Like a guidance counselor who got his teaching certificate in Bayreuth, Mike Kelley has for years labored at his own Ring cycle of sorts—Educational Complex—but with vampiric thespians and peppy spirit leaders as ersatz Wotans and Frickas. In 2005, New York’s Gagosian Gallery mounted the fun-house installation of Day Is Done. The creepy anthropological tour of the perversejust- under-the-surface cultures of donkey-basketball competitions and Youth for Christ nativity plays was ecstatically brought to life in a Gesamtkunstwerk of photography, sculpture, costume, sound, and video based on the faithful reenactment and fanciful reimagination of period yearbook shots. Now, the catalogue documenting

Glaswegian-turned-Londoner Andrew O’Hagan made a name for himself as the deputy editor of the London Review of Books before publishing his nonfiction debut, The Missing, in 1995. In this profound inquiry into the worlds of the vanished— runaways, abductees, murder victims—O’Hagan wove together journalism, family history, and memoir (the project was sparked by curiosity about his grandfather’s disappearance during World War II). Fiction always draws O’Hagan back to Scotland: His first two novels, Our Fathers (1999) and Personality (2003), are multigenerational family sagas. Our Fathers takes the reader to Glasgow and Ayrshire and brings together a dying master builder and