Julie J

Even through the roar and effervescence of the 1920s, everyone in New York has heard of Benjamin and Helen Rask. He is a legendary Wall Street tycoon; she is the daughter of eccentric aristocrats. Together, they have risen to the very top of a world of seemingly endless wealth—all as a decade of excess and speculation draws to an end. But at what cost have they acquired their immense fortune? This is the mystery at the center of Bonds, a successful 1937 novel that all of New York seems to have read. Yet there are other versions of this tale of privilege and deceit.

The Bell Jar chronicles the crack-up of Esther Greenwood: brilliant, beautiful, enormously talented, and successful but slowly going under - maybe for the last time. Sylvia Plath masterfully draws the reader into Esther's breakdown with such intensity that Esther's insanity becomes completely real and even rational, as probable and accessible an experience as going to the movies. Such deep penetration into the dark and harrowing corners of the psyche is an extraordinary accomplishment and has made The Bell Jar a haunting American classic.

In a working-class town in a county west of London, a schoolgirl scribbles stories in the back pages of her exercise book, intoxicated by the first sparks of her imagination. As she grows, everything and everyone she encounters become fuel for a burning talent. The large Russian man in the ancient maroon car who careens around the grocery store where she works as a checkout clerk, and slips her a copy of Beyond Good and Evil. The growing heaps of other books in which she loses–and finds–herself. Even the derailing of a friendship, in a devastating violation.

In the eyes of eighteen-year-old Hua Hsu, the problem with Ken—with his passion for Dave Matthews, Abercrombie & Fitch, and his fraternity—is that he is exactly like everyone else. Ken, whose Japanese American family has been in the United States for generations, is mainstream; for Hua, the son of Taiwanese immigrants, who makes ’zines and haunts Bay Area record shops, Ken represents all that he defines himself in opposition to. The only thing Hua and Ken have in common is that, however they engage with it, American culture doesn’t seem to have a place for either of them.

In the 1970s, Topper and Sanya flee to Miami as political violence consumes their native Kingston. But America, as the couple and their two children learn, is far from the promised land. Excluded from society as Black immigrants, the family pushes on first through Hurricane Andrew and later the 2008 recession, living in a house so cursed that the pet fish launches itself out of its own tank rather than stay. But even as things fall apart, the family remains motivated, often to its own detriment, by what their younger son, Trelawny, calls “the exquisite, racking compulsion to survive.”