Sunday, January 4, 2026

Hypotheses about the Afterlife: Vigil by George Saunders

 Vigil by George Saunders

Vigil book cover
Author George Saunders

In his 2021 book about writing, A Swim in a Pond in the Rain, George Saunders analyzes the various methods that Russian writers use to convey emotional resonance and meaning to their stories. It’s a fascinating look at the ways that writers use description, dialogue, and behavior to channel emotional impact and significance to readers. I loved reading this book since it offered this unique insight into Saunders’ teaching methods as well as some of the influences he may apply to his own writing. Nevertheless, this approach does require more of the reader to closely read (and reread) the fine details to gain a deeper understanding of the characters’ motivations, interests, and the overall meaning of the story. Saunders’ latest novel, Vigil, further demonstrates how one of the best contemporary American writers takes these methods to new depths to develop a new and important novel that many people should read. While the novel’s themes of dealing with grief, death, and dying, as well as the importance of reflection and forgiveness are definitely needed in today’s climate, I can also appreciate that this is a somewhat challenging novel, especially early on, and may not be to everyone’s liking. However, if readers stick with the novel after about ¼ of the way through, I think that there is a significant reward in finishing the book as we learn more about the characters K.J. Boone, a dying man of significance on earth whose policies and beliefs have had a major impact on many different people and regions around the world, and Jill “Doll” Blaine, a woman who died in explosive circumstances in 1976, barely able to start her adult life, and their connection in K.J.’s final days.

The novel alternates between various perspectives, but we mostly hear from Jill and K.J. Jill is tasked with leading K.J. to the afterlife, which often involves confronting those from the past who have either wronged or been wronged by the charge. As Jill plummets to earth from the afterworld, we are left to make sense of her disorientation as she gradually learns about K.J. and his situation. It does require much of the reader, but again, persistence and patience make for a rewarding read in this case. Although I understand the title Vigil to mean a period of watching or praying, usually before something significant might happen, I also wondered if there was some kind of play on the name Virgil, who was Dante’s guide through the Divine Comedy. Jill almost acts as a kind of Virgil who tries to lead the obstinate and overbearing K.J. through this process of shedding his mortal coil and elevating to the afterlife. Along the way, Jill also learns about the meaning of her own life and her end, as well as what has happened to those who were responsible for her death. In many ways, she is like the opposite of K.J. in that she finds ways to forgive and recall the love she experienced. K.J., on the other hand, seems to identify his moments of superiority and recalls more resentment and skepticism for those who wronged or were wronged by him. Maybe the title is just a coincidence, but I also thought this book has similar themes about death and the afterlife as Lincoln in the Bardo, Saunders’ award-winning other novel (he’s mostly known for writing short stories). Both books propose ideas about the afterlife and question the nature of our actions and interactions here on earth. I loved the ideas that Saunders elicits in Vigil—especially those around the kind of awareness that Jill develops around our own identities, who we are, how we act, and the eventuality of our lives. It’s something that I didn’t necessarily expect from this book, but I appreciated as I continued to read on. As K.J. was not someone who was entirely loved or embraced (his policies and company seem to have had some impact on global warming), the book also reminded me of Dickens’ A Christmas Carol, where Scrooge is encouraged to change his ways before it is too late. Similarly, K.J. encounters some people whose lives were upended as a result of his quest for profits over the considerations of the earth. One of the more entertaining characters who visits K.J. is his daughter, whose own stream-of-consciousness adds both humor and insight into K.J.’s final moments. Her voice and perspective are so different from the other characters, yet are also so contemporary and relevant. I loved the way Saunders’ writing inhabits all of these different characters, even those ancillary voices that Jill encounters in the afterlife- like a trapper who died alone in a shack or the Mels, who have a unique encounter with Jill and K.J. It demonstrates Saunders’ skill and creativity. However, Vigil also says much about this idea of interconnection in a society where we seem to be increasingly disconnected or isolated from one another more and more. Jill’s work to usher K.J. from this world to the next help to show how important it is to develop those kinds of connections, but also through walking through many of the important moments of his life, learning about some of his most important and most embarrassing elements of his life, we learn the totality of a person, making it easier for Jill to understand and accept who they are, flaws and all. While Vigil may not be a book for everyone, I absolutely loved it. Reading the first few sections is a bit of a challenge, but once readers acclimate to the story and Saunders’ unique vision for the afterlife, it is a rewarding and meaningful read. Many thanks to Random House and NetGalley for providing me with this advanced copy for review. Highly recommended!






