Contrapposto by Dave Eggers

Published by Knopf on ‎ June 9, 2026

What is art? In Madison, Wisconsin during the 1970s, a fellow named Art supported himself by washing windows for sympathetic merchants on State Street. Someone had the idea to make a poster with a picture of Art at work. At the top appeared the words: “WHAT IS ART?” And at the bottom: “ART IS A WINDOW WASHER.” The poster seemed profound when I was young. It still does.

Dave Eggers examines the definition of art from various perspectives in Contrapposto. Told in six parts, the novel follows the life of Rob “Cricket” Dibb from the age of 9 to 74. Cricket’s father moved away when Cricket was 5 and was never heard from again. As the novel opens, Cricket lives with his mother and Silas, his 80-year-old grandfather, in northwest Indiana.

Cricket began making art when Silas showed him a book of Manet’s paintings and took note of Cricket’s ability to observe details that others fail to notice. When Cricket is trying to avoid his mother’s abusive boyfriend, Silas encourages him to make art so he can “have the life you can conjure on your own. You can produce beauty there in your notebooks, from scratch. And harmony. Chaos outside, order on your paper.” This becomes the defining theme of Cricket’s life.

A girl named Pia, having heard that Cricket is good at drawing, enlists him to place masturbation-themed graffiti on a new play structure in a park. Pia insists that the lettering must be ornate, teaching Cricket that precision is “the essence of art.” They stay in touch for a time after Pia moves away, but eventually end their communication.

At 15, Cricket takes a drawing class from a Romanian woman whose sister teaches piano. One of her students is Pia, who now goes by her full name, Olympia. They resume a friendship, with the added element of Olympia rubbing Cricket’s crotch until he makes a mess. Cricket immediately falls in love. He holds that feeling for the rest of his life.

Cricket takes a job at a train station convenience store where he befriends co-worker Jed. Their boss, Roulin, assumes the role of surrogate father to them both. Using his savings, Cricket signs up for a class in figure drawing. He’s rather surprised to find himself sketching nude men and women. A librarian offers to display his drawings in a reading room where art books are shelved, but the plan goes awry when Indiana townies compare him to Mapplethorpe, who was widely condemned in small town America for drawing men who don’t hide their dicks.

Cricket learns a couple of trades and has no plan to attend college until Olympia comes back into his life and persuades him to join her in the art program of an Indiana cow college. On his first day, he attends a session in which students critique the work of other students, debating whether something is or isn’t art. The tend to praise the obscure and to trash beautiful, technically proficient creations as failing to break new ground.

Cricket doesn’t intellectualize the process of creation. To Cricket, recognizing, capturing, and creating beauty is the point of art. Whether others choose to define those creations as art — or as valuable — is beside the point.

Cricket’s brief college experience proves to be fruitful only because he meets an art professor who becomes a lifelong mentor. Marcus Carpenter is much on the outs with the college because he complains that “the art world, in the last century, has made room for those who cannot draw” and asks his students to “resist a new, paradoxical tyranny wherein those without technical skill terrorize those who possess it.”

The rest of Cricket’s life is shaped by Carpenter, Jed, Roulin, and Olympia. His life periodically intersects with Olympia’s, once while working in an art factory owned by Kyle, a fellow student of the cow college who, despite his lack of artistic ability, becomes wealthy by exploiting artists who know how to create beauty. As their lives move on, Cricket and Olympia repeatedly encounter each other in locations from New York to Cambodia to Paris. Their moments together are wrapped in pure delight. Sharing their connection is a delight for the reader.

The novel’s first half is very funny. In troubled times, laughter is therapeutic. I prescribe Contrapposto as an antidote to the real world. I also recommend it because the second half morphs into a meaningful and moving glimpse of the intersection between art and life. The story is sweet without becoming saccharine. That distinction is incredibly difficult for writers to pull off, but Eggers delivers a masterclass in how to tell a story that is alternately uplifting and tragic without ever coming across as forced or artificial.

So what is art? One answer, suggested late in the story, is that art is the product of joyful creation. That answer is suggested in the negative, from the lack of joy involved in the production of art for money. Kyle and those who work for him are not joyful; they are “all engaged in a kind of factory that made beautiful, unnecessary things that meant very little to anyone who made them.”

