Set in museums and piazzas across several continents, Michael Ondaatje’s poetry collection A Year of Last Things brilliantly explores its themes, reminding us that he is a master of the genre.
Sara Koffi’s While We Were Burning is a searing thriller that dares readers to question their own perspectives on everyday, casual racism.
In the extraordinary Where Rivers Part, Kao Kalia Yang writes with deep feeling and grace about her mother, a Hmong woman who escaped the cascading violence from the Vietnam War.
Commenting on topics that range from patriarchy to colonialism, the internet to peer pressure, and first loves to heartbreaks, Aida Salazar delivers a fully intersectional look at what it means to try to embody masculinity without toxicity.
How to End a Love Story is a mature, compelling and relatable romance that resists simplifying its characters at every turn.
In an era of retellings, Percival Everett’s James stands out for staying true to Mark Twain’s voice, tale-spinning talent and humor, while also accurately depicting what Twain failed to acknowledge: the reality of life for enslaved people.
Magical and multifaceted, Julia Alvarez’s meditation on creativity, culture and aging, The Cemetery of Untold Stories, is a triumph.
Chris Bohjalian’s latest thriller, The Princess of Las Vegas is a thrilling symphony of run-down casinos, teenage hackers and royal impersonators with multiple mysteries at its core.
Hanif Abdurraqib’s captivating There’s Always This Year is a powerful meditation on place and community.
Full of hidden perils and twisting machinations, The Familiar is Leigh Bardugo’s most assured and mature work yet.
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