Cat, Deputy Editor

2022 brings exciting releases from longtime favorites Jennifer Egan, Julie Otsuka, Mohsin Hamid and Kate Quinn, plus follow-ups from Namwali Serpell and Linda Holmes, and a slew of adult novels from stars of young people’s literature: Jason Reynolds, Nina LaCour and Kelly Barnhill.

Black Cake cover

Black Cake by Charmaine Wilkerson
Ballantine | February 1

Did someone say “Oprah”? Debut novelist Charmaine Wilkerson’s decades-spanning family drama will make its way to Hulu as a limited series, to be written and executive produced by Marissa Jo Cerar, creator of “Women of the Movement,” who has teamed up with Oprah Winfrey’s Harpo Films and Aaron Kaplan’s Kapital Entertainment. But before we’re completely submerged in media buzz, the novel itself stands out among upcoming family sagas, as it takes two estranged siblings from the Caribbean to London to California as they follow their mother’s final request for them to reconnect, discover their family’s secrets and, after all is said and done, eat their mother’s famous black cake.

What the Fireflies Knew by Kai Harris
Tiny Reparations | February 1

The first fiction title from Phoebe Robinson’s publishing imprint, Tiny Reparations Books, is the debut novel from Kai Harris, which is told from the perspective of an 11-year-old girl over the course of a seminal summer spent with her sister and estranged grandfather. We’re feeling strong uplifting vibes from Harris’ artist statement: “I want my words to be a safe space, a retreat, a giant bowl of comfort food (with ice cream on top). I want my words to be truth and light.” You can read an excerpt from Harris’ novel in Kweli Journal, in a special issue on Black girlhood that was guest edited by Nicole Dennis-Benn.

Nobody’s Magic by Destiny O. Birdsong
Grand Central | February 8

The acclaimed poet (Negotiations) and BookPage contributor (!) turns to fiction with her first novel, a triptych that follows the lives of three Black women with albinism, each navigating romance, autonomy, grief and their own sense of power. We’re feeling the emotional lyricism of Ocean Vuong’s On Earth We’re Briefly Gorgeous, set within a Southern milieu.

The Swimmers cover

The Swimmers by Julie Otsuka
Knopf | February 22

Julie Otsuka writes compact, ferocious little novels that land with a wallop: Her first, When the Emperor Was Divine, won the 2003 Asian American Literary Award and the American Library Association’s Alex Award, and her second, the internationally bestselling The Buddha in the Attic, was a finalist for the 2011 National Book Award and won the 2012 PEN/Faulkner Award for Fiction. Her third novel, which also clocks in at fewer than 200 pages, is her first in over a decade. It follows a passionate group of recreational swimmers after a crack appears at the bottom of their local pool, in particular one woman whose diminishing memory is exacerbated by the loss of her daily laps. By the time her estranged daughter returns home, the woman has been swept away into memories of childhood and days spent in a Japanese American internment camp.

The Unsinkable Greta James by Jennifer E. Smith
Ballantine | March 1

Readers of children’s books and YA know and love bestselling author Jennifer E. Smith (The Statistical Probability of Love at First Sight), and now everyone else will know her, too, because she’s making her adult fiction debut in March. The Unsinkable Greta James is about an indie guitarist who, after the death of her mother and an onstage breakdown, joins her father on what was supposed to be his wedding anniversary cruise in Alaska. Goodness knows we love emotional tales set at sea, and it’s also pretty cute that Smith’s novel is being published by Ballantine, where she worked as an editor once upon a time.

Booth by Karen Joy Fowler
Putnam | March 8

There is truly no way to predict what kind of book Karen Joy Fowler will write next. Her previous novel, We Are All Completely Beside Ourselves (2013), which won the 2014 PEN/Faulkner Award, the 2014 California Book Award for Fiction and was short-listed for the Booker Prize, was about a middle-class family raising a chimp. So naturally her next novel is a historical saga centered on the theatrical Booth family—as in John Wilkes Booth.


Glory by NoViolet Bulawayo 
Viking | March 8

NoViolet Bulawayo made quite a splash as a first-time novelist a decade ago: In 2012, she was one of the National Book Award’s 5 Under 35 honorees, and her 2013 debut novel, We Need New Names, won multiple awards and was a finalist for the Booker Prize. Her long-awaited follow-up is unlike anything else on this list, voiced by a chorus of animals who live in an unnamed African country and who must contend with the unexpected death of their leader, Old Horse. If this sounds Orwellian, it’s because it is: Bulawayo was inspired by the Zimbabwean coup and resultant fall of the nation’s president of nearly four decades in 2017, which led to online discourse and hashtags drawing a connection between the events and George Orwell’s novel Animal Farm

The Great Passion by James Runcie
Bloomsbury | March 15

The TV series “Grantchester,” based on James Runcie’s Sidney Chambers mysteries, is, I think it’s fair to presume, universally beloved. (It’s about a vicar who moonlights as a sleuth in 1950s Cambridge; if you don’t love it, you just haven’t read/watched it yet.) Along with penning his acclaimed, bestselling fiction, Runcie is also a documentary filmmaker, and his film resume includes a 1997 TV documentary about Johann Sebastian Bach, created for the BBC series “Great Composers.” In 2016, Runcie wrote a radio play, The Great Passion, about Bach’s writing of the St. Matthew Passion, and now we’ll get to enjoy Runcie’s creation in novel form, which follows the life of Bach from 1720 on, as well as the story of a 13-year-old boy who becomes a soloist for the great composer.

French Braid by Anne Tyler
Knopf | March 22

More and more writers are setting their novels—or parts of their novels—in the “pandemic present,” and though we’re not surprised, we are pretty wary. So much about living through the COVID-19 pandemic can’t be fully understood yet, but we trust Anne Tyler to join Zadie Smith, Louise Erdrich and a handful of others in their incisive looks at our present challenges. The latest from Tyler, whose novel Breathing Lessons won the Pulitzer Prize in 1989, follows a Baltimore family from the 1950s to the present, returning her many fans to the sweeping style of one of her best loved works, A Spool of Blue Thread.

The Diamond Eye cover

The Diamond Eye by Kate Quinn
William Morrow | March 29

We’re big fans of Kate Quinn over here, but the synopsis of her latest historical novel is on a whole other level: It’s a World War II novel . . . based on a true story . . . about a Russian librarian . . . who becomes the deadliest female sniper in history. She’s called Lady Death! It’s also worth noting that this is Quinn’s first hardcover release from William Morrow, a clear sign of reaching that special level of publishing gold. Go Kate!

