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On a mission to end the ever worsening genocide in Darfur, Don Cheadle and John Prendergast's
Not on Our Watch (Hyperion) argues for stronger U.S. government action while also outlining
ways ordinary citizens can help stop the suffering.

Fiction in full glorious bud: Genre-surfing novelist Michael Chabon's alternate-history whodunit,
The Yiddish Policemen's Union (HarperCollins), imagines post–W.W. II Jews establishing a
homeland in Alaska. Virtuoso prose stylist Lydia Davis's daring new stories boldly chart Varieties
of Disturbances (Farrar, Straus and Giroux). Forget one ending—Heather McElhatton's cleverly
conceived "do-over novel," Pretty Little Mistakes (HarperCollins), submits 150.

At the peak of her powers, Helen Simpson confirms in her dark and artfully funny story collection
that she's In the Driver's Seat (Knopf). Drunk on booze and longing, the characters in Rebecca
Barry's novel-in-vignettes believe their desires will be fulfilled Later, at the Bar (Scribner). Kooky
filmmaker/performance artist Miranda July's offbeat fiction debut proves No One Belongs Here
More than You (Scribner). With The Ministry of Special Cases (Knopf), Nathan Englander relieves
his unbearable urge to publish a novel. In the flagrantly funny I Love You, Beth Cooper (Ecco),
Larry Doyle gives the coming-of-age novel a swirly.

The three-star memoir of Marco Pierre White, the restaurant world's original enfant terrible,
bubbles over with the pot-hurling, star-chasing antics that earned him the title The Devil in the
Kitchen (Bloomsbury). Not content to trash Mother Teresa, now V.F. rabble-rouser Christopher
Hitchens proclaims God Is Not Great (Twelve). Pop art and literature dance cheek to cheeky in
painter Harland Miller's International Lonely Guy (Rizzoli). Jim Crace checks into The Pesthouse
(Doubleday). Former J. P. Morgan man turned novelist Dana Vachon cashes in with Mergers and
Acquisitions (Riverhead). Monsters and madwomen erupt from the sensational Mexican movie
posters in Rogelio Agrasánchez Jr.'s ¡Mas! Cine Mexicano (Chronicle). The sparkling turn-of-the-
century pictures of bridge-and-tunnel-loving photographer Eugene de Salignac appear in New
York Rises (Aperture). V.F. international correspondent William Langewiesche exposes how
unstable nations and terrorists shop for nuclear weapons in The Atomic Bazaar (Farrar, Straus and
Giroux). On a quest for small-town charm, CBS correspondent Bill Geist wanders Way off the
Road (Broadway). Gina and Dann Gershon tie young readers up in knots in Camp Creepy Time
(Putnam). Nixon and Agnew fight over the covers in Jules Witcover's Very Strange Bedfellows
(Public Affairs).

Southern humorist Roy Blount Jr. corrals his sliest essays in Long Time Leaving (Knopf). The
dying days of the Edwardian era are memorialized in Juliet Nicolson's The Perfect Summer
(Grove). Dirt digger Marlise Elizabeth Kast relives her gory days as a Tabloid Prodigy (Running
Press). In Zimbabwean Peter Godwin's memoir, When a Crocodile Eats the Sun (Little, Brown),
unrest in the homeland and the family go hand in hand. The late great Joe Strummer, front man of
the Clash, not only wrote politically charged punk songs but was one of rock music's first and
most dedicated social activists; Chris Salewicz's Redemption Song (Faber and Faber) pays tribute
to the man who sang: "Must I get a witness? for all this misery / There's no need to, brothers,
everybody can see."

The Plain Janes, stars of Cecil Castellucci and Jim Rugg's new comic book.  You don't have to be a
comic-book geek to dig DC Comics' kicky new imprint, Minx. Which is good, because Minx's
original graphic novels are targeting shoujo-loving teenage girls who may not know (or care) that
Superman's father's name was Jor-El but who fancy manga and the new wave of chick-centric
comics. Minx's maiden voyage begins with Cecil Castellucci's The Plain Janes, illustrated by Jim
Rugg, of Street Angel fame. Future titles will showcase an awesome array of heroines such as a
surfer punk, a martial-arts master, and a bigmouthed blogger. Minx's only weakness? So far the
majority of titles are written by men. Bring on the League of Extraordinary Minxwomen!

Elissa Schappell, author of the novel Use Me (Perennial) and editor-at-large of the literary magazine Tin House, has
written Vanity Fair's Hot Type column for nearly a decade.
Fanfair - May 2007
Hot Type
A monthly overview of great new books.
by Elissa Schappell May 2007