Heller McAlpin

Heller McAlpin is a New York-based critic who reviews books regularly for NPR.org, The Los Angeles Times, The Washington Post, The Christian Science Monitor, The San Francisco Chronicle and other publications.

New York Times reporter Stephanie Clifford's ambitious debut novel, Everybody Rise, about a young social climber desperately trying to claw her way to the top of New York's Old Money society, takes its title from the last lines of Stephen Sondheim's bitter toast of a song, "The Ladies Who Lunch." But its inspiration (like that of Sophie McManus' The Unfortunates, another much buzzed first novel this summer) springs from Edith Wharton's The House of Mirth.

My perennial quest for smart, fun summer reads landed me on Two Across, Jeff Bartsch's debut romantic comedy about a brainy couple whose on-again-off-again relationship begins at age 15, when they tie in the 1960 National Spelling Bee. During their recurrent off periods, they send hidden messages to each other in the clever crossword puzzles they compose for major newspapers.

Question: What do holiday shopping and staving off cognitive loss have in common?

Answer: Both are ordinarily earnest endeavors in which Patricia Marx has found unlikely sources of hilarity.

Here's one way to attract readers: Spell out your title in Scrabble tiles. It worked for Stefan Fatsis's Word Freak in 2001, though that's not all that worked for that wonderful book, which remains the best about the game of Scrabble and its obsessed competitors.

Some ideas are so clever it's a wonder no one has thought of them before. Case in point: Algerian writer Kamel Daoud's The Meursault Investigation, a response to Albert Camus' The Stranger, written from the point of view of the brother of the nameless Arab murdered by Camus' antihero Meursault.

Back when I was losing sleep over various scenarios that could befall my aging parents, a friend would try to calm me with assurances that at most one of those things would happen, so they weren't worth worrying about in advance.

Write brilliantly and readers will follow you anywhere — even into a swarm of hoverflies. That's one takeaway from The Fly Trap, a charming, off-the-beaten track, humorously self-deprecating memoir by Fredrik Sjöberg, a biologist who muses and amuses about his baffling passion for hoverflies. "No sensible person is interested in flies, or anyway, no woman," he writes. His book may change that: It is a paean to some of the tiniest wonders of the natural world, but even more to the benefits of intense focus.

Lucas Mann's genre-bending first book, Class A: Baseball in the Middle of Everywhere, was about an Iowa farm team, a dying Midwestern factory town, and his own anxieties about success, and it heralded an impressive new talent in narrative nonfiction. Mann's second book, Lord Fear, reaffirms that talent. A memoir about his much older half-brother, Josh, who died of a heroin overdose when Mann was 13, it's a less alluring, more difficult book — but clearly one that Mann needed to write.

Are some people "constitutionally unsuited" to marriage? That's the question the free-spirited narrator of Eliza Kennedy's saucy first novel, I Take You, keeps asking herself between drinks, seductions and a mess of complications during the frenetic week leading up to her Key West wedding.

It's a good thing we only had to wait six months for Early Warning, the second volume of Jane Smiley's ambitious Last Hundred Years trilogy. Why? Because we were eager to follow up on the members of the Iowa farm family she introduced in Some Luck — while we still remembered all of them.

Mary Norris has spent the past 20 years working as "a page OK'er" at The New Yorker, a position she says is unique to the magazine. Essentially, she's a highly specialized proofreader and copy editor on the publication's elaborate author-to-print assembly line. Alternate job descriptions include "prose goddess" and "comma queen."

J.C. Hallman's audacious B & Me: A True Story of Literary Arousal, is a textbook example of "creative criticism" — a highly personal form of literary response that involves "writers depicting their minds, their consciousnesses, as they think about literature." Hallman, who has championed creative criticism in two anthologies, has written a wildly intelligent, deeply personal, immoderate — and somewhat belabored — exploration of Nicholson Baker's entire oeuvre, reading in general, and the state of modern literature.

Ever since Michel de Montaigne hit on the winning mix of frankly personal and broader philosophical reflections in his 16th century Essays, the personal essay has attracted those for whom the unexamined life is — well, unthinkable. In recent years, we've seen a spate of auto-pathologies — minutely observed meditations on the tolls of often strange ailments. A newer trend is the meta-diary — short autobiographical entries that frequently explore the writer's relationship with time, memory and identity.

You don't read Anne Tyler to have your worldview expanded, or to be kept awake at night anxiously turning pages. You read, instead, for the cozy mildness, the comfort of sinking into each new warmhearted, gently wry book.

Leave it to Nick Hornby to produce a smart comic novel that pits light entertainment against serious art and comes through as winning proof of the possibility of combining the two.

Reading Esther Freud's eighth novel — about an English boy's unlikely but life-expanding friendship with Scottish architect and artist Charles Rennie Mackintosh — is a bit like watching a watercolor painting take shape. Mr. Mac and Me begins with delicate dabs of color, as 13-year-old Thomas Maggs, the only surviving son of an abusive alcoholic pub proprietor and his long-suffering wife, paints a plaintive picture of life at the aptly named Blue Anchor, in the Sussex village of Walberswick.

Rachel Cusk is better known in England than in America; her sharply satirical books about the tolls of family life play better across the Atlantic than here in our often puritanical culture, with its bias towards domesticity. In her controversially bitter memoirs, including A Life's Work and Aftermath, and in piercing — but always beautifully written — novels like The Lucky Ones, Cusk has examined the difficulties of self-definition in the context of marriage, motherhood and family.

Can a book be both linguistically playful and dead serious? Structurally innovative and reader-friendly? Mournful and joyful? Brainy and moving? Ali Smith's How To Be Both, which recently won the prestigious, all-Brit two-year-old Goldsmiths prize for being a truly novel novel, is all of the above — and then some.

Jon Krakauer's 1996 book Into the Wild delved into the riveting story of Chris McCandless, a 24-year-old man from an affluent family outside Washington, D.C., who graduated with honors from Emory, then gave away the bulk of his money, burned the rest and severed all ties with his family. After tramping around the country for nearly two years, he headed into the Alaska wilderness in April 1992. His emaciated body was found a little over four months later.

In her surprise 2003 bestseller, Reading Lolita in Tehran, Iranian emigré Azar Nafisi made clear why fiction matters in totalitarian regimes. With The Republic of Imagination, she seeks to demonstrate the importance of great literature even in a democratic society, one threatened not by fundamentalist revolutionaries but by the danger of "intellectual indolence."

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