The Candy House by Jennifer Egan
Scribner | April 5

This one’s another jaw-dropper: a “sibling novel” to Jennifer Egan’s Pulitzer Prize-winning A Visit From the Good Squad. Coming to readers more than a decade after Goon Squad, The Candy House is the story of a brilliant man and his unique creation called “Own Your Unconscious,” which is technology that allows you to access all your memories—and share your memories with others. We’re intrigued, especially by the enigmatic (you might even say downright confusing) publishing materials’ explanation for the link between the two books: “If Goon Squad was organized like a concept album, The Candy House incorporates Electronic Dance Music’s more disjunctive approach. . . . With an emphasis on gaming, portals and alternate worlds, its structure also suggests the experience of moving among dimensions in a role-playing game.” Sounds weird! We’re in.

Sea of Tranquility by Emily St. John Mandel
Knopf | April 5

After the imaginative brilliance of both Station Eleven (recently adapted into a series on HBO) and The Glass Hotel (also in development for TV series), we’re willing to trust Emily St. John Mandel implicitly, which perhaps goes against our code as critics, but oh well. The St.-J-M literary universe, which binds together all of her novels, expands with Sea of Tranquility, an epic tale spanning from 1912 Vancouver Island to a moon colony 200 years in the future. Plus, the version of Sea of Tranquility distributed to independent bookstores will include a special chapter, which is a cool bonus for readers dedicated to patronizing their local bookstores.

True Biz cover

True Biz by Sara Novi​​ć
Random House | April 5

Sara Novi​​ć follows up her award-winning first novel, Girl at War, with a tale set within a residential school for the deaf. Its title is a phrase from American Sign Language that means “really, seriously, real-talk,” and as Novi​​ć is herself a member of the Deaf community and an instructor of Deaf studies at Stockton University in New Jersey, we’re expecting just that: real talk. Plus, there are already plans for True Biz to become a TV adaptation, produced by and starring deaf actor Millicent Simmonds, whom you may know from John Krasinski’s 2018 horror film, A Quiet Place. Nović will also be an executive producer on the show, and the studio has expressed further commitment to hiring Deaf and hard-of-hearing individuals to fill many of the creative and leadership roles.

Young Mungo by Douglas Stuart
Grove | April 5

With Shuggie Bain, Scottish American author Douglas Stuart became the sixth first-time novelist and second Scottish writer to win the prize since it was founded 50 years ago. Naturally, we’re bringing some very high hopes to his second novel, Young Mungo. It’s a story of star-crossed lovers: two young working-class men, one Protestant, the other Catholic, living amid the violent gangs on a Glaswegian estate. In a secluded pigeon dovecote, they find a private world to explore their love, but the threat of discovery looms large.

Take My Hand by Dolen Perkins-Valdez
Berkley | April 12

Take My Hand is poised to be a big breakout for Dolen Perkins-Valdez, though her list of achievements is already quite long. She’s the bestselling author of Wench and Balm, a PEN/Faulkner fellow, a finalist for two NAACP Image Awards and the Hurston-Wright Legacy Award for fiction, and winner of the First Novelist Award by the Black Caucus of the ALA. This is her first novel since 2015, and it was inspired by a true event: the 1973 Relf v. Weinberger case, in which three underage Black sisters were sterilized without their consent, and a social worker’s whistleblowing blew the lid off the nationwide scandal. This novel fictionalizes those events through the story of a nurse in Alabama, and for readers of historical fiction, it’s one to watch for sure.

Liarmouth cover

Liarmouth: A Feel-Bad Romance by John Waters
FSG | May 3

The very first novel from legendary filmmaker John Waters (Mr. Know-It-All) is a “perverted feel-bad romance” starring a clever con woman who steals suitcases at airports. Other important John Waters news (because we don’t have any further information about the book) is that he recently dedicated namesake bathrooms at the Baltimore Museum of Art and appeared on “The Marvelous Mrs. Maisel,” plus there are murmurings about a new film project and an upcoming art exhibit. We love an irreverent, prolific genius!

Trust by Hernan Diaz
Riverhead | May 3

Hernan Diaz’s debut novel, In the Distance, really put him on the map, earning him a finalist spot for both the Pulitzer Prize and the PEN/Faulkner Award for Fiction in 2018. Published by Coffee House Press in 2017, it was an exceptional entry in the recent list of great novels reimagining the narrative of the American West, garnering comparisons to Jorge Luis Borges’ work. Diaz’s follow-up, Trust, is an imminently intriguing story-within-a-story centering on a 1938 novel titled Bonds, about the immense fortune cultivated by a Wall Street tycoon and his aristocrat wife. Comparisons to Amor Towles are already swirling, so keep your eyes peeled.

Vigil Harbor by Julia Glass
Pantheon | May 3

In her seventh novel, the 2002 National Book Award-winning author of Three Junes takes us 10 years into the future, where locals in a small coastal town are doing their best amid an increasingly terrifying world of escalating storms and domestic terrorist attacks. Then two outsiders come to Vigil Harbor, one of whom is a woman determined to solve the disappearance of a long-lost lover. Plus, there’s a secret involving a selkie! That’s a lot to unpack, so we’re looking forward to seeing Julia Glass’ navigation of it all. 

When Women Were Dragons cover

When Women Were Dragons by Kelly Barnhill
Doubleday | May 3

2022 will be a big year for Newbery winner Kelly Barnhill, who in March returns with her first book for young readers since The Girl Who Drank the Moon (read about it in our list of most anticipated children’s books), and then in May delivers her first novel for adult readers, When Women Were Dragons. During the Mass Dragoning of 1955, hundreds of thousands of women, scattered all around the world, spontaneously transformed into dragons. At the story’s center is a girl who wants to understand why.

The Cherry Robbers by Sarai Walker
Mariner | May 17

Sarai Walker’s debut novel, Dietland, was one of our Best Books of 2015, and with her second novel (finally!), she moves into historical fiction with a tale inspired by a tourist attraction near San Francisco: the Winchester Mystery House, a spooky mansion built by a turn-of-the-century American firearms heiress. The Cherry Robbers is a subversive gothic novel that follows the story of Iris Chapel, who attempts to escape her family’s multigenerational curse, in which each daughter is fated to die on her wedding night.

You Have a Friend in 10A by Maggie Shipstead
Knopf | May 17

Hot on the heels of Maggie Shipstead’s finest novel and one of our Best Books of 2021, Great Circle, comes her first book of short stories! If Great Circle displayed her tremendous ability in crafting a tale of immense breadth, a story collection will swing the other way, allowing fans to revel in her talent for brevity.