But successful novels must be based on something more than philosophy. Ultimately, Contrapposto is the story of enduring friendship. Cricket and Olympia are friends with benefits, two people who love each other but know they can never be together for extended periods, much less a lifetime. Their relationship works because it works. They find no need to analyze its unconventional nature or to compare each other to other people they have loved or shagged. In that respect, their friendship is almost a form of art, a kind of beauty that exists because they envision its existence.

If Contrapposto has a lesson, it is the importance of living a life with joy. Of Cricket, when he’s 57: “A thousand times in his long life he had felt so happy he could die, and this was another.” Many of those times are the moments he has spent with Olympia, but he also finds joy in tiling a floor and in drawing or painting, even if he’s knocking off a copy of a Pissarro for a few hundred bucks.

The tension between Cricket and Olympia as they consider Cricket’s life gives the story its soul. In a roundabout way, Cricket’s life teaches a cliché: money won’t buy happiness. The cliché might not be true for Olympia, but as long as he can eat and has a place to sleep, Cricket is happy enough without money. Olympia and Cricket fight from time to time about the commercialization of art, as Olympia argues that artists need to eat while Cricket fears that mixing business with art replaces the joy of creation with the stress of production. Perhaps a man with Cricket’s talent could do more with his life, but would that make him more content?

I won’t reveal how Cricket resolves this tension — that is, what Cricket is doing with his life at 74 — but, to me at least, the resolution is both honest and satisfying. Cricket still has a friend in his 70s who was like a father to him at 15. Many other friends have died along the way and Cricket wonders why he has not yet joined them, but he still finds joy in life. Perhaps being content is the key to longevity. If not, it might at least be the key to living a life that feels right. I was moved by Cricket’s late-life epiphany: “No one tells us that our spirits stay delightable, surpriseable, porous and tingling.” What more could any of us ask?

HIGHLY RECOMMENDED

Five by Ilona Bannister

Published by Crown on May 5, 2026

Five is the number of characters who might die before the novel Five ends. We know someone will die because Ilona Bannister tells us that in the novel’s early pages. Bannister describes the potential dead as “the child, the mother, the businessman, the old woman, and the gambler.” We know them as Gideon, Emma, Liam, Mrs. Worth, and Sonny.

The plot is organized around those characters as they converge in a subway station. Some are on the track as a delayed train begins to approach. One has decided to commit suicide. A character who remains on the platform is having a heart attack. The child is balance-walking along the lip of the platform as the train approaches. Their fates unfold in minutes, but the death drama is broken up by backstories that take the reader on a journey through each life, from infancy to the present.

Gideon is the child from hell. He never bonded with his mother Emma. He disobeys her, hits her with her high heel shoe, booby traps the cupboard so a rolling pin will fall on her when she opens it. Child psychologists have done nothing to improve his behavior. Nannies have quit, the most recent one after Gideon crapped in her shoes. When Gideon, having escaped Emma’s grasp, almost falls onto the subway tracks, she briefly considers not catching him.

If Gideon is the child from hell, Mrs. Worth might be the mother from hell. Not her fault, really, given her own motherless childhood. Mrs. Worth (she hates the name Matilda) was raised by a father who was a surgeon in the war until the atrocities he observed caused him to lose his grip. As a child, Matilda’s father taught her how to dissect dead animals, some of which (including the neighbor’s dog) he kills for that purpose. Mrs. Worth, now a pathologist, is distant from her own son (conceived by one of the lovers whose sexual performance she charted in her lab notes), a distance that grew when she realized she was turning into her father.

Sonny was another bad kid, in the sense that he’s hyperactive and has no use for rules that are meant to restrain him. By the time he reaches the subway platform in his late twenties, Sonny has a serious gambling addiction and has given up on himself. He understands that he doesn’t “fit into a world that was not built for people like him.”

Sonny was in nursery school when his father died. His mother Luna, beside herself with grief, can’t take Sonny out in public for fear that his misbehavior will annoy others. In challenging Sonny’s teachers to be less boring. Luna won’t admit that her son has any problems of his own making because doing so would cause her to blame herself for not raising him properly.

Liam grew up in a poor family with a disabled brother and devoted mother. Liam and his brother Danny overcame hardships, grew a business, and hired Emma as their CFO. Liam marries a woman and stays with her until she becomes “a bit old and puffy.” While he is with his third wife, Emma decides he would be a perfect sperm donor. But Liam’s story is less about Emma and more about the damage he does to his relationship with his brother because he fears he will lose Danny to the caregiver Danny loves.

