2022: reading

On its own terms, it was a solid year for reading. In terms of my goals, however, not so much. What with health, travel, and professional matters hoovering up all my attention from July to December, my reading plummeted in the second half of 2022. Last year I wrote about how, for years, I’d been stuck in the 90-110 zone for books read annually. Last year I climbed to 120. This year I hoped to reach 150. Alas, by the time Sunday rolls around I’ll have read 122 this year. At least I didn’t regress.

The environmental goals I made, I kept: namely, to cut down TV even more; to stick to audiobooks over podcasts; and to leaven scholarly theology with novels, nonfiction, poetry, and audiobooks. I make these goals, not because I value quantity over quality, nor because I want to read faster or just read a bunch of smaller books. It’s because setting these goals pushes me to set aside much less worthy uses of my time in order to focus on what is better for me and what I genuinely prefer. Both the direct effects (more reading) and the knock-on effects (less TV, less phone and laptop, less wasted time on mindless or mind-sucking activities) are what I’m after. And, as I’ve written before, I didn’t grow up reading novels. Which means I’m always playing catch-up.

My aspirational monthly goal is 2-3 novels, 2-3 volumes of poetry, 2-3 audiobooks, 3-4 nonfiction works, 4-8 works of academic theology. That alone should push me to the 140-160 range. I was on pace heading into August this year, then cratered. As 2023 approaches, I won’t make 150 my “realistic” goal; I’ll set it at 135. But one of my brothers as well as another friend both hit 200 this past year, which puts me to shame. So perhaps a little friendly competition will do the job.

In any case, what follows is a list of my favorite books I read this year. Two new books I was disappointed in: Yaa Gyasi’s Transcendent Kingdom and The Ink Black Heart, the sixth entry in J. K. Rowling’s Cormoran Strike series. I won’t write about the latter, but I might find time for the former. I also read J. G. Ballard’s Crash for the first time, a hateful experience. I “get” it. But getting it doesn’t make the reading pleasant, or even justify the quality of the book. I do plan to write about that one.

Here are the ones I did like, with intermittent commentary.

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Rereads

5. Madeleine L’Engle, A Wrinkle in Time.

4. G. K. Chesterton, The Everlasting Man. Hadn’t picked this one up in 22 years. Magnificent.

3. C. S. Lewis, The Screwtape Letters. I’m willing to call this a perfect book. I should probably read it every year for the rest of my life. Lewis really is a moral anatomist nonpareil.

2. Ray Bradbury, Fahrenheit 451. Hadn’t read this one since middle school. Had completely forgotten about the technologies Bradbury conjured up as substitutes for reading—the very technologies (influencers live-streaming the manipulated melodrama of their own lives into ordinary people’s homes via wall-to-wall screens) we have used to the same end.

1. Narrative of the Life of Frederick Douglass. I could not remember when or whether I’d read this years and years ago, but I listened to Forest Whitaker’s rendition on Spotify and it was excellent. Highly recommended. (The audio recording; I know Douglass himself doesn’t need my stamp of approval.)

Poetry

I won’t pretend to have read as much poetry as I have in previous years. I finishing rereading R. S. Thomas’s poems; I got to a couple more collections by Denise Levertov; and I read Malcolm Guite’s The Singing Bowl, my first of his volumes. I’m hoping to get back into more poetry in the new year.

Fiction

10. William Goldman, The Princess Bride. Never knew Goldman wrote it as a book before it became a screenplay and a film. A delight.

9. John Le Carré, Silverview. A fitting send-off to the master.

8. Ian Fleming, Casino Royale. Brutality with flair. I wasn’t prepared for how good the prose, the plotting, the thematic subtext would all be. I wonder what would happen if, in the next film adaptation, they actually committed to adapting the character rather than a sanitized version of him. I’m not recommending that: Bond is wicked, and the Connery films valorized his wickedness. But the books commit to the bit, and it makes them a startling read some 70 years later.

7. Ursula K. Le Guin, The Tombs of Atuan. The second entry in the Earthsea saga. I expect to read the rest this year.

6. Walter Mosley, Trouble is What I Do. My second Mosley. Someone adapt this, please! Before picking it up, I had just finished a brand new novel celebrated by the literary establishment, a novel that contains not one interesting idea, much less an interesting sentence. Whereas Mosley is incapable of writing uninteresting sentences. He’s got more style in his pinky finger than most writers have in their whole bodies.