Either Or cover

Either/Or by Elif Batuman
Penguin Press | May 24

Fans of The Idiot, New Yorker staff writer Elif Batuman’s absurdist take on the campus novel, have waited five years to find out what’s next for her brainy but awkward heroine, Selin. In Either/Or, Selin returns for her sophomore year at Harvard determined to continue her search for self-knowledge (and possibly her pursuit of Ivan, her freshman crush).

The Latecomer by Jean Hanff Korelitz
Celadon | May 31

Is Jean Hanff Korelitz on the cusp of becoming the next Liane Moriarty? It certainly feels like she’s close, consistently proving that she can hook readers with her well-balanced literary thrillers and family dramas. You Should Have Known (2014) was adapted as HBO’s 2020 series  “The Undoing.” And her 2021 novel, The Plot, was one of those books we kept hearing about from other authors; clearly, Korelitz touched on something deeply true about the writing and publishing processes. Her next novel centers on privileged triplets who, on the cusp of leaving for college, discover a shocking family secret: There was a leftover embryo after their parents’ in vitro fertilization, and now they have a fourth sibling, just born.

Yerba Buena by Nina LaCour
Flatiron | May 31

YA fiction superstar Nina LaCour is making her first foray into the realm of adult fiction, and the world has stopped on its axis while we wait for the quiet power of Yerba Buena. It’s the story of two young women, shouldering more than their share of trauma and pain, who find their way to each other, so I suppose we could all just start crying and hugging now.

Tracy Flick Can't Win cover

Tracy Flick Can’t Win by Tom Perrota
Scribner | June 7

Tom Perrotta (Mrs. Fletcher) is the defining satirist of suburban politics, and if you haven’t read his 1998 novel, Election, you at least are likely familiar with the movie adaptation, starring Reese Witherspoon as the ambitious lead, Tracy Flick. To many, Tracy was a villain; to others, a feminist hero. Well, Tracy Flick is back, and she’s got her sights set on a promotion to high school principal. Perrotta will surely line her path with darkly comic hurdles and razor-sharp critique of the school culture—and larger world—around her.

Flying Solo by Linda Holmes
Ballantine | June 14

“Pop Culture Happy Hour” host Linda Holmes’ feel-good, utterly enjoyable bestselling debut, Evvie Drake Starts Over, earned an easy spot on our list of the Best Romance of 2019. We’re thrilled to learn about the upcoming publication of Holmes’ second novel, Flying Solo, which sounds like pure joy—and pure gold. It’s about a woman named Laurie who has recently canceled her wedding and returned to her Maine hometown. She’s in charge of her adventurous aunt’s estate that has a mysterious wooden duck among its treasures, and then the duck is stolen, so of course Laurie must discover her great-aunt’s secrets. Sure, the premise isn’t breaking any new ground, but that doesn’t matter, because Holmes knows how to deliver exactly what you want in the most satisfying way.

Horse by Geraldine Brooks
Viking | June 14

The acclaimed and beloved author of five previous novels (including the Pulitzer Prize-winning March) returns with a historical novel inspired by the true story of the thoroughbred sire horse named Lexington. Spanning from Civil War-era Kentucky to present-day Washington, D.C., the novel explores hidden legacies, the bonds between human and horse and the secrets held within art, the last of which fans will recall was also an element of Brooks’ novel People of the Book. Plus, we love a title that gets right to the point.

The Twilight World cover

The Twilight World by Werner Herzog
Penguin Press | June 14

Werner Herzog’s range as a filmmaker is massive, though I’ll always think of him as the documentarian who captured the saddest penguin moment of all time. (View Encounters at the End of the World at your heart’s own peril.) Considering the intensity of his storytelling, Herzog’s first novel inspires both excitement and trepidation. It’s based on the true story of a Japanese soldier named Hiroo Onoda who defended a small island in the Philippines for almost 30 years after the end of World War II, and whom Herzog met in 1997 during a trip to Tokyo. The novel is described as “part documentary, part poem and part dream.”

Tomorrow, and Tomorrow, and Tomorrow by Gabrielle Zevin
Knopf | July 12

The bestselling author of one of all our all-time favorite books-about-bookstores, The Storied Life of A.J. Fikry (whose film adaptation will star Kunal Nayyar, Lucy Hale and Christina Hendricks), returns! Gabrielle Zevin’s latest novel sounds gently provocative and wonderfully redemptive: Spanning 30 years, it follows two childhood friends who reunite in adulthood to create a video game “where players can escape the confines of a body and the betrayals of a heart, and where death means nothing more than a chance to restart and play again.”

Mercury Pictures Presents cover

Mercury Pictures Presents by Anthony Marra
Hogarth | July 19

World War II meets Hollywood in the third novel from Anthony Marra, whose first two novels, A Constellation of Vital Phenomena (which won the National Book Critics Circle’s John Leonard Prize and the Anisfield-Wolf Book Award, and was long-listed for the National Book Award) and The Tsar of Love and Techno, earned both critical success and book club popularity. Of course, everyone loves an escapist Hollywood story, but it’s all the better when those bright lights shine on something deep and true, so we’re looking forward to Marra’s epic novel of reinvention, politics and the lengths to which we’ll all go to survive.

Calling for a Blanket Dance by Oscar Hokeah
Algonquin | July 26

Here’s another debut we’re especially excited about: With solid Tommy Orange vibes, the first novel from Oscar Hokeah is a coming-of-age tale told from a chorus of multigenerational voices. Ever Geimausaddle is at the story’s heart, and as his family navigates the ups and (many) downs of life, they also have strong opinions about how young Ever’s future will look. Hokeah is a citizen of Cherokee Nation and the Kiowa Tribe of Oklahoma from his mother's side and of Latinx heritage from his father’s, and he works with Indian Child Welfare in his hometown of Tahlequah, OK. Plus, his writing creds are no joke: He has a BFA in Creative Writing from the Institute of American Indian Arts (IAIA), with a minor in Indigenous Liberal Studies. He’s also a winner of the Taos Summer Writers Conference’s Native Writer Award. One to watch, for sure.

The Many Daughters of Afong Moy by Jamie Ford
Atria | August 2

Throughout Jamie Ford’s previous three novels, including his acclaimed debut, Hotel on the Corner of Bitter and Sweet, readers have been transported to historical Seattle to discover the stories of Japanese and Chinese Americans grappling with buried memories, the fragile bonds within families and found families, and the choices we make to survive. Ford’s fourth novel tangles with many of these same themes through the story of Dorothy Moy, former poet laureate of Washington, who reconnects with her female ancestry as she searches for a way to help her daughter. It’s based on the story of a real person—Afong Moy, the first Chinese woman to set foot in America in 1832—but with a speculative twist.