So will one of them really die? Ilona Bannister telegraphs the outcome well before it arrives: “There is no open-ended scene where you are left guessing if perhaps everyone survives in the end and the story is just a comment on the fragility of the human condition and the diversity of human suffering: a clever mechanism to remind us that everyone has a story, and not everyone is who or what they seem.” But that’s exactly what the novel is, regardless of the outcome. Five people with complex histories are together in a moment that will shape the rest of four lives and end the fifth.

Bannister assumes that readers will pick a favorite character for an early grave and will root for others to survive. She then challenges the reader to ask why one character is “worthy of surviving in the internal universe of your brain” while another is not. The novel’s brilliance lies in that philosophical inquiry.

Motherhood is a theme that ties the stories together. Even when mothers do their best, they are blamed for the sins of their children. Mothers, “even if they were good mothers, even if they had sacrificed for and loved their boys, even if they had given them good homes, were still and always would be the bad mothers of terrible sons.”

Bannister plays with the novel’s form, occasionally using her narrative voice to speak directly to the reader, as when she explains to readers that they might view surviving characters as having metaphorically died in part, “if you like those kinds of metaphors. Metaphors about life and death, or the death of the spirit versus the death of the body, or the death of the past to enable the birth of the future, these are always good topics to raise in book club when the conversation lags.” Because talking about metaphors is easier than talking about why we wanted a particular character to die. I’m not usually a fan of an author’s intrusion into the narrative, but Bannister guides the reader to lessons that are too important to miss.

The story is sad but life-affirming. Do you deserve a better fate than her characters, Bannister asks. It doesn’t matter what we think we deserve. We all live for a time, experiencing moments of pain and moments of joy before we inevitably die. An author can decide which character will die but, in life, those choices seem random. All we can know is that “life and death happen because they do.” At the same time, Five is a testament to “how extraordinary ordinary people are.”

Five delivers the tension of a thriller and the deep character development of a literary novel. Bannister’s prose is precise in its depiction of human nature. She is brutal in her honest observation of human failings but compassionate in her understanding of human weaknesses. Five is the best novel I’ve read in 2026 and may be the best novel I’ll read this year.

HIGHLY RECOMMENDED

Glorious Exploits by Ferdia Lennon

Published by Henry Holt and Co. on March 26, 2024

I never tire of reading, but I do get tired of reading the same plots in book after book. Readers who think (in the words of Monty Python) it’s time “for something completely different” might want to check out Glorious Exploits. The novel is funny, surprising, and poignant.

The story is set in Syracuse early in 4th century BC. Syracuse at that point was populated by Greeks, but the prose is 21st century British (“Still a gobshite, I see.”).

Toward the end of the 5th century BC, Syracuse was invaded by Athens. With the help of Sparta, Syracuse defeated the Athenians. The story begins with captured Athenians imprisoned in a quarry, where they are visited by Lampo and Gelon, two unemployed potters. Like most Greeks in Syracuse, Lampo and Gelon are fans of Athenian theater. They are convinced that nobody does Euripides like the Athenians. On a visit to the quarry, Gelon gets it into his head to put on a production of Medea using the Athenians to act out the play. He finds a few who have acting experience and who know the parts. Lampo is taken with a green-eyed Athenian who he believes will be perfect for the part of Jason.

Lampo is even more taken with Lyra, a slave from Lydia (a kingdom that once existed on land that is now in Turkey). Lyra is owned by the proprietor of a tavern that Lampo often visits. Lampo falls in love with Lyra and promises to one day buy her freedom. That will be a difficult promise for an unemployed potter to keep, although it gives Lampo a resolve and purpose that he previously lacked.

Equal parts comedy and tragedy, the story follows Lampo as he works with Gelon to produce Medea. The captive Athenians are slowly starving to death, but the actors are incentivized by bread and wine. As Gelon and Lampo are casting the roles, they find an Athenian who not only knows Medea, but has acted in Euripides newest play, Trojan Women. Gelon believes that Athens is doomed and decides they must save the new play by bringing it to life. To that end, they plan to produce both plays.

Their plans come to the attention of a wealthy businessman named Tuireann who is passing through Syracuse. He provides the gold that Gelon and Lempo need to purchase sets and costumes to stage the play correctly. Yet not all Syracusans are pleased that the Athenians who killed their family members during a siege of the city are being treated so well. Will the plays ever be produced in the face of such hostility?

