky’s Crime and Punishment (will murderer Raskolnikov be caught?), Edith Wharton’s The Age of Innocence (will Newland Archer and Ellen Olenska reunite?), W. Somerset Maugham’s Of Human Bondage (will Philip Carey stop acting like a lovestruck idiot?), Octavia E. Butler’s Kindred (will 20th-century African-American writer Dana become stuck in her ancestral Antebellum South after getting yanked back in time?), Donna Tartt’s The Goldfinch (what will happen to a priceless painting?), Liane Moriarty’s Big Little Lies (will the rich banker guilty of severe sexual misconduct get his just desserts?), Andy Weir’s The Martian (will stranded-alone-on-Mars Mark Watney escape the planet?), etc.

Then there are mystery novels themselves. Most of the time we don’t know “who done it” until near the end of the book. There won’t be much mystery if that wasn’t the case, though there are some novels in that genre that reveal the culprit relatively early even as we still wonder how, when, or if that wrongdoer will be caught.

Your favorite novels that fit both sides of this topic?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which satirizes overdevelopment by focusing on the fictional Variances family — is here.

The first residents of what’s now the United States were Native Americans, but they haven’t often been first in the casts of novels. Still, there are a number of such characters, including more in recent years.

Their depictions, of course, have been all over the map — from stereotypical to fully three-dimensional. We might see the virulent discrimination against, and the poverty faced by, many Native Americans, or see some of them doing quite well. There are set-in-the-past depictions (including the genocide and otherwise horrific treatment at the hands of whites) and present-day portrayals. It helps when the author is partly or 100% Native American, but some authors with no such ancestry have done a reasonably good job with Native-American characters.

One Native-American author is Sherman Alexie, who I read for the first time last week with Reservation Blues. That novel chronicles the ups and downs of a Native-American rock band — with content also including a romance, mystical elements, interactions between Native Americans and whites, the effects of Christianity on the characters, struggles with alcoholism, and more.

Another (partly) Native-American author is Louise Erdrich (pictured above). I read her novel The Painted Drum a few months ago, and it’s an absorbing tale of an important Ojibwe artifact and the impact it has on various characters.

Some novels with partly or 100% Native-American characters by authors who are not Native American? One famous example is One Flew Over the Cuckoo’s Nest‘s Chief Bromden, who ends up in the book’s Oregon psychiatric hospital after descending into clinical depression partly caused by his father being humiliated at the hands of whites. He is one of the Ken Kesey novel’s three stars, along with Randle McMurphy and Nurse Ratched.

Then there’s The Charlestown Connection and other crime novels by Tom MacDonald featuring partly Native-American private sleuth Dermot Sparhawk.

The above books are basically set during the time they were written, but there are also a number of books by modern-day authors set in the long-ago past.

For instance, the star of Isabel Allende’s compelling Zorro — which takes place in the late 1700s and early 1800s — is of mixed Native-American and Spanish descent. Among that novel’s most interesting supporting characters are Native Americans: Zorro’s mother Toypurnia, his grandmother White Owl, and his lifelong best friend Bernardo — all well-drawn and non-stereotypical.

Two in the Field — the sequel to Darryl Brock’s riveting time-travel/baseball novel If I Never Get Back — takes 20th-century-protagonist Sam Fowler to the 1870s to search for his lost love Caitlin with the help of a Sioux guide. Sam even meets General Custer, against whom Native Americans won their famous (and rare) victory against the always-encroaching white menace.

They didn’t fare as well in Cormac McCarthy’s Blood Meridian, in which the vicious Glanton gang massacred many Native Americans and others during an 1849-50 rampage in the Southwest.

Literature fitting this topic written during the 1800s? Many Native Americans appear in James Fenimore Cooper’s five “Leatherstocking” novels — the most famous of which is The Last of the Mohicans. None of them are as prominently featured as white guy Natty Bumppo, but Natty’s friend Chingachgook is an important secondary character and several other Native Americans have noticeable supporting roles. While Cooper gets somewhat stereotypical at times, he was fairly enlightened for a white author of his era in decently depicting Native Americans.