The Last White Man by Mohsin Hamid
Riverhead | August 2

Booker Prize finalist and bestselling novelist Mohsin Hamid’s Exit West is one of those spectacular novels that we urgently recommend to everyone, so news of his first book since that 2017 novel literally made me gasp so hard that I ran out of air. Like Exit West, The Last White Man has a dollop of the fantastical, as it’s set in a world where white-skinned people wake up with darker skin. Hamid is one of those writers who can package really complicated, difficult issues and make them reach anyone, even someone who maybe isn’t ready to hear about them. Also, it must be said that he has a great reading voice, so we hope that he’ll read this one on audio, as well.

Afterlives cover image

Afterlives by Abdulrazak Gurnah
Riverhead | August 23

When Tanzanian novelist Abdulrazak Gurnah won the 2021 Nobel Prize in Literature, he became the first Black laureate since Toni Morrison in 1993, and the first Black writer from Africa to receive the award since Wole Soyinka (of Nigeria) in 1986. After Gurnah’s win was announced, it was incredibly hard for readers to acquire copies of his books—partly because of supply chain issues, and partly because his books had never found an audience in the U.S., and so were often out of print or just plain hard to find. Last fall, Riverhead announced plans to publish three titles from Gurnah: the novel he published in the U.K. in 2020, Afterlives, and then two out-of-print novels, By the Sea and Desertion. Coming in August, Afterlives promises to be brutal, sweeping, intimate and necessary, a multigenerational saga unfolding amid the colonization of East Africa.

Haven by Emma Donoghue
Little, Brown | August 23

We’re living for this historical kick from bestselling Irish novelist Emma Donoghue! In her latest novel, she combines the spirituality of The Wonder (currently being developed as a film starring Florence Pugh) with the deep historical research of her timely 2020 novel, The Pull of the Stars (about the 1918 flu pandemic), for a tale about early Christianity. In seventh-century Ireland, a priest and two young monks journey down the river Shannon in search of a place to found a monastery, but they soon drift out to the Atlantic Ocean and arrive at a rugged island inhabited by huge flocks of birds, known today as Skellig Michael.

The Furrows by Namwali Serpell
Hogarth | August 30

Namwali Serpell’s debut novel, the expansive yet intricate genre-bending saga The Old Drift, received piles of love—as it should’ve. Along with being one of our Best Books of 2019, it also earned a number of literary prizes, including an L.A. Times Award. Naturally our expectations are high for The Furrows, which is out to break even more literary rules. It’s set in 1990s Baltimore and will explore “different kinds of Black identity, as well as different modes of Black speech.”

Signal Fires by Dani Shapiro
Knopf | Fall 2022

Dani Shapiro is best known for her memoirs, such as Inheritance and Devotion, but she’s also a fabulous novelist and story writer. Signal Fires, her first work of fiction in more than a decade, is about a catastrophic event that utterly transforms the lives of two families over several generations. The fateful day occurs in 1985, when a car crash results in the death of a young woman. As Shapiro explains in a release from her publisher, the epiphanies within her own family history, as explored in Inheritance, led to the writing of this novel: “There’s a haunting question at the center of the book,” Shapiro says. “Is the past ever really past, and what is the price of denying our own history? In Signal Fires, each character is haunted, their lives shaped by what they can’t allow themselves to know or feel.”

The Mouthless God and Jesus Number Two by Jason Reynolds
Scribner | TBD

NAACP Image Award winner, Newbery Honor recipient and former National Ambassador for Young People’s Literature Jason Reynolds (Look Both Ways) is one of the greatest writers of children’s and YA literature, and we’re beyond excited that he’ll bring his gifts to a new readership, hopefully sometime this year. His first novel for adult readers is set within a carnival town that’s home to a boy named Mm who was born without a mouth. Says Reynolds, “I’m honored to tell the story of this boy, Mm, who has lived in my imagination for years, and has also been in the back row of every school auditorium I’ve visited.”

A Spell of Good Things by Ayọ̀bámi Adébáyọ̀
Knopf | TBD

Nigerian author Ayọ̀bámi Adébáyọ̀’s award-winning first novel, Stay With Me, came out in 2017, and people continue to ask us about it nearly five years later. It’s so wonderful when a truly great book has such staying power! Her second novel is rumored to come out this year, and it’s about “two families in Nigeria at opposite ends of the economic spectrum, whose lives collide when political turmoil erupts in their city.” In a statement from the publisher, Adébáyọ̀ said the book was conceived “after a detour compelled me to realize what remained invisible to me in a town that I had long called home. While it has taken a few years to write a novel I hope illuminates the tangled longings of its characters, I’m excited to share it with readers.”

Wandering Stars by Tommy Orange
Knopf | TBD

Tommy Orange’s 2018 debut, There There, was a groundbreaking work of fiction that well deserved all the love it received. Along with being one our Best Books of that year, it won the 2018 Center for Fiction First Novel Prize, was long-listed for the National Book Award for fiction 2018 and the Carnegie Medal for Excellence in Fiction 2019, and was a finalist for the Pulitzer Prize. His follow-up to that smash hit is rumored to hit shelves sometime this year.

Check out our most anticipated titles of 2022 in every genre!

There's nothing quite like the optimism of a whole new year of fiction.

No one does an art thriller quite like B.A. Shapiro, and with such as novels The Art Forger and The Muralist, she’s carved out quite the niche by blinding literary thrills with questions of authenticity, value, museum politics and the inner workings of various historical art scenes.

Shapiro’s next novel, Metropolis, arrives this spring from Algonquin Books, and BookPage is delighted to reveal its cover and an exclusive excerpt!

First, read a bit about Metropolis in the official synopsis from Algonquin:

This masterful novel of psychological suspense from the New York Times bestselling author of The Art Forger follows a cast of unforgettable characters whose lives intersect when a harrowing accident occurs at the Metropolis Storage Warehouse in Cambridge, Massachusetts. 

But was it really an accident? Was it suicide? A murder? Six mysterious characters who rent units in, or are connected to, the self-storage facility must now reevaluate their lives. We meet Serge, an unstable but brilliant street photographer who lives in his unit, which overflows with thousands of undeveloped pictures; Zach, the building’s owner, who develops Serge’s photos as he searches for clues to the accident; Marta, an undocumented immigrant who is finishing her dissertation and hiding from ICE; Liddy, an abused wife and mother, who re-creates her children’s bedroom in her unit; Jason, who has left his corporate firm and now practices law from his storage unit; and Rose, the office manager, who takes kickbacks to let renters live in the building and has her own complicated family history. 