Glorious Exploits is in equal parts a comedy and a tragedy. Euripides (we are told at the end) “was ever in love with misfortune and believed the world a wounded thing that can only be healed by story.” Most of the story in Glorious Exploits unfolds between the invasion of Syracuse by Athens and its invasion by Carthage. During the years when Syracuse is free from invaders, Gelon and Lampo contrive to heal their wounded city with stories told by Euripides. Misfortune does indeed seem to be the human condition, particularly for slaves and captured soldiers who are starving to death in a pit. Some of them, at least, might be healed before the story ends.

The story told by Ferdia Lennon also has healing value. It is a story about the redemptive power of love and a story of the enduring power of Lampo’s rocky friendship with Gelon, but it is also the story of an unlikely friendship between Lampo and a conquered Athenian. The novel eventually becomes a story of how we should treat our enemies and whether we should think of other humans as enemies at all — at least in moments when we are not trying to kill each other.

Glorious Exploits has everything this reader could want: silliness, drama, excitement, unexpected twists, a story worth telling and lessons worth learning. The story is told in pitch-perfect prose that restores ancient Syracuse to its momentary glory. The year is young, but this is the best book I’ve read so far in 2024.

HIGHLY RECOMMENDED

The World and All That It Holds by Aleksandar Hemon

Published by Farrar, Straus and Giroux/MCD on January 24, 2023

“If there were no righteous humans, Padri used to say, the blessings of God would become completely hidden and Creation would cease to exist.” Rafael Pinto knows that righteous humans exist because he can still see stars at night. His father also told Pinto that “Heaven is a revolving wheel” and that everything around you will change if you sit still, while if you keep moving, you will never be the same. Both adages inform Pinto’s life.

The World and All That It Holds is the story of a life in motion, a life that is neither righteous nor evil. “Each and every one of us has a thousand demons at his left, and ten thousand demons at his right. What are we to do with all those demons?” The question is at the center of Pinto’s existence.

Pinto is a Bosnian who studied medicine in Vienna. Early in the novel, Pinto is in Sarajevo, where he sees the shot that killed Archduke Franz Ferdinand. The shot tears Pinto away from his fantasies of the handsome cavalry officer from whom, minutes earlier, he stole a kiss in the back room of his family’s apothecary. Within weeks, Pinto and tens of thousands of other Bosnians are conscripted into the Imperial Army and deployed to Serbia. Pinto’s abbreviated medical training turns him into a battlefield doctor who watches most of his patients die.

Two years later, Pinto’s company is stuck in Galicia and Pinto is sleeping with Osman, who defends him from the soldiers “who practice the age-old custom of bullying a Jew.” They survive slaughter in Galicia before, as prisoners, they ride a train to Tashkent.

After they gain their freedom, Pinto works in a hospital and Osman joins the Cheka so he will have time to devise a plan to return to Sarajevo. They have a tacit understanding that Pinto will not ask Osman what he does when he is serving the Bolsheviks. Pinto would rather not know. Osman would rather that Pinto not know the truth about a mysterious man who is hiding in the home they share. Pinto later encounters the mystery man (now known as Moser) in Makhram and again in Shanghai. Moser will eventually write about those meetings in his memoirs.

Pinto spends the rest of the novel hoping to make his way back to Sarajevo, a seemingly foolish hope since he is stateless and has no passport. Bosnia has become Yugoslavia, a country that would not recognize his existence even if he could afford travel papers. With no other options, Pinto follows the flow of refugees. He travels to Xinjiang where Cossack marauders kill everyone in sight. He joins a caravan to travel through the Siberian desert. He spends a good part of his life in Shanghai, sometimes living on a rooftop with refugees from the Chinese part of the city when it is shelled by Japan.

The World and All That It Holds reads like a literary adventure novel, except that the adventurer is poor and powerless. He has not chosen his life and is far from the captain of his own fate. On many occasions, Pinto thinks he would welcome death. “Death is always growing inside you, like a nail growing on your soul.” Yet in his worst moments, he is told by a dead man that his time has not yet come, that he has a duty to make life better for someone who is still alive.

Pinto’s life is one of struggle. He struggles to survive. “The meaning of life is not to die.” Yet survival makes Pinto a witness to horror. He struggles with the brutality of war, with condemnation of his sexual and religious identities, with an addiction to morphine and opium. He struggles with loss and betrayal. He struggles to keep a child alive after delivering her for a mother who dies in childbirth (the first time he has seen a vagina since he dissected a cadaver during his medical training). He contemplates how the Lord creates new worlds while destroying old ones, how humans cannot fathom God’s rules.