“Injun Joe” of Mark Twain’s The Adventures of Tom Sawyer is more problematic. That half-Native American is portrayed as quite villainous, although Twain does offer some sense that one motive for the character’s actions is a desire to avenge the discrimination and ostracism he faced throughout his life.

Of course, some novels set in other countries also have indigenous characters — including the Eskimos of northern Canada in James Houston’s White Dawn and Mordecai Richler’s Solomon Gursky Was Here, Aboriginal Australians in novels such as Thomas Keneally’s The Chant of Jimmie Blacksmith, and so on.

I realized I’ve only touched the surface here. Your favorite novels that include Native-American or other indigenous characters?

Many of you know “Kat Lit,” a great/frequent/long-time poster here who hasn’t commented for a while. She tells me she has been dealing with a move and some health issues, says hello to everyone, misses everyone, and plans to return here when she can.

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which compares the way my town coddles powerful developers with a neighboring town’s more community-minded approach — is here.

Have you ever read just one novel by an author — her or his most famous work — but then waited years to read some of their other, lesser-known books?

I’ve done that, and am not always sure why. Perhaps part of it involves wondering if a different novel by that author would be as good, or not finding other books by that writer in my local library, or a desire to keep reading a variety of writers for the first time, or…

The author who is my most recent example of “one and done (for a while)” is Isabel Allende (pictured above). I read her masterful The House of the Spirits quite a few years ago…and loved it. It’s really almost as good as Gabriel Garcia Marquez’s groundbreaking One Hundred Years of Solitude — which partly inspired The House of the Spirits — and Allende’s debut novel is actually more “readable.” Anyway, this week I finally started another Allende novel — Zorro, a fictional work about the younger years of the fictional vigilante — and am very engrossed in what is an excellent book.

Which led me to look back at other authors whose most famous novels I read years before trying some of their other work.

Margaret Atwood is one. I was impressed with The Handmaid’s Tale when I read it not long after its 1985 release, but for whatever reason I didn’t move on to other Atwood works until around 2010. I’m glad I did — thoroughly enjoying Alias Grace, The Robber Bride, The Blind Assassin, Cat’s Eye, Oryx and Crake, and more.

Moving back in time, there’s John Steinbeck. I first read his magnificent The Grapes of Wrath in high school, but didn’t dive deeply into his canon until decades later. Worth the wait: East of Eden, The Winter of Our Discontent, Cannery Row, Tortilla Flat, The Moon Is Down, etc.

Herman Melville? I tackled Moby-Dick in college, and then waited years before trying several of his other novels. None quite at the level of M-D, but still excellent: Billy Budd, Pierre, Redburn, White-Jacket, Typee, etc.

Melville contemporary Nathaniel Hawthorne is of course best known for The Scarlet Letter, which I read in high school. Decades later I got to the rest of his relatively small novel canon: The House of the Seven Gables, The Blithedale Romance, and The Marble Faun. All good, but more A- or B+ compared to The Scarlet Letter‘s A. (Couldn’t resist that.)

My experiences with George Eliot’s work have been a bit more complicated. I tried Middlemarch in college, and gave up on it relatively early. Then it was many a year before I returned to Eliot — reading Silas Marner, which I loved; followed by The Mill on the Floss and Adam Bede, both of which I also thought were terrific. At that point, I figured it was time to try Middlemarch again — and was bowled over by its psychological depth and expert dissection of two marriages, among other things. Finally, I capped things off with Eliot’s riveting Daniel Deronda.