The characters have a variety of backgrounds: They are different races; they practice different religions; they’re young and they’re not so young; they are rich, poor, and somewhere in the middle. As they dip in and out of one another’s lives, fight circumstances that are within and also beyond their control, and try to discover the details of the accident, Shapiro both dismantles the myth of the American dream and builds tension to an exciting climax.

Metropolis hits bookstores and libraries on May 17, 2022. While you wait, we’re delighted to reveal the cover from designer Sara Wood and art director Christopher Moisan. Plus, an exclusive excerpt after the jump!

BOSTONGLOBE.COM, JANUARY 7, 2018. Cambridge, MA—Rescue workers were dispatched to the Metropolis Storage Warehouse at Massachusetts Avenue and Vassar Street in response to a 911 call at 11:15 this evening. At least one person was taken to Massachusetts General Hospital with critical injuries after a fall down an elevator shaft. Details are limited, and neither police nor hospital officials identified the victim. Questions were raised about what people were doing at the self-storage facility at that hour, and police are investigating other violations concerning the building. This is a developing story. It will be updated.



May 2018

It’s Rose’s fault. It’s Aetna’s fault. It’s Otis Elevator’s fault. All of the above and none of the above. Zach Davidson hovers at the edge of the crowd, but at six two it’s tough to blend into the background. The auctioneer doesn’t know Zach is the recipient of the money from the forthcoming sales, and he wants to keep it that way, although he doesn’t know why this matters. He isn’t even sure why he’s come, unless as some perverse form of self-flagellation. 

“Most of you know the rules,” the auctioneer begins in her booming voice, “but I’m going to go over them quickly. Due to foreclosure of the building, the contents of twenty-two abandoned storage units are up for sale. The minimum bid is one hundred dollars. Cash only. I’ll open the door to each unit, and you’ll have five minutes to see what’s inside, and then I’ll start the auction. You may not cross the threshold. You may not touch anything. You may not ask me any questions, because I don’t have any answers. You take it all or you leave it all. Then we move on to the next unit. Is this clear?”

There’s a murmur of acceptance, which echoes off the concrete walls and floor, the steel-reinforced ceiling. They’re standing outside Rose’s old office, the woman Zach shouldn’t have relied on. Every direction he looks pisses him off. Rose’s empty desk, the dim bulbs, the peeling paint. He turns his back on the yellow police tape stretched across the elevator.

It’s been almost four months since it happened, and still no one knows for sure if it was an accident, a suicide attempt, or a murder attempt. Could be any of them, but it doesn’t make all that much difference. He’s screwed any which way. Damn elevator. Damn Rose. Damn hard luck. 

He follows the auctioneer as she marches down a corridor lined with heavy metal doors, each imprinted with a round medallion containing a large M intertwined with a smaller S and W. Metropolis Storage Warehouse. One hundred and twenty-three years old. Six stories high. Ninety feet wide. Four hundred and eighty feet long. Almost four hundred storage units of various sizes and shapes; some even have windows. Zach knows it well.

Author B.A. Shapiro

The potential bidders are a mixed bunch. Two men in ratty clothes smell as if they’ve been sleeping on the street, which they probably have. Another three look like lawyers or real estate developers, and there’s a foursome of gray-hairs who appear to have just stepped off the golf course. A gaggle of middle-aged women in running shoes sends stern glances at a girl clutching a pen and a pad of paper, who seems far too young to be the mother of the children she’s yelling at. Male, female, tall, short, fat, slim, white, Black, brown, rich, poor, clever, or not so clever. Like the inner recesses of Metropolis itself, a diverse assemblage that stands in contrast to the archipelago of cultural and economic neighborhoods Boston has become. 

Zach has owned Metropolis for ten years, bought at a ridiculously low price in a quasi-legal deal that looked to be the way out of the consequences of his bad choices. Although it still belongs to him, however temporarily, he has no idea what’s behind any of the doors. The building had a well-deserved shady reputation when he purchased it, and he concluded he was better off not knowing what people were storing in their units. In retrospect, a little prying might have averted this mess.

The auctioneer, a beefy woman with biceps twice the size of Zach’s, takes a key from her backpack and dramatically twists it into the lock. Then she slides the ten-foot-wide fireproof door along its track on the floor to reveal a murky room, lumpy with shadowy objects. She reaches inside and flips on the light. 

“Take it all! Leave it all!” she cries. “Five minutes!”

Revealed by naked light bulbs hanging from the eleven-foot ceiling, #114 is decidedly dull. An old refrigerator, an electric stove, a bunch of mismatched chairs, a couple of mattresses, clothes overflowing from open cartons scattered all over the floor. There are at least two dozen sealed boxes lined up against the far wall and a four-foot pile of empty picture frames ready to topple. Everything is coated with what appears to be decades of dust. Zach groans inwardly. He needs every cent he can squeeze out of this auction, and no one’s going to bid on any of this junk. 

But he’s wrong. After the auctioneer starts rippling her tongue in an impenetrable torrent of words, people start raising their hands. When the contents go for $850, Zach is flabbergasted. The other units surely contain more impressive stuff than this and should generate even higher bids.

Some do, some don’t, and two are completely empty. 

“Take it all! Leave it all! Five minutes!” 

When the auctioneer unlocks the door of #357, there’s a collective gasp. The interior looks like a stage waiting for the evening performance to commence: a complete upscale office suite, including a desk, bookshelves, and a small conference table surrounded by four chairs. Bizarre. It goes for $3,500. 

On the fifth floor is a tiny and perfectly immaculate unit: a neatly made single bed, an intricately carved rolltop desk, a chair, a small bureau. Nothing else. One thousand dollars. In #454, there’s another bizarre tableau. Creepy, actually. It appears to belong to a couple of teenagers. Two desks piled with books and trophies, walls covered with movie posters, and corkboards adorned with invitations and photos and newspaper clippings. Did they come here to study? To hide? Zach stretches his neck in as far as he can without the auctioneer cutting it off. 

She almost does. “Step back, sir!” she yells, her voice stiletto-sharp. “This minute!” Everyone looks at him as if he’s committed a heinous crime. “Take it all! Leave it all! Five minutes!”

Annoyed, he does as she orders, but he wants to see more, surprised to find himself interested in the lives lived here. This is something he’d never considered before, or to be more correct, he had thought about it, but only as a means to get the bad guys out of the building and clean up his own act. Now the questions surge. Who were these people? Why these particular items? And, most intriguing of all, why did they leave so much behind? 

