Best
Fiction of 2009BOTH WAYS IS
THE ONLY WAY I WANT IT
By Maile Meloy
Riverhead Books,

In an exceptionally strong year for short fiction, Meloy’s concise
yet fine-grained narratives, whether set in Montana, an East Coast boarding
school or a 1970s nuclear power plant, shout out with quiet restraint and
calm precision. Her flawed characters — ranch hands in love, fathers and
daughters — rarely act in their own best interests and often betray those
closest to them.
CHRONIC CITY
By Jonathan Lethem
Doubleday,
Lethem’s eighth novel unfolds in an alternative-reality Manhattan. The
crowded canvas includes a wantonly destructive escaped tiger (or is it a
subway excavator?) prowling the streets, a cruel gray fog engulfing Wall
Street, a “war free” edition of The New York Times, a character stranded on
the dying International Space Station, strange and valuable vaselike objects
called chaldrons, colossal cheeseburgers and some extremely potent
marijuana.
A GATE AT THE STAIRS
By Lorrie Moore
Alfred A. Knopf,
Moore’s captivating novel, her first in more than a decade, is set in 2001
and narrated by a Wisconsin college student who hungers for worldly
experience and finds it when she takes a job baby-sitting for a bohemian
couple who are trying to adopt a mixed-race child. Meanwhile, she drifts
into a love affair with an enigmatic classmate and feels the pressing claims
of her own family, above all her affectless younger brother, who enlists in
the military after 9/11.
HALF BROKE HORSES: A True-Life Novel
By Jeannette Walls
Scribner, $26.
In her luminous memoir, “The Glass Castle,” Walls told of being raised by
eccentric and unfit parents. Now, in a novel based on family lore, she has
adopted the voice of her maternal grandmother, Lily Casey Smith — mustang
breaker, schoolteacher, ranch wife, bootlegger, poker player, racehorse
rider and bush pilot. The result reanimates a chapter of America’s
frontier past
A SHORT HISTORY OF WOMEN
By Kate Walbert
Scribner,
The 15 lean, concentrated chapters in this exquisitely written novel
alternate among the lives of a British suffragist and a handful of her
Anglo-American descendants. The theme is feminism, but Walbert is keenly
alert to male preoccupations and the impressions they leave on the lives of
her female cast. Walbert’s prose, cool and intelligent, captures the many
ways we silence and are silenced, the ways we see and hear as we struggle to
grasp hold of meaning.