Then there are novelists best known for TWO novels who also wrote plenty of others. Fyodor Dostoevsky’s Crime and Punishment and The Brothers Karamazov are clearly his masterpieces, but works of his such as The Insulted and Injured that I read much later are well worth the time. And we have War and Peace and Anna Karenina from Leo Tolstoy, who also penned some exceptional novellas I finally got to within the past couple of years: The Death of Ivan Ilyich, The Kreutzer Sonata, Hadji Murat…

Which authors have you read who fit this “one and done (for a while)” topic?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which includes more on my school district’s “SalaryGate” — is here.

Last week, I listed my favorite novels published between 2010 and 2019. This week, I’ll go back a decade to rank my favorite novels with 2000-to-2009 releases. Don’t worry, there’ll be no list of 1990s fiction in next week’s post… 🙂

As was the case with my previous post, I’ll mention my favorite novels rather than necessarily the best ones. We all differ on what’s best, just as some people think Trump’s The Art of the Deal is the worst book of all time while others think it’s ABSOLUTELY the worst book of all time.

Here are my favorites (and I’ll ask for yours at the end of this post):

25. American Gods (2001), Neil Gaiman: Very original fantasy work about (surprise!) deities in the United States. Interesting, quite varied deities.

24. March (2007), Geraldine Brooks: Intense novel about the harrowing Civil War experiences of the father in Louisa May Alcott’s classic Little Women.

23. Still Alice (2007), Lisa Genova: Heartbreaking story of a Harvard professor’s descent into early-onset Alzheimer’s. Skillfully told from Alice’s point of view.

22. The Time Traveler’s Wife (2003), Audrey Niffenegger: Quirky, moving novel about time travel (duh!) and how that effects a Chicago-based couple when only the guy is doing the (involuntary) traveling.

21. A Redbird Christmas (2004), Fannie Flagg: Touching tale of a dying (?) man who moves from wintry Chicago (that city again!) to a small town in Alabama.

20. Ellington Boulevard (2008), Adam Langer: A New York City-set comedic novel that says a lot about gentrification and more.

19. The Namesake (2003), Jhumpa Lahiri: The author gravitated from a Pulitzer Prize-winning story collection to novel-writing with this absorbing work about a Bengali immigrant couple and their Americanized son.

18. The Lovely Bones (2002), Alice Sebold: Haunting novel about a murdered girl (who remains “alive” in a kind of limbo), her grief-stricken family, and the frustrating search for the killer.

17. The Road (2006), Cormac McCarthy: Gripping post-apocalyptic novel from a prose master. A departure for McCarthy, who set a number of his previous novels in the past.

16. From a Buick 8 (2002), Stephen King: It “stars” a spooky automobile that’s a portal to another world, but the book is more subtle and moving than many of King’s novels.

15. The Brief Wondrous Life of Oscar Wao (2007), Junot Diaz: A novel — set in New Jersey and the Dominican Republic — that’s a potent mix of politics and pop culture. Amazing footnotes, too. (Yes, footnotes in a fiction book.)

14. Middlesex (2002), Jeffrey Eugenides: Ambitious novel that’s primarily about its gender-confused protagonist but is also an immigrant story.

13. The Amazing Adventures of Kavalier & Clay (2000), Michael Chabon: It’s about two cartoonists sort of based on Superman’s co-creators, but there’s a lot more sweep to the novel than that storyline implies.

12. The Kite Runner (2003), Khaled Hosseini: Very dramatic tale that takes readers from Afghanistan to the U.S. and back to Afghanistan — where a grisly Taliban encounter occurs.

11. Winter Solstice (2000), Rosamunde Pilcher: The final novel of any author’s long career rarely gets this good. Heartwarming story of a former London stage actress who moves to a small English village and what happens after that.

10. The Lacuna (2009), Barbara Kingsolver: A gay part-Mexican/part-American man works for iconic artists Frida Kahlo and Diego Rivera, is later victimized during the McCarthy era, and more.

9. Oryx and Crake (2003), Margaret Atwood: As clever as dystopian fiction can get. Funny and apocalyptically harrowing.

8. The Blind Assassin (2000), Margaret Atwood: Emotionally wrenching story of two sisters that includes a big surprise and a novel within a novel.