Unit 421 is another stage, but this one is freakish in its attention to detail. It’s a double unit with two round windows, and it looks like an upscale studio apartment, perhaps a pied-à-terre. Against one wall, a queen-size bed is covered by a rumpled silk bedspread and an unreasonable number of pillows. A nightstand holding a lamp and a clock sits to its right side; a large abstract painting is centered over the headboard. At the other end of the unit is an overstuffed reading chair, a writing desk, and a sectional couch, also with too many pillows, facing a large-screen television. In the corner, there’s a small table, two chairs, and a compact kitchen featuring cabinets, a refrigerator, a microwave, and a fancy hot plate. 

“Take it all! Leave it all! Five minutes!”

This time there’s no doubt in Zach’s mind to whom the unit belongs, or rather, to whom it had belonged. Liddy Haines. He closes his eyes and presses his forefinger to the bridge of his nose in an attempt to make the horrific image go away, which it does not. Six thousand dollars. 

Unit 514 was apparently used as a darkroom, and from the looks of it, also as a bedroom. He stares at the sheets pooling at the edge of a cot, at the dirty clothes heaped on the floor. He’s seen three beds in three different units over the last hour, and he clenches his fists to contain his anger. If Rose didn’t know people were living here, she should have. It was a lawsuit waiting to happen—even if it wasn’t the lawsuit now upending his life. An irony he’d appreciate more if he weren’t so damn furious. 

In contrast to Liddy Haines’s unit, there’s no expensive furniture here, but there is a lot of high-quality photographic equipment. A long table edges the south side of the room, overflowing with trays, chemicals, jugs, paper, an enlarger, and an assortment of spools, filters, thermometers, and timers. A clothesline with pins attached stretches over the jumble, and there are at least a dozen five-gallon Poland Spring containers, most of them full, along with another dozen warehouse-size cartons of energy bars. 

A Rolleiflex camera is perched atop a stack of cartons, its well-worn leather strap dangling. Zach recognizes it because of the nature photography he’s been doing lately, his current obsession. Highpointing, climbing the highest peak in every state, was his last one, and that’s what got him into taking landscape pictures in the first place. But his interest in mountaineering has been waning—thirty-two states is more than enough—as his new interest in photography has waxed. He’s usually only good for one obsession at a time, dropping the previous one when another grabs his fancy. He’s an all-in or all-out kind of guy. 

The Rolleiflex is a twin-lens reflex, medium format, which hardly anyone uses anymore. But if you know what you’re doing, it takes remarkable photos. Zach rented one when he was at Bryce last year, and the first time he looked down into the viewfinder—which is at waist, rather than eye, level—he was blown away. 

The vastness of the mountains and the big sky in front of him were perfectly reflected through the lens, without the tunnel vision effect of a standard camera. When he returned to Boston, he kept it a few extra days and experimented with street photography. The cool part is that because you’re looking down rather than directly at your subject, no one is aware they’re being photographed. Vivian Maier, arguably one of the greatest street photographers ever, used a Rolleiflex. 

Zach leans into the unit as far as the Nazi will allow, searching for pictures. There are a few lying about, but it’s difficult to see them from the hallway. The ones he can see are all square rather than rectangular, a feature of the Rolleiflex. He tilts his head and squints at a photo on the end of the table closest to him: a striking black-and-white with afternoon sunlight cutting a diagonal across the image. 

A man is standing in front of an open door with an arched top; the word “Office” can be clearly read behind his head. His shoulder leans against the doorframe, one knee slightly bent. His eyes stare off into the distance. Before Zach understands what he’s seeing, his stomach twists. It’s a photograph of him.

Photo of B.A. Shapiro by Lynn Wayne. Excerpt from Metropolis © 2022 B.A. Shapiro. Reprinted with permission of Algonquin Books.

BookPage reveals the cover and an excerpt of B.A. Shapiro’s novel Metropolis.

Actor, activist and visionary Cicely Tyson’s memoir, Just as I Am, is as graceful as it is funny, as measured as it is charming. The audiobook features a number of treasures, including a foreword read by Viola Davis and an introduction from Tyson herself, but narrator Robin Miles carries the majority of Tyson’s life story, and she does so beautifully. Here Miles discusses the humbling and thrilling process of narrating this remarkable book.

Tell me a bit about transforming Just as I Am into an audiobook. How did you prepare, and what did you most enjoy about the preparation?
I Googled to find every interview [of Tyson] I could, and then watched them repeatedly. Not to copy her voice, but to hear and feel how she communicates, her energy and pace, her intellect and humor. And I wanted to feel her energy as a young actress, then again as a mature actress. I just loved how self-possessed she was in all of them.

Tell us about your personal connection to Tyson prior to narrating the audiobook, and did you work with her at all during the audiobook’s production?
Cicely Tyson was very special to me; she was a big reason why I wanted to be an actor and believed that it was possible for me, the Black girl with the buck teeth. I did get to speak with her during the process, and it was thrilling. Also humbling, because she asked me to take my time more in the reading. (Ironically, I had stepped up my pace, fearing that my original tempo might be too slow. She assured me that my instincts were right, and reminded me to always trust them. Sigh . . .)

Was there anything you felt strongly about getting “right” as you narrated her words?
Absolutely. I wanted the moments when she expressed a strong reaction or deep impression to be organic, natural and true. No pretense, no overplaying.

As you told Tyson’s story, what were you most surprised to learn about her? Was there any section that was particularly challenging to narrate?
I was surprised to learn that she came from the same neighborhoods of NYC that my Caribbean grandparents, aunties and uncles lived in. I keep thinking that one of my great aunts must have known her as a little girl. It was a six-degrees experience knowing that, and that my acting teacher at Yale Drama, Earl Gister, was a close colleague of her teacher, Lloyd Richards.

Do you have a favorite Cicely Tyson performance or memory?
Oh yes . . . Sounder. That film left an indelible impression on me. I think it was the quiet intensity, the way she portrayed perseverance, love and grounding with a soft femininity. It just shattered the stereotyped images of Black women we had been fed in entertainment up to that point.

How does the experience of narrating an audiobook differ from other kinds of performances?
With audiobooks, I conjure and project images in front of me the whole time (the place, the people, etc.), so I am reacting to something outside of myself that I must invest in, but that isn’t tangibly there. With theater, film, TV, there are so many levels of real images to use as a source; you endow them with meaning and let them do their work. The movie of the audiobook narrative happens solely in my head.

“It emotionally hurts to let that pain into my body, but it is necessary to make complex human dynamics recognizable.”