5. Mick Herron, Slow Horses & Dead Lions. I got hooked, before watching the series. Casting Oldman as Jackson Lamb, he who also played Smiley on film, is inspired. I expect to finish the whole series by summer. Herron isn’t as good as Le Carré—who is?—but his ability to write twisty plots in punchy prose that intersects politics without getting preachy: that’s a winning ticket.

4. Shirley Jackson, The Haunting of Hill House. My first Jackson. As good as advertised. Read it with some guys in a book club, and one friend had a theory that another friend who’d read the novel a dozen times had never considered. I’m still thinking about it.

3. Walter M. Miller Jr., A Canticle for Leibowitz. Wrote about it here.

2. Brian Moore, The Statement. I’ve never read anything like this novel. It floored me. James and Le Carré are my two genre masters, each of whose corpus I will complete sometime in my life. Moore may now be on the list, not least owing to his genre flexibility. I’ve read Catholics. I just grabbed Black Robe. Thanks to John Wilson for the recommendation.

1. P. D. James, The Children of Men. I’m an evangelist for this one. Don’t get me started. Just marvel, with me, that a lifelong mystery writer—who didn’t publish her first novel till age 40—found it within herself, in her 70s, to write a hyper-prescient work of dystopian fiction on a par with Huxley, Orwell, Ballard, Bradbury, and Chesterton. I would also add Atwood, since this novel is so clearly a Christian response to The Handmaid’s Tale. As ever, all hail the Queen.

Nonfiction

10. A bunch of books about liberalism, neoliberalism, and the right: Byung-Chul Han, The Burnout Society; Joel Kotkin, The Coming of Neo-Feudalism; Mark Lilla, The Once and Future Liberal; Francis Fukuyama, Liberalism and Its Discontents; Olúfẹ́mi O. Táíwò, Elite Capture; Samuel P. Huntington, The Clash of Civilizations and the Remaking of World Order; Mark Lilla, The Shipwrecked Mind; Richard Weaver, Ideas Have Consequences; Matthew Continetti, The Right.

9. John Pfaff, Locked In: The True Causes of Mass Incarceration and How to Achieve Real Reform. Outstanding. Hat tip to Matthew Lee Anderson for the recommendation.

8. Christopher Hitchens, A Hitch in Time. A pleasure to dip back in to some of Hitch’s best work. But also a reminder, with time and distance, of some of his less pleasant vices.

7. James Mumford, Vexed & Yuval Levin, A Time to Build. Imagining life beyond tribalism, neither pessimistic nor optimistic. Just hopeful.

6. Oliver Burkeman, Four Thousand Weeks & Phil Christman, How to Be Normal. I wrote about Burkeman here. Christman is a mensch. Read both, ideally together.

5. Wilfred M. McClay, Land of Hope: An Invitation to the Great American Story & Andrew Delbanco, The War Before the War: Fugitive Slaves and the Struggle for America's Soul from the Revolution to the Civil War.

4. Freeman Dyson, The Scientist as Rebel.

3. Louise Perry, The Case Against the Sexual Revolution.

2. Wendell Berry, The Art of Loading Brush. He’s still got it. There are a couple essays here that rank among Berry’s best.

1. Jonathan Lear, Radical Hope. The best book of any kind I read in 2022. One of the best books I’ve ever read. A one of one. On a par with After Virtue, A Secular Age, and other magisterial table-setters. Except this one is half the size and happens to focus on Plenty Coups, the Crow, and the moral and philosophical grounds for continuing to live in the face of reasonable despair. Take and read.

Christian (popular)

8. John Piper, Don’t Waste Your Life. Hand on heart, I’d never read a Piper book in my life. I wanted something short and punchy on audio, and this fit the bill. Turns out the man can preach.

7. John Mark Comer, Love-ology & The Ruthless Elimination of Hurry & Live No Lies. Hopped on the JMC train this year, since all of my students and many of my friends love his books. He’s doing good work. Pair him with Sayers, Crouch, Wilson, and Dane Ortlund, plus the younger gents at the intersection of Mere O, Davenent, and Theopolis—Meador, Loftus, Anderson, Roberts, Littlejohn, et al—and if you squint a bit, you can see the emerging writers, leaders, and intellectuals of a sane American evangelicalism, should that strange and unruly beast have a future. And if it doesn’t, they’re the ones who will be there on the other side.