7. The 2000s decade’s many Jack Reacher novels by Lee Child, with my favorite being Bad Luck and Trouble (2007): In that can’t-stop-reading-it book, loner Jack reunites with his old team of elite military investigators.

6. The Corrections (2001), Jonathan Franzen: Compelling depiction of a dysfunctional family coupled with scathing social satire and excellent (if occasionally over-the-top) writing.

5. Prodigal Summer (2000), Barbara Kingsolver: Several seemingly separate storylines eventually converge in an extremely satisfying way.

4. The Millennium Trilogy — The Girl With the Dragon Tattoo (2005), The Girl Who Played With Fire (2006), and The Girl Who Kicked the Hornets’ Nest (2007), Stieg Larsson: An as-page-turning-as-it-gets chronicle of abuse, murder, corporate corruption, and more that co-stars a journalist and the brilliant/angry/highly original character of computer hacker Lisbeth Salander.

3. White Teeth (2000), Zadie Smith: A potent combination of laugh-out-loud hilarity, serious social commentary, and a memorable multicultural cast of characters in London.

2. Empire Falls (2001), Richard Russo: A pitch-perfect novel set in a small Maine town. The characters are unforgettable, and the action is low-key (but never boring) until things get VERY dramatic.

1. The fourth-through-seventh books of J.K. Rowling’s Harry Potter series — Harry Potter and the Goblet of Fire (2000), Harry Potter and the Order of the Phoenix (2003), Harry Potter and the Half-Blood Prince (2005), and Harry Potter and the Deathly Hallows (2007): The wildly popular series that deserved every iota of its popularity. As its readers know, the wizard-world books got longer and more complex in the 2000s but never became less than exciting, funny, and poignant.

Your favorite novels published between 2000 and 2009?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which discusses a heated Board of Education meeting (during which delayed teacher raises were criticized) and climate-strike protests in my town — is here.

As visitors to this blog know, I often write about novels that date back decades or centuries. But I also read some recent fiction, and thought I’d list my favorite novels published since 2010 — some literary, others mass-audience-oriented. Not necessarily the best novels of the past nine years (that’s so subjective anyway) but my personal favorites. Then I’ll ask for yours!

Here they are, in reverse order from my 12th to 1st picks:

12. Three Stations (2010), Martin Cruz Smith: The seventh of the mostly Russia-set Arkady Renko novels that started with 1981’s Gorky Park isn’t the best of the series, but it might be the most poignant. The book begins with the horrifying scenario of a baby stolen, after which investigator Renko investigates — with some important help.

11. Everybody’s Fool (2016), Richard Russo: This sequel isn’t as good as the 1993-published Nobody’s Fool, but is still pretty darn good. The funny, unambitious, not-so-healthy, basically good-hearted Sully is a great character creation.

10. The All-Girl Filling Station’s Last Reunion (2013), Fannie Flagg: The author once again finds the perfect balance between sentimentality and tough-minded storytelling in this tale that flashes back to women pilots of World War II.

9. Flight Behavior (2012), Barbara Kingsolver: A vivid combination of a cry against climate change and a chronicle of a brainy rural woman’s efforts to improve her life.

8. The Lowland (2013), Jhumpa Lahiri: The author skillfully mixes politics with dysfunctional but at times inspiring family dynamics. A revolutionary dies, his brother marries the deceased’s pregnant wife, that marriage takes an unusual turn, etc.

7. The Luminaries (2013), Eleanor Catton: A novel set during the 1860s New Zealand gold rush that’s a bit too long but impressive and innovative. Catton was only in her 20s when she wrote it!

6. Freedom (2010), Jonathan Franzen: An overhyped novel, but still a compelling and sweeping view of the U.S. via its well-drawn characters and its takes on marriage, war, the environment, and more.

5. 61 Hours (2010), Lee Child: I could name several of Child’s page-turning Jack Reacher novels from our current decade, but this one is my favorite. Roaming, justice-supporting loner Reacher travels to snowy South Dakota, and mayhem ensues.

