Charles Baxter

From the winner of the PEN/Malamud Award and “one of our most gifted writers” (Chicago Tribune) comes a comic novel about a divorced Midwestern dad who takes a cutting-edge medical test and learns that he has a predisposition to murder. In this fresh take on love and trouble in America, Brock Hobson, an insurance salesman and Sunday-school teacher, finds his equilibrium disturbed by the results of a predictive blood test. Baxter, a master storyteller, brings us a gradually building rollercoaster narrative, and a protagonist who is impertinent, searching, and hilariously relatable. From his good-as-gold, gentle girlfriend to the excessively macho subcontractor guy his ex-wife left him for, not to mention his well-raised teenage kids, now exploring sex and sexuality, the secondary characters in Brock's life all contribute meaningfully to the drama, as increasing challenges to his sense of self and purpose crash over him. The final battle—no spoilers, but there is one—couldn't be more delightful, as this quick and bracing novel reminds us to choose the best people to love, accept the ones we love even if we didn’t choose them, and love them all well.

Searching and erudite new essays on writing from the author of Burning Down the House. Charles Baxter’s new collection of essays, Wonderlands , joins his other works of nonfiction, Burning Down the House and The Art of Subtext . In the mold of those books, Baxter shares years of wisdom and reflection on what makes fiction work, including essays that were first given as craft talks at the Bread Loaf Writers’ Conference. The essays here range from brilliant thinking on the nature of wonderlands in the fiction of Haruki Murakami and other fabulist writers, to how request moments function in a story. Baxter is equally at home tackling a thorny matter such as charisma (which intersects with political figures like the disastrous forty-fifth US president) as he is bringing new interest to subjects such as list-making in fiction. Amid these craft essays, an interlude of two personal essays―the story of a horrifying car crash and an introspective “letter to a young poet”―add to the intimate nature of the book. The final essay reflects on a lifetime of writing, and closes with a memorable image of Baxter as a boy, waiting at the window for a parent who never arrives and filling that absence with stories. Wonderlands will stand alongside his prior work as an insightful and lasting work of criticism.