6. Ronald Rolheiser, Domestic Monastery. Simply lovely.

5. Mark Sayers, Disappearing Church. Shrewd, lucid diagnosis. Not so sure about the prescription.

4. Andy Crouch, The Life We’re Looking For. Click on the “Andy Crouch” tag on this blog and you’ll see tens of thousands of words spilled over this book as well as Andy’s larger project. A wonderful man, a great writer, a gift to Christian attempts to think and live wisely today.

3. Kate Bowler, Everything Happens for a Reason and Other Lies I’ve Loved. I listened to this one on audio. I wept.

2. Andrew Wilson, Spirit and Sacrament. Just what the doctor ordered for my students.

1. Abigail Favale, The Genesis of Gender. The unrivaled summer beach read of 2022. No joke, I was at the beach in July and looked to my right and then to my left and saw more than one person reading it. You heard it here first.

Theology (newer)

15. Some books on Christian ethics: A Guide for the Perplexed (by Victor Lee Austin), A Brief History (by Michael Banner), A Very Short Introduction (by D. Stephen Long).

14. Myles Werntz, A Field Guide to Christian Nonviolence & From Isolation to Community. Two accessible entries from a friend on Christian pacifism and Christian community. Nab copies of both today!

13. Charlie Trimm, The Destruction of the Canaanites. See my review in Christianity Today.

12. David Bentley Hart, Tradition and Apocalypse & You Are Gods.

11. Victor Lee Austin, Friendship: The Heart of Being Human. Victor makes a case that friendship is not just the heart of being human, but the heart of the gospel; or rather, the latter because the former; or vice versa.

10. Fred Sanders, Fountain of Salvation. See my forthcoming review in Pro Ecclesia.

9. Edwin Chr. van Driel, Rethinking Paul. See my review in Modern Theology.

8. Frederick Christian Bauerschmidt, The Love That is God. This one will be on a syllabus very soon.

7. R. B. Jamieson and Tyler Wittman, Biblical Reasoning. See my forthcoming review in International Journal of Systematic Theology.

6. William G. Witt, Icons of Christ: A Biblical and Systematic Theology for Women’s Ordination. So far as I can see, immediately the standard work on the question. I’d love to see some good-faith engagements from the other side, both Protestant and Catholic.

5. John M. G. Barclay, Paul and the Gift & Paul and the Power of Grace.

4. Christopher Bryan, The Resurrection of the Messiah. Historical, textual, linguistic, literary, and theological scholarship at its finest.

3. Mark Kinzer, Searching Her Own Mystery. I learned a lot from this book. I try to read everything Kinzer writes on the topic of Israel, church, and messianic Judaism. Even better something focused on a particular text, in this case Nostra Aetate.

2. Adam Neder, Theology as a Way of Life. Pellucid and compelling. A beautiful vision that captures heart and mind both. Here’s a taste.

1. Jonathan Bernier, Rethinking the Dates of the New Testament. What can I say? I have a thing for contrarian dating of the NT. I’m not at all persuaded by the consensus dating of most first-century Christian writings. Bernier updates John A. T. Robinson’s classic Redating the New Testament, with a clearly enunciated methodology deployed in calm, measured arguments that avoid even a hint of polemic. For that very reason, an invigorating read.

Theology (older)

6. A Reformation Debate: The Letters of Bishop Sadoleto and John Calvin. (Whispers: Calvin doesn’t win this round.)

5. Papal social encyclicals: Veritatis Splendor, Evangelium Vitae, Humanae Vitae, & Lumen Gentium. Always worth a re-read.

4. St. Bernard of Clairvaux, On Loving God & Homilies in Praise of the Blessed Virgin Mary. Beautiful, devotional, exemplary models of spiritual theology.

3. St. Cyprian of Carthage, On the Church: Select Treatises & On the Church: Select Letters.

2. St. Basil the Great, On Social Justice. Blows your hair back then lights it on fire.

1. Michael Ramsey, The Gospel and the Catholic Church. Is Ramsey the most underrated Anglophone theologian of the twentieth century? The man had exquisite theological sense; he wrote with style and passion; he cared about the unity of the church; he was a bona fide scholar; he wrote about everything; he became Archbishop of Canterbury; what’s not to love? Both this work and his little volume on the resurrection are classics.

The queen

Of all the brilliant British women writers who lived to a good old age in the long twentieth century, who is your favorite? The candidates are many; both Mary Midgley and Agatha Christie come immediately to mind. Doubtless Rebecca West is chief among all women and men of English letters during this period. But as for me and my house, we hail P. D. James, or as I affectionately call her, The Queen. Long may she reign, even in death.