4. Cormoran Strike series — The Cuckoo’s Calling and three subsequent novels (2013, 2014, 2015, 2018), J.K. Rowling writing as “Robert Galbraith”: Private sleuth Strike and his assistant-promoted-to-investigative-partner Robin Ellacott are VERY charismatic characters who bravely and smartly solve murders while dealing with complicated private lives and feelings for each other.

3. So Much for That (2010), Lionel Shriver: Her book is both a brilliant screed against the problematic U.S. health-care system and a story of several memorable characters — topped off with one of the best endings I’ve read in recent years.

2. The Goldfinch (2013), Donna Tartt: The current movie version didn’t get great reviews, but the long novel is riveting. After a museum explosion kills his mother and others, 13-year-old Theo Decker dazedly leaves with the famous painting “The Goldfinch” — and a fascinating life unfolds into his adult years. (The above photo shows Theo and his mom just before the explosion.)

1. Big Little Lies (2014), Liane Moriarty: This superbly written novel, which spawned the popular TV series, focuses on three unforgettable suburban women whose children attend the same Australian school — and the abusive bank executive married to one of the women. Dead serious, yet with plenty of humor.

Hmm…2010 and 2013 were especially nice years for novels I liked! 🙂 And while some people feel modern literature isn’t as appealing as various long-ago classics, there were some pretty darn good novels published during the past nine years. Your favorites from this decade?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which includes discussion of climate-strike protests in my town — is here.

While there are still a few months left in 2019, I thought I’d write a post about this year’s round-number anniversaries of some major novels I’ve read.

A number of significant works of fiction came out 50 years ago, in 1969, with one of the most prominent Kurt Vonnegut’s searing/darkly humorous anti-war novel Slaughterhouse-Five.

That half-century-ago year also saw the appearance of Margaret Atwood’s debut novel — The Edible Woman, a good-not-great book that kicked off Atwood’s amazing prose-fiction run that would include The Handmaid’s Tale; and the release of Daphne du Maurier’s gripping time-travel work The House on the Strand, the next-to-last novel of a long/distinguished career perhaps best known for Rebecca.

Atwood (pictured above during the 1960s) is of course still in the thick of the literary discussion in 2019 with the September 10 release of The Testaments, her blockbuster sequel to The Handmaid’s Tale.

Other memorable ’69 works included Philip Roth’s hilarious/scathing Portnoy’s Complaint, Ursula K. Le Guin’s classic sci-fi novel The Left Hand of Darkness, and Mario Puzo’s mass-audience smash The Godfather. There was also Maya Angelou’s iconic memoir I Know Why the Caged Bird Sings, which almost reads like a novel.

Going back a century, to 1919, readers were introduced to Sherwood Anderson’s Winesburg, Ohio — a pioneer in the mini-genre of novels consisting of interrelated short stories. Also released that year was one of W. Somerset Maugham’s best works — The Moon and Sixpence, about an intense stockbroker-turned-painter who was somewhat modeled on Paul Gauguin. And then there was Free Air, the last NOT-well-known novel Sinclair Lewis would write before going on an impressive run starting with Main Street in 1920.

The century-and-a-half-ago year of 1869 saw the publication of Leo Tolstoy’s immortal War and Peace as well as Fyodor Dostoevsky’s perhaps-third-best novel The Idiot. Honorable mention goes to Mark Twain’s hysterically funny nonfiction travel saga The Innocents Abroad — more entertaining than most novels.

Two centuries ago, in 1819? Not an extraordinary 12 months for novels when they were just starting to gain wider popularity as a genre, but that year did see the release of books such as Sir Walter Scott’s feverish The Bride of Lammermoor.

I’ll end by mentioning several 25th- and 75th-anniversary books.