Friday, January 2, 2026

Making the Case for a Classic: Interpol's Antics by Gabriel T. Saxton-Ruiz (33 1/3)

 Interpol's Antics (33 1/3 Series) 

by Gabriel T. Saxton-Ruiz

Interpol's Antics book cover
Author and scholar Gabriel T. Saxton-Ruiz

Major thanks to Bloomsbury Academic and NetGalley for providing an advanced copy of one of their latest in the 33 1/3 series Interpol’s Antics by Gabriel T. Saxton-Ruiz. This book embodies some of the best elements of the 33 1/3 series in that it is written by a true fan who is not only passionate and knowledgeable about the band but also has a personal connection to a member of the band. Furthermore, Saxton-Ruiz provides a descriptive and detailed analysis of the songs, while also providing some information about the factors that led to the album’s creation. However, I found the analysis and discussion of the band’s own personal connection with Latin America, and specifically with Mexico and Mexico City to be fascinating. I was not aware of this bond that Interpol has cultivated with Mexico, and with the larger connection that Latin American countries and indie rock bands. Although the chapter that details this connection is shorter, it provided an interesting segue to spark my own interest in exploring this topic further. Saxton-Ruiz also provides a few books to reference to learn more about this fascinating topic. While I loved the first Interpol album, Turn on the Bright Lights, I wasn’t as enamored with this second album, Antics. As Saxton-Ruiz’s book notes, the NYC music scene and the general rock scene in the late 90s was somewhat diffuse in that in was searching for an identity in the post-grunge void that begat bigger MTV rap-rock bands. I was fresh out of college and recently moved to a major city when Turn on the Bright Lights was released, and this is an album I identify with that time period in my life (along with some other bands and albums that were mentioned in the first few chapters of this book). While bands like the Yeah Yeah Yeahs, …And You Will Know Us By The Trail of Dead, and The Strokes all brought a level of rock swagger and energy, Interpol were more subdued and pulled less from classic rock. I actually appreciated their approach to music that was a little slowed down or gradually built a steady rhythm that progressed towards a climactic ending. I loved their use of reverb and delay to create this kind of icier, spacious sound and how their guitars were not really distorted but rang out. The drums and bass also steadily bridged the rhythm and melody with a sound that was clearly distinct, yet harmoniously complemented the individual parts. I remember eagerly anticipating Antics release, but I also remember downloading the album from iTunes, and not feeling the same kind of personal connection with these songs. I enjoyed the songs and felt that they were catchier, almost poppier, than those from the first album, but for whatever reason, Antics never really had the same kind of emotional imprint on my life that TOTBL did. I’m glad that I read this book because Saxton-Ruiz has provided me with an opportunity to re-evaluate my reactions to this album in his passionate defense and critical analysis of the songs and videos from this album.

I was amazed at how much Saxton-Ruiz is able to accomplish in one of these shorter 33 1/3 books that closely examine a specific album. He provides an interesting overview o the late 90s/early 2000s NYC music scene that birthed Interpol, among other bands, while also exploring how the band came together and created their first album. This leads to chapter 2, which details the creation of Antics following the first album. I appreciated Saxton-Ruiz’s use of his own interviews, podcasts, and articles to pull together a thread of how the album came about and what the band’s goals were in the creation of the album. It was also interesting to learn more about how the band functioned more democratically, ensuring that all members had a say in their publicity, the videos, photoshoots, and even song writing. This chapter was also interesting to learn about the challenges that the bands faced in the studio and how they worked to create the music and then craft the lyrics to match the song’s tones. However, the best part of chapter 2 was Saxton-Ruiz’s descriptive details analyzing the music for each track on Antics. I felt like this, along with the analysis of Interpol’s cultural significance in Mexico, were the standout aspects of this book. I loved reading his detailed descriptions of the music. The writing captures some of the emotional elements of the music, taking me back to the early/mid 2000s listening to this album as a different version of myself. Although I won’t be able to recreate that same listening experience, Saxton-Ruiz’s writing evokes that pleasant feeling of listening to powerful and compelling music at a critical moment in life. It was a pleasure to read. Chapter 3 details the accompanying art and videos that went with the album. Again, I feel like Interpol had a specific vision and aesthetic that differentiated them from many of the other bands at the time, and I specifically remember how Antics white and red cover contrasted with the black and red of TOTBL. I didn’t really watch videos at this point in my life, so I loved reading about the videos from Antics. Again, seeing how these videos were attempts to create a kind of surreal narrative or short film which the music accompanied made me want to watch these videos. Chapter 4 explores the changing nature of rock around the world and specifically focuses on how Interpol developed their large fanbase in Mexico and Peru. I found this section to be fascinating because I’m interested in culture and art, but also because I was really not aware of their large following in these countries. Saxton-Ruiz, an academic and professor, brings a detailed level of expertise understanding and analysis, yet makes his hypothesis and observations accessible by using personal and popular examples with which readers may be familiar or relate. Furthermore, he provides some additional texts to consult to further investigate this phenomenon. However, I hope that he decides to expand on this idea in his own book. I think he might be able to contribute further to the discussion.

Interpol’s Antics is a great addition to the 33 1/3 collection. I was a little surprised to see this album on here since I thought that Antics wasn’t as great as TOTBL; however, Saxton-Ruiz makes a compelling case for why this album is not only a great one, but also why it is culturally significant in countries like Mexico and Peru. His writing is descriptive and detailed, while also adding critical analysis and insightful discussions. Highly recommended!