Born in 1920, James published her first novel in 1962. From her early 40s to her early 90s she published more than 20 books, one every 2-3 years. Just before her 90th birthday, in 2009, she published Talking About Detective Fiction, a winsome and leisurely stroll through the genre she mastered, having received it from the reigning women before her (Christie, Sayers, Marsh, et al) and made it her own. Born two years after the end of World War I, she lived to see every one of the wonders and horrors of the twentieth century; she then died—to give some perspective on the sheer expanse of her life—some 18 months before the U.K. referendum on leaving the European Union.

The Queen is famous for many things, but most of all, and deservedly, for her series featuring Adam Dalgliesh. The series spans 14 novels written across 46 years. They are, in my humble and mostly uninformed opinion, the finest detective novels in the English language. I’m not a fanatic of the genre, but I’ve read widely across the decades (and across the Atlantic), and I’m not even sure who should come in second.

(I’m reading Gladys Mitchell’s Rising of the Moon right now; perhaps I’ll come to agree that that half-forgotten peer to Christie is a worthy competitor for the throne.)

What makes James’s work so royally perfect? The answer may be boring, but it’s true: she’s a master at the mechanics of what makes a mystery novel work. Put them together, and you’ve got the best of the genre.

First is the prose. It’s readable—she was popular, after all—but crisp, detailed, and stylish, too. More, it’s English: you can tell this is a woman who knows her eighteenth and nineteenth century poetry and novels. The sentences never waste a word, but they take their time. And they always come to a point. In this James was very much a woman of her time; she reads more like Sayers than she does Tana French or Louise Penny. Though she lived into the twenty-first century, she was born closer to the nineteenth, and you feel it in her writing.

Second is the lead. Adam Dalgliesh is the platonic ideal of the English detective. Son of a vicar, widower whose only child and young wife died giving birth, a poet of minor acclaim in his spare time, Dalgliesh is a detective whose reputation precedes him due to his supreme and inarguable competence. Reticent, tactful, passionate, compassionate, and possessed of a rich but private inner life, he lives for the job, and always gets it done.

Third is the plotting. The deaths are rarely outlandish but always complex; they’re also always equally difficult to figure out (though that may just be me, as I’m generally terrible at guessing whodunnit). Again, the mysteries lean more toward the golden age than to contemporary crime novels, so the template is classic rather than realistic: a surprising, even shocking murder; a cast of suspects; three dozen paths criss-crossing the murder scene and the victim’s now-revealed secret lives; a patient narrowing-down of suspects via interviews, alibis, discoveries, and evidence; and the final, climactic confrontation and confession. To watch James weave the web then unravel it is never anything but a joy.

Fourth and finally, and most important in terms of what elevates the Dalgliesh series above its peers, is the social observation and characterization. The plot hooks me; the prose keeps me; the acute eye for human and social detail is what strangely warms my heart. Whatever one’s view of arguments about highbrow versus middlebrow and “art” versus “entertainment,” James’s books bridge the gap inasmuch as they use the occasion of a murder and the form of a mystery to examine the human condition. And the insights invariably illumine.

That social aspect to the Dalgliesh books makes them doubly significant, since the first in the series was written in or around the year JFK was elected; the last, in or around the year Obama was elected. What one feels when reading the books in chronological order is the extraordinary social changes happening in real time in the background of the stories—and James is deeply attuned to them. (As she should be, having spent her girlhood in interwar Britain, raised in a family with so little money she had to quit school as a teenager to go to work.) That aforementioned first entry, Cover Her Face, feels very much a portrait of rural postwar England, itself still bearing traces of the Victorian and the Edwardian. By the sixth Dalgliesh novel, Death of an Expert Witness, published in 1977, the world has turned upside down. The book is littered with casual references to the signs of the times: recession; abolition of the death penalty; women wearing trousers(!); a more or less out lesbian couple living in the Fens (albeit referred to by both the narration and the dialogue solely as “friends”—this is James’s ironic reserve, not prudishness); the rise of the management class; “women’s Lib”; abandoned country churches; even ordinary police use of a helicopter, which ferries Dalgliesh from London to East Anglia the day after the murder.