Yet this is also a story of love. Osman is always in Pinto’s life, even when he might only a ghost or a voice in his head. Pinto loves a married Chinese man in Shanghai, unless it is the man’s opium he loves. He loves Rahela, the little girl he raises like a daughter until, against his wishes, she finds a different kind of love elsewhere. Only later does Rahela realize that it is Pinto who has always loved her, that she wasted her life by not loving Pinto enough. You’ll need to read the novel to find out whether that realization comes too late.

And it is a story of evil. Of wars that decimate the innocent. Of ethnic hatred. Of men like the American who seduces Rahela, “evil so nicely smelling, so sunny, with his combed hair and clipped nails and cleanly shaven, always taking whatever he wants from other people, ransacking their lives, as if everything and everyone belonged to him, as if everyone else was just passing through the world given to him at birth.”

Prose like the sentence quoted above permeates the novel — strong prose that propels the novel like a freight train gaining speed, the kind of prose that is needed to tell a powerful story. I could have done without the epilog (a jump to the present that purports to explain how the story came to be written), but the story that precedes it is an amazing blend of humor, tragedy, and adventure. The novel speaks a purposeful truth and, without being the least bit sentimental, it put a lump in my throat.

HIGHLY RECOMMENDED

Eversion by Alastair Reynolds

First published in Great Britain in 2022; published by Orbit on August 2, 2022

During the early chapters of Eversion, I wondered whether Alastair Reynolds had departed from his career as a science fiction writer to tell a seafaring adventure story. By the midpoint, it becomes clear that the novel is not what it seems. By the last quarter, a surprising reveal brings science fiction to the forefront of the story. Kudos to Reynolds for his masterful misdirection.

The story in Eversion is told by Silas Coade. Silas has been hired as ship’s surgeon to serve on the Demeter. The ship is sailing near the coast of Norway, following a map to a structure that characters dub the Edifice. The Demeter is a sizable vessel, carrying a hundred crew members, although only few characters are significant to the story. The ship’s captain is Van Vught; the man who arranged and funded the expedition is Topolsky. Dupin is a scientist and Ramos is in charge of security. Countess Cossile is a snarky linguist/journalist who makes it her mission to annoy Silas and everyone else with her self-assured belief in her intellectual superiority. She is particularly critical of the science fiction potboiler that Silas is writing.

A character dies early in Eversion and reappears in a later chapter, no worse for the death. Other characters do not seem to notice. I thought perhaps I had lost my place in the novel and was rereading unremembered pages before the death, or that I was mistaking one character for another. But then a mast that toppled is back in its place and only one character remembers that it fell. Still later in the book, the Demeter has become a different kind of vessel and the location of the Edifice has changed. In each version of the story, the characters encounter a wrecked ship called the Europa and become angry with Topolsky for not revealing his knowledge of the vessel. Silas and Ramos eventually recall different parts of the stories that have come before, as if the memories were of dreams.

The novel’s title refers to turning a sphere inside out. Dupin is a bit obsessed with the idea of eversion. The title is apt, as the story turns itself inside out before it reaches a conclusion. As the reader grasps for hidden truths, it becomes apparent that the truth is known to Cossile, who insists that it is also known to Silas, if only he would face it. “The truth is a raw nerve” and Silas flinches and retreats whenever he touches it. But what is the truth that Silas refuses to accept? Perhaps he has been gripped by madness. Perhaps the truth will make him descend into madness, again and again. Reynolds plants clues to the truth here and there, bits of the story that don’t seem to matter until they do. The plot is both a journey toward truth and a reminder that it is difficult to accept discomforting truths about ourselves.

Reynolds builds a moral dilemma into the story, the old question of whether killing one person to save more than one other person is morally justified. Does the equation change if the killing can be accomplished with kindness? Does it change if the killer is a doctor who has sworn to do no harm? Some of the novel’s dramatic tension arises from the characters’ disagreement about how to answer that question.

The moral issue adds another layer of depth to a complex story of courage and sacrifice. Reynolds even adds an offbeat love story to the mix. Eversion is my mid-year favorite science fiction novel of 2022. I suspect it will still be my favorite at year’s end.

HIGHLY RECOMMENDED