What’s the hardest part of limiting your acting toolbox to just your voice?
Good question. One thing is definitely the urge to move or gesture. I cannot tell you how often I’ve whacked a mic. The other is that you cannot hide; you have to release the thing you’re feeling and pursue the things you want or else you leave your listener squinting (i.e., left in a state of confusion about what’s happening between characters).

What do you believe are your greatest strengths as a narrator?
I would say a deep understanding of language, strong acting chops and a strong ear for music and rhythm, which helps with accents and emphasis. I was blessed to have exceptional speakers modeling the use of language in my family. I had a leg up in understanding complex sentences from my grandfather, who was a Shakespeare and Victorian poetry professor. It’s like the family legacy, so I cannot take credit for it. I also grew up in a neighborhood of immigrants from everywhere, and I absorbed their accents. Then, drama school added solid acting training to my arsenal. It turned out to be a perfect storm for audiobook narration.

What is the most rewarding or coolest thing you get to bring to this experience through your reading?
The most rewarding thing I’d have to say is offering up my emotional intelligence as a community service. When I express what characters feel and want from each other, what is happening beneath the words, I like to think I add to the emotional intelligence of the community. At least, I tell myself that when I freely allow a character’s pain to play through my body and voice. It emotionally hurts to let that pain into my body, but it is necessary to make complex human dynamics recognizable.

What’s one thing people might not expect about your role as narrator?
I think people believe that narrators read super fluidly and make very few mistakes. And that can be true for me with colloquially worded nonfiction books and some very fluidly written fiction. But we narrators misread or stop to redo a line every few sentences, particularly with fiction. Especially in the beginning of the book, before I have absorbed the feel of the author’s style and the individual characters. My students who accompany me to a session are always so surprised.

ALSO IN BOOKPAGE: Read our starred review of the Just as I Am audiobook.

Narrator Robin Miles discusses the humbling and thrilling process of narrating Cicely Tyson's remarkable memoir, Just as I Am.

With these novels on the horizon, it’s easy to feel excited about what’s to come in 2021. From all-time favorites like Kazuo Ishiguro to buzzy up-and-comers like Zakiya Dalila Harris, we can’t wait to check out these fiction releases.

The Four Winds by Kristin Hannah
St. Martin’s | February 2

After the runaway success of The Nightingale and The Great Alone, we have high expectations for any historical fiction from Hannah. We know we can trust her to serve fine drama, easy-reading prose and a vivid historical milieu, and we also expect her to make us cry over one or multiple characters. This time she’s taking us to the Great Depression and the Dust Bowl, and we’ll follow a family of women as they find a home among workers’ rights activists.

Milk Fed book coverMilk Fed by Melissa Broder
Scribner | February 2

In her 2018 debut novel, The Pisces, Broder brought us intimate moments with a merman; now she’s back with a Sapphic Jewish love story about all different appetites, especially for food and sex. In Broder’s hands, the strange can be supremely sexy and the obsessive can be deeply comforting, so we’re especially excited about her second novel, which is about a woman named Rachel who lives a restricted life due to a dysfunctional relationship with her mom. But after a beautiful, fat yogurt shop employee begins sharing some over-the-top sundaes with her, Rachel quickly finds that her desire has been there all along.

My Year Abroad by Chang-rae Lee
Riverhead | February 2

A new book from award-winning author and Pulitzer Prize finalist Lee is always cause for celebration, not least because each of his books is so different from the last, and it’s a thrill to see where he’s headed next. This one has a classic premise: A young man is swept up by a charming businessman and comes of age during their globetrotting travels, but what happens on those travels is wilder than anything you’ve read before.

The Removed book coverThe Removed by Brandon Hobson
Ecco | February 2

Hobson’s 2018 novel, Where the Dead Sit Talking, was a National Book Award finalist, and from the sound of this follow-up, it’s clear he’s only getting started. Drawing on real historical figures and Cherokee folklore, the novel explores grief and trauma within a family mourning the loss of their son. Hobson is a citizen of the Cherokee Nation Tribe of Oklahoma, and his perspective on the nature of home for Native Americans is essential reading this winter.

No One Is Talking About This by Patricia Lockwood
Riverhead | February 16

From the author of the singularly hilarious memoir Priestdaddy comes a social media novel unlike anything you’ve ever read before. If you live for the fragmented comedy afforded to a writer by Twitter, then this is the next step up.

The Kitchen Front book coverThe Kitchen Front by Jennifer Ryan
Ballantine | February 23

This is the third novel from the bestselling author of The Chilbury Ladies’ Choir, and it’s hitting all the right notes: World War II and a BBC cooking show. Considering how much “Great British Bake Off” we’ve watched in the last year, this is high on our list of cozy, comforting reads for 2021.

The Committed by Viet Thanh Nguyen
Grove | March 2

Vietnam-born author Nguyen’s 2016 Pulitzer Prize-winning debut novel, The Sympathizer, was an instant classic, starring an unnamed double agent whose ability to hold starkly opposing worldviews causes a division of self. This year Nguyen returns with the long-awaited sequel, promising philosophical deep dives and a unique look at Vietnamese refugee life in 1980s Paris.

Klara and the Sun book coverKlara and the Sun by Kazuo Ishiguro
Knopf | March 2

This is Ishiguro’s eighth novel and his first since he won the Nobel Prize for Literature in 2017. (He was also knighted in 2019!) A return to the first-person narrative style for which we adore him, this novel has a narrator we can’t wait to meet, like something out of a slightly creepy fairy tale: an “Artificial Friend” who observes humans from her place in a department store, where she hopes to be purchased for a child.

Good Company by Cynthia D’Aprix Sweeney
Grove | March 2

Sweeney’s 2016 debut novel, The Nest, became an instant bestseller, and no wonder—she’s got a clear knack for family drama. She’s back in the landscape of lifelong relationships with her second book, the story of a woman who’s trying to make sense of her husband’s long-ago lie about a lost wedding ring. We can’t wait for these bonds to unfold before us.

What's Mine and Yours book coverWhat’s Mine and Yours by Naima Coster
Grand Central | March 2

Afro-Dominican American author Coster’s debut novel, Halsey Street (published by Amazon Publishing’s imprint Little A), was a finalist for the 2018 Kirkus Prize. She was also one of the National Book Foundation’s 5 Under 35 honorees for 2020, where she was in great company with some of our favorite new authors (C Pam Zhang! Raven Leilani!). Her second novel is an exploration of school integration and family in North Carolina, beginning in the 1990s and spanning 20 years.

How Beautiful We Were by Imbolo Mbue
Random House | March 9

Feeling deja vu? No wonder! Mbue’s second novel was one of our Most Anticipated Books of 2020, but like so many novels that were shifted to later pub dates due to the COVID-19 pandemic, this one got moved—all the way to 2021. But if we’ve learned anything from the grim year that was 2020, it’s that patience is the best thing you can have. We know this novel will be worth the wait.