What suffuses every page, adorning the narrative without ever weighing it down, is James’s lightly worn but deeply felt Anglican faith. She doesn’t require her hero to believe—his familiarity with tragedy and evil both walls him off from and draws him ineluctably toward the religious life—but the presence, or rather absence, of God haunts his every endeavor of detection. Whence law? justice? mercy? She forces her readers, as she does her characters, to wonder. It’s something every good mystery novelist aspires to do. For her part, the Queen never fails to execute.

Thoughts about Don Winslow's Cartel Trilogy

1. I initially called it his Border Trilogy, but then I remembered that name's already taken.

2. What Winslow has done in these books is impressive, in literary terms, and powerful, in terms of educating the reading public while also entertaining them. Little did he know when he began writing the first book nearly 20 years ago how relevant, and prescient, the topic of the drug war and its ever-widening social, moral, and political consequences would be.

3. Winslow is a gifted writer. His prose is propulsive, soaked in adrenaline and masculine energy, in all its creative and destructive forms. His control of tone, voice, character, cultural reference (popular and "high"), and biblical allusion is masterful. The complexity of his plots, the centripetal force drawing their far-flung lines of action to some center or centers of encounter and explosion (often literal), is enthralling. The man was born to do this.

4. The TV adaptation of the trilogy, on FX, is therefore going to be a blast to watch.

5. Having said all that... I found myself disappointed with The Border, and increasingly so as the book wore on. At over 700 pages, it brings the trilogy as a whole (following The Power of the Dog and The Cartel) to around 2,000 pages. In the end, the series makes for diminishing returns. I would recommend POTD to anyone, so long as they could stomach some intense, though realistic, violence and sex. The sequel was nearly as good, though the ending was a betrayal, in my view, and some of the flaws that would drag down the conclusion began to show up here. What are some of those flaws?

6. First, the sheer gratuity of the sex and violence becomes pornographic. It's superfluous, upsetting, and finally boring. Winslow, like so many genre artists, wants to have his cake and eat it too: to titillate readers then to indict them for it, given the who and the what and the how and the what-for of what's on the page. In other words, it's Truffaut's principle about war films applied to the drug war journo-novel: reveling in the glorious debauchery and hedonism of the money, power, fame, and pleasure that comes with the illegal drug trade only to reveal the nauseating rot that underwrites it all. There is (I believe) a way of showing the behavior and experiences of those who themselves revel in the extravagance made possible by drug trafficking without inviting readers to be voyeurs, to enjoy what they see, even if from afar. Call it the Goodfellas problem. However brilliant the third act, the first two acts of a story don't vanish into thin air once the bad guys get their comeuppance. Portray them as they feel in the moment (rather than as they are in lamentable fact), and you glorify The Life, whatever the consequences awaiting them down the line.

In short, I just got sick of it all. And I realized, whether it's Winslow or another genre author, I think I'm done with this sort of thing. It's just too much. Life's too short to have your nose rubbed in this wretchedness. Morally (and Winslow thinks his novels have a moral perspective), it's ugly; artistically, it's unnecessary and self-defeating.

7. The great temptation today is to make Relevant Art, where "relevant" means "speaking in terms that correspond directly and literally to the loudest and most public events on the American scene," and where "art" means "a vehicle for a thesis about said scene, didactically delivered, preferably reducible to a single statement about 'what it all means.'" Alas, Winslow has, with The Border, made Relevant Art.

8. How so? Well, Trump and his son-in-law and a Mueller stand-in all play central roles. You read that right. It's as bad as it sounds. Actually, it's worse.

Perhaps I shouldn't say "central." They aren't page-to-page speaking characters (though we do meet all of them face to face, as it were). But they're there on every page, whether as background, subtext, or pseudonym.

In fact, the climax of the narrative—I kid you not—has the protagonist of all three books, Art Keller, testifying before Congress (on and on and on he drones, with impressive, dizzying self-righteousness), the dramatic upshot of which concerns whether the Attorney General will appoint a Special Counsel. Winslow actually has his Trump stand-in, Dennison, fire Mueller-1, only for Keller's testimony to elicit a Mueller-2 to replace him. (Whoops: maybe should have delayed publication by a year or so...)

It dawned on me in the last 100 pages of the novel: I was reading Resistance Fan Fiction. A fever dream of anti-Trump Earth-2 wishful thinking. What an error in judgment.

