Charlotte Shane
IN THE FIRST PAGES of All Fours, Miranda July’s second novel, the unnamed narrator confesses to collecting intimate ephemera from her friends’ relationships. But the “artifacts”—“screenshots of sexts, emails to their mothers,” recordings of conversations—never add up to something substantial. Her impulse to acquire these relics is “like trying to grab smoke by its handle,” […] 
BRIAN WILSON HAS BEEN DEAF IN HIS RIGHT EAR since childhood. He mixed the Beach Boys’ albums, including Pet Sounds, in mono because he couldn’t hear them any other way. “It was sort of like being robbed of something, some pleasure of life,” he said in 1976. “I’m not complaining, but it’s a little bit of a setback.” I think the deafness might explain why the left side of his mouth reaches up when he speaks, like he’s addressing his good ear. (The affect has become more pronounced with age, but it’s visible in footage from the 1960s.) “I got one 
RACHEL AVIV’S STRANGERS TO OURSELVES: UNSETTLED MINDS AND THE STORIES THAT MAKE US is a book about psychiatry, but it is also a book about the self, “the facets of identity that our theories of the mind fail to capture,” one written with an astonishing amount of attention and care. Since Westerners tend to conflate the self with the mind—or at least locate the former inside the latter—behavioral science is a field that implicitly (and sometimes explicitly) presumes to explain why we are the way we are, which is also to say why we are who we are: our chemistry is imbalanced, 
THE PRIMARY PROBLEM with freedom is that it’s impossible for everyone to have at the same time. Even circumscribed freedoms intersect, impose, and oppose, as conflicts about speech, masks, and vaccines remind us daily. “If and when we ascertain that our well-being is linked to the behavior of others, the desire to impugn, control, or change them can be as fruitless as it is intense,” writes Maggie Nelson in On Freedom: Four Songs of Care and Constraint, her attempt to probe the question of “how to forge a fellowship . . . that does not reflexively pit freedom against obligation.” 
ACCORDING TO MELANIE CHALLENGER’S How to Be Animal, there are termites that, when infected with fungal spores, vibrate in order to alert others of the contagion. “Termites from the same colony then box the individual in,” she writes, “so that they can’t infect other members.” I read this passage nine months into the United States’ murderous refusal to contain the novel coronavirus, when at least 320,000 people had died, but self-quarantine was still a mere suggestion. The latest outrageous news story was that a man exhibiting textbook COVID-19 symptoms (on account of his COVID-19 infection) boarded a cross-country commercial flight, 
I FIRST SHARED a TikTok video in my Instagram story on April 20, 2020, right around the time I ran out of tolerable TV series to binge and an inability to read anything other than tweets set in. It took me a while to realize I could download it, the video I mean—a Belgian man’s inexplicably menacing take on the “turn around” portion of Bonnie Tyler’s “Total Eclipse of the Heart”—because I initially found the app’s interface so counterintuitive that I was reluctant to explore. For anyone used to the polished calm of Instagram, TikTok’s chaotic ugliness is disorienting. Each 
We’ve had half a century with The Second Sex, The Dialectic of Sex, Sexual Politics, and all the rest, yet straight men of letters still regard their fossilized sexism and quotidian horniness as windows into existential wisdom. Hard again! the male author marvels while streaming free porn in his book-lined office. What does it all mean? These are the inquiries of those who refuse to read feminists: How would a nerdy man have power over a pretty woman if she’s the one making him want her? How could a man be accused of disrespecting women when he’s so awestruck by 
Terrible things happen in Kristen Roupenian’s You Know You Want This, a fact hinted at by the table of contents, which reads like a list of YA vampire novels: “Bad Boy,” “Death Wish,” “Scarred,” “Biter.” “I write horror stories,” the author told the Sunday Times last year. “The pull and push of revulsion and attraction is what the book revolves around.” With Amélie Nothomb’s latest, Strike Your Heart, the Francophone author of twenty-five books seems to have finally found some of the American attention she deserves. (I’m basing this assessment in part on the displays of almost every New York City bookstore’s front table.) Europeans have long been wild about Nothomb: The king of Belgium named her a baroness, she’s won several of the continent’s most respected literary prizes, and articles from overseas claim that fellow Parisians treat her like a celebrity whenever she ventures out in public. She is prolific, with a precise and distinctive voice that never fails to 
NO WORKING WRITER believes in the shattering power of an encounter—with another person, with a new sensation, with possibility—more than Amélie Nothomb, the prolific Paris-based Belgian who’s published a novel a year since 1992’s Hygiène de l’assassin (rendered in English as Hygiene and the Assassin, though a more accurate title would be The Assassin’s Purity). Her first book offered an impressive blueprint of what would define her subsequent work: arrogant, infuriating personalities; vicious character clashes; childhood love so obsessive that it bleeds out over an adult’s entire history; and philosophical declarations about war. (Nothomb’s fervent worship of “war,” used to