Among 1994’s most notable releases were Julia Alvarez’s heartbreaking historical novel In the Time of the Butterflies, which tells the story of four sisters (three martyred) living under the brutal Dominican Republic dictatorship of Rafael Trujillo; and Louis de Bernières’ Captain Corelli’s Mandolin, an emotionally riveting work set on a Greek Island during World War II.

And 1944 saw the publication of another memorable WWII novel, John Hersey’s A Bell for Adano; the aforementioned Maugham’s last great creation, The Razor’s Edge, set soon after World War I; and Colette’s Gigi, that author’s most famous work but hardly her best.

Your thoughts on the books I discussed? Any other novels you’d like to mention from 1994, 1969, 1944, 1919, 1869, or 1819?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — which comments on a county meeting that featured heated audience discussion about a controversial immigrant jail — is here.

As an adult who reads fiction, it’s interesting to occasionally encounter a novel in which the goings-on are viewed from a child character’s perspective.

That approach can bring readers’ memories back to their own younger years, and inspire analysis of whether the author successfully captured the kid perspective or instead created a character who sounds like a mini-adult.

Child narrators in fiction convey the process of learning about life, sound innocent or not so innocent, and don’t understand certain things or are precocious enough to understand more than might be expected. Also, some fictional kids THINK they don’t understand certain things but understand more than they realize — or might not grasp certain things yet telegraph that lack of grasp in a way that helps the readers to understand those things.

It’s not easy for adult novelists to narrate from a child’s perspective. The writers can’t be TOO knowing, and might have to navigate the difficult process of yanking themselves back to the mindset of their own childhood as fodder for taking a younger approach in a book. In fact, some novels told from a child’s perspective feature adult characters looking back and telling the stories from the vantage points of their kid selves.

When successfully created, child narrators can be memorable/poignant protagonists, can grab the sympathy of readers, and more.

Among the examples of this kind of novel is Jamaica Kincaid’s Annie John, which I read last week. It’s a coming-of-age story, set on Antigua in the Caribbean, starring a brainy girl who’s at first rather innocent and then becomes more calculating and angry. From Annie’s perspective, we learn a lot about her, her friends and classmates, her love-hate relationship with her parents, and Antiguan life in general.

One of the most famous novels featuring a kid’s-eye view is Harper Lee’s To Kill a Mockingbird. Scout Finch takes the reader through a journey that includes how she views her upstanding lawyer father Atticus and learning about the harsh realities of the world — most notably the virulent racism in 1930s Alabama. (Photo is of Scout and Atticus in the To Kill a Mockingbird movie.)

Some novels told from a child’s perspective take the young protagonists up to the start of adulthood or even well into adulthood, but have many early chapters chronicling the kid years. That’s certainly the case with Ms. Kincaid’s book (which ends with Annie leaving Antigua for a job in England at age 17) and with the stars of the English novels David Copperfield and Jane Eyre.

Charles Dickens’ semi-autobiographical classic chronicles David Copperfield’s mixed bag of a childhood, his school experiences, and eventually his two marriages — with many vivid supporting players (including Mr. Micawber) along the way.

Jane Eyre’s child perspective in the early chapters of Charlotte Brontë’s novel is fascinating as she recounts her difficulties living in the household of her cruel aunt and then her time in a harsh school for orphans. The young Jane is often unhappy, yet displays plenty of mental strength and a kind of fierce confidence that helps her as she grows from girl to woman.

There are also novels that unfold via a third-person/omniscient/adult narrator yet feature child or teen protagonists so memorable that it almost seems like the books are told from their perspectives. L.M. Montgomery’s Anne of Green Gables and James Baldwin’s Go Tell it on the Mountain are among the notable examples.

Your favorite novels told from a child’s point of view?

My literary-trivia book is described and can be purchased here: Fascinating Facts About Famous Fiction Authors and the Greatest Novels of All Time.

In addition to this weekly blog, I write the award-winning “Montclairvoyant” topical-humor column for Baristanet.com. The latest weekly piece — about back to school and more — is here.