9. Because Winslow views this Trilogy as educational entertainment, he also indulges himself with a C-plot that bears no relationship the rest of the story, except by the most indirect and least consequential reckoning, and even that in a terribly forced way. The plot tracks a 10-year old boy from the slums of Guatemala all the way north across the Texas border, through the immigration system once he's caught, into street crime in New York City, and finally in a wildly implausible intersection with three other (actual) characters. Why, you might ask, are we reading the tale of this boy, Nico? There's only one answer: to inform American readers What It's Like. What it's like, that is to say, to live in poverty in Latin America, to consider migrating to El Norte, to actually undertake the terribly dangerous journey, etc., etc., etc.

It's a Ripped From The Headlines Vox Explainer Piece, in novelized form. It does not work. It has no reason internal to the novel for its own existence. It exists because readers are wondering about such things, so Winslow will give it to them—even if it adds 150 pages to an already enormous book.

10. Last, Winslow already failed his lead character, Keller, in the finale of The Cartel, and The Border only extends the problem. I won't elaborate on the plot details, only to say that what makes the Trilogy work, when it does, is its willingness to let the tragic realities of the drug war bear, without sentimental qualification, on the lives and psyches of its fictional characters. But there's one, 2,000-page exception to this rule: the hero. He is insulated from it all, as if he has a force field protecting him—not just from bullets, but from any and all other consequences of his and others' actions. Divine providence (i.e., Don Winslow) just can't let Keller take a fall. Though he doesn't ride into the sunset, he does see one, looking across the border with his wife, on the final page of the book. They need a cane and a walker, respectively, to make it down the hill on their newly purchased land—but they're there, and it's theirs.

This is the same man who commits perjury before Congress and murders a man in cold blood, in addition to all the other extralegal and immoral and morally gray actions he commits across four decades for the simple reason (which Winslow has him earnestly report) that he's a "patriot." This is a man who makes a deal with the devil then, at the end of book 2, gets to shoot the devil twice in the face before walking out of the jungle, and taking a flight home to see his love.

The problem isn't that Keller "needs" to be "punished." It isn't that he lives. It's that the rules of the story that Winslow sets up from the beginning, and consistently lets play out in the lives of his characters up to the end, do not apply to the man at the center. It doesn't help that when Keller gets to speechifying in front of Congress, it reads like Winslow's (actual, not hypothetical) op-eds in favor of legalizing all drugs, ending mandatory minimums, so on and so forth. Fictional heroes usually embody their creators' aspirations for themselves, but in this case the self-projected myth-making goes so far as to undermine everything that made the story worth reading, and telling, in the first place.

The best American crime novelists of the last century, or: a way into the genre

Four and a half years ago I decided I wanted to try out the genre of crime fiction. I was about to take a semester off from my doctoral studies for paternity leave, and I knew my academic reading would be on the wane, at least while I was caring for my newborn son during the day. I needed something punchy, new, and different that would grab and hold my attention during downtime, long walks, and seemingly endless Baby Bjorn–pacing.

So I ordered a few books: The 39 Steps by John Buchan, The Big Sleep by Raymond Chandler, The Friends of Eddie Coyle by George V. Higgins, The Hunter by Donald Westlake, Killing Floor by Lee Child, and The Spy Who Came in From the Cold by John le Carré. An odd, eclectic sampling, obviously made by an outsider. In any case, the experiment worked.

Turns out I love crime fiction.

From there, I wanted to get my hands on the best stuff out there. But the way my mind works, I wanted to do this in a particular way. First, I wanted to get a sense of the genre as a whole, particularly in its development and in the order of influences. I wouldn't read chronologically, but if I read Ross Macdonald, I wanted to know and not be ignorant of the fact that he had read and was influenced by Hammett and Chandler. Second, I wanted to read the masters, not their second-rate imitators. And third, if the author had a series featuring a long-standing character—and they nearly always do—I wanted to read that series and preferably the first entry. I knew that that would mean I might not read an author's best, or best-read-first, work, but that was fine by me. I wanted to see the genesis of their art; and should they draw me in, I wanted to read the series from beginning to end, not start in the middle.

Long story short, here's my list. (I'm an inveterate list-maker. It's a compulsive habit.) I've yet to find a comparable one online: when I do, it invariably includes British authors (e.g., P. D. James, Agatha Christie), expands the genre to include spy fiction (e.g., John le Carré, Len Deighton), does not limit itself to one book per author (e.g., Hammett and Chandler get multiple entries), and includes mysteries from every time period (e.g., Poe, Dickens).

My list's rules: only Americans, beginning with Hammett in the 1920s (so the last 88 years—but close enough to say "the last century"), only crime fiction (broadly defined, but excluding spy and similar novels), and focusing especially on the first entry in the author's most beloved or well-known series.

I've put an asterisk by the ones I've yet to read. I'm only about halfway done, so this is far from an authoritative list. To state the obvious, I'll feel comfortable ranking either the authors or their works only once I've actually read them all. I'll add that falling in love with le Carré and P. D. James along the way hasn't helped in finishing the list.

But in any case, here it is. I welcome suggestions of every kind: corrections, amendments, additions, subtractions, and more.

1. Dashiell Hammett, The Maltese Falcon (1929)
2. Erle Stanley Gardner, The Case of the Velvet Claws (1933)
3. James M. Cain, The Postman Always Rings Twice (1934)
4. Rex Stout, Fer-de-Lance (1934)
5. Raymond Chandler, The Big Sleep (1939)
6. Cornell Woolrich, The Bride Wore Black (1940)
7. Vera Caspary, Laura (1942)
8. Helen Eustis, The Horizontal Man (1946)
9. David Goodis, Dark Passage (1946)
10. Mickey Spillane, I, The Jury (1947)
11. Elisabeth Sanxay Holding, The Blank Wall (1947)
12. Dorothy B. Hughes, In a Lonely Place (1947)
13. Kenneth Millar (as Ross Macdonald), The Moving Target (1949)
14. Charlotte Armstrong, Mischief (1950)
15. Jim Thompson, The Killer Inside Me (1952)
16. Margaret Millar, Beast in View (1955)
17. Patricia Highsmith, The Talented Mr. Ripley (1955)
18. Evan Hunter (as Ed McBain), Cop Hater (1956)
19. Chester Himes, A Rage in Harlem (=For Love of Imabelle) (1957)
20. Dolores Hitchens, Fools' Gold (1958)
21. Donald Westlake (as Richard Stark), The Hunter (1962)
22. John D. MacDonald, The Deep Blue Good-by (1964)
23. George V. Higgins, The Friends of Eddie Coyle (1970)
24. Robert B. Parker, The Godwulf Manuscript (1973)
25. Donald Goines, Crime Partners (1974)
26. Joseph Wambaugh, The Choirboys (1975)
27. Lawrence Block, The Sins of the Fathers (1976)
28. James Crumley, The Last Good Kiss (1978)
29. Ross Thomas, Chinaman’s Chance (1978)
30. Martin Cruz Smith, Gorky Park (1981)
31. Sara Paretsky, Indemnity Only (1982)
32. Newton Thornburg, Dreamland (1983)
33. Charles Willeford, Miami Blues (1984)
34. Robert Crais, The Monkey’s Raincoat (1987)
35. James Lee Burke, The Neon Rain (1987)
36. Elmore Leonard, Get Shorty (1990)
37. Walter Mosley, Devil in a Blue Dress (1990)
38. James Ellroy, L.A. Confidential (1990)
39. Michael Connelly, The Black Echo (1992)
40. James Sallis, The Long-Legged Fly (1992)
41. Richard Price, Clockers (1992)
42. George Pelecanos, The Sweet Forever (1995)
43. Laura Lippman, Baltimore Blues (1997)
44. Ace Atkins, Crossroad Blues (1998)
45. Craig Johnson, Cold Dish (2004)
46. Megan Abbott, Die A Little (2005)
47. Don Winslow, The Power of the Dog (2005)
48. Daniel Woodrell, Winter's Bone (2006)
49. Benjamin Whitmer, Pike (2010)
50. Dennis Lehane, Live by Night (2012) 
51. Adrian McKinty, The Cold Cold Ground (2012)
52. Reed Farrel Coleman, Where It Hurts (2016)

**Update #1: Added Highsmith, Hughes, and Millar on Megan Abbott's recommendation.
**Update #2: Added Lippman, Stout, Sallis, Holding, Goodis, Thompson, and Woolrich on Topher Lundell's recommendation.
**Update #3: Added Hitchens, Eustis, Armstrong, and Caspary on Sarah Weinman's (editorial) recommendation.
**Update #4: I've dropped the asterisks on the books I haven't read—with 15 new additions, the disproportion of unread to read was getting out of hand!
**Update #5: Added Coleman, whose first Gus Murphy book, out last year, I had forgotten to include. 
**Update #6: Added Johnson, Woodrell, and Whitmer on Kester Smith's recommendation.