Eternal book coverEternal by Lisa Scottoline
Putnam | March 23

This is the internationally bestselling author’s first foray into historical fiction, and it’s been a long time coming. She’s been wanting to write about the Italian Holocaust since her college days, when she studied under Philip Roth at the University of Pennsylvania. (He gave her an A!) Now she’s diving into the world of Mussolini and the horrific events that occurred in October 1943 in the Jewish Ghetto of Rome.

Libertie by Kaitlyn Greenidge
Algonquin | March 30

Greenidge received a coveted Whiting Award for her major debut, We Love You, Charlie Freeman, and now she’s back with her second novel, this one inspired by the life of one of the first Black female doctors in the U.S. It’s about a Black girl in Reconstruction-era Brooklyn whose mother, a practicing physician, has a specific vision for her daughter. With themes of generational obligation and colorism, it sounds like a must-read for everyone who adored Brit Bennett’s The Vanishing Half.

Caul Baby book coverCaul Baby by Morgan Jerkins
Harper | April 6

Jerkins was one of our 16 Women to Watch in 2020, and her essay collection Wandering in Strange Lands was an illuminating exploration of tracing Black heritage. This year she makes her fiction debut with a novel about tradition and inheritance, both familial and regional, that centers on the folk magic of the caul, a membrane that covers the heads of a Harlem-based Black family’s newborn babies.

Hummingbird Salamander by Jeff VanderMeer
MCD | April 6

The Annihilation author spins another yarn of climate disaster with his latest, in which a woman is burdened with a taxidermied hummingbird and salamander, which turn out to both be endangered species, and soon finds herself on the run.

PeacesPeaces by Helen Oyeyemi
Riverhead | April 6

British author Oyeyemi’s surreal, imaginative fiction holds a place in our hearts that only she can fill, and her seventh book joins the grand literary tradition of tales set aboard unusual, mysterious trains. It follows a couple, Otto and Xavier, and their pet mongoose after they board the Lucky Day, a bizarre locomotive that meets their every desire.

Great Circle by Maggie Shipstead
Knopf | May 4

The author of Seating Arrangements and Astonish Me aims high, swings for the fences—whatever your metaphor may be, she’s going all out—with an epic tale about a female aviator who set her sights on circumnavigating the globe by way of the North and South Poles, unfolding in tandem with the story of a Hollywood actor cast to play her in a film a century later. Watch this one—it could be major.

Second Place book coverSecond Place by Rachel Cusk
FSG | May 4

Literary genius Cusk, memoirist and author of the groundbreaking Outline trilogy, will dive into cerebral questions of privilege, fate, gender and the human spirit through the story of a woman who invites an artist to visit her remote coastal home.

Sorrowland by Rivers Solomon
MCD | May 4

Solomon’s been steadily making a name for themselves in the fantasy realm, racking up awards for their debut, An Unkindness of Ghosts, and Lambda Award-winning second novel, The Deep. We’re predicting they’ll reach a whole new batch of readers with this genre-blending latest, a mixture of Gothic and speculative fiction about a woman who’s hiding in the woods from an authoritarian religious community.

Whereabouts book coverWhereabouts by Jhumpa Lahiri
Knopf | May 8

Pulitzer Prize-winning author Lahiri’s fifth work of fiction is her first since 2013’s The Lowland. It’s also the first book she has written in Italian and translated into English. The synopsis seems to defy easy explanation, as the tale follows a woman throughout the mundane and transformative events of a year.

Malibu Rising by Taylor Jenkins Reid
Ballantine | June 1

Wonderful news for readers who loved Daisy Jones & The Six! Reid’s latest is set during one late-summer night in 1980s Malibu, where four celebrity siblings, the children of a legendary singer, throw a huge party that ends in flames. Send all the secrets and summer drama this way, please.

The Other Black Girl book coverThe Other Black Girl by Zakiya Dalila Harris
Atria | June 1

The seven-figure acquisition deal for former Knopf assistant editor Harris’ debut novel, about a young Black woman employed by a publishing house, was announced amid the American Dirt controversy, which was only the beginning for a year that pushed publishing to reckon with its lack of diversity in a major way. Shining a light on microaggressions and racism in the workplace like Mateo Askaripour’s Black Buck, Harris’ perspective on the publishing industry deserves all our attention.

Animal by Lisa Taddeo
Avid Reader | June 8

Taddeo’s Three Women, a glimpse into the sex lives of three different women, isn’t an easy read, but it certainly was one of the most provocative books we read in 2019, sparking discussion about the way we think and write about women’s sexuality. She moves to fiction in 2021 with that same fearlessness to tell the story of a woman who sheds her victimhood to become a predator.

The Hidden Palace book coverThe Hidden Palace by Helene Wecker
Harper | June 8

There are few novels we’ve more patiently waited for a follow-up to than 2013’s The Golem and the Jinni, and the moment has finally come. Wecker brings her formidable imaginative powers back to the world of Chava the golem and Ahmad the jinni, and this new novel will span the years from the turn of the century to early World War I.

One Two Three by Laurie Frankel
Holt | June 8

Frankel’s novel This Is How It Always Is was one of our favorites of 2017, and it has continued to reach readers as a Reese Witherspoon Book Club pick, so we know many of you will join us in squealing for her latest big-hearted family drama. It centers on the Mitchell triplets, sisters who live in a small town that’s been devastated by a chemical plant’s poisoning of their water supply.

The Great Mrs. Elias book coverThe Great Mrs. Elias by Barbara Chase-Riboud
Amistad | June 22

Chase-Riboud is a powerhouse: She’s a celebrated visual artist and sculptor, award-winning poet and the author of seven books, including the important 1979 novel Sally Hemings, which revealed the spirit of the real woman hidden in Thomas Jefferson’s shadow. With her new novel, Chase-Riboud is giving voice to another little-known Black figure: Hannah Elias, an American sex worker who became one of the wealthiest Black women in the world.

Beautiful World, Where Are You by Sally Rooney
FSG | September 7

Rooney knows the way to our hearts with her emotional entanglements that sneak up on you and then completely destroy you, whether in novel form or in limited series adaptation (as with her second novel, Normal People, which you simply must watch on BBC/Hulu, if you haven’t already). Her third novel follows a quartet of young people in Dublin, which means our feelings will be played with at double the intensity.

The Matrix by Lauren Groff
Riverhead | September 7

We’ve waited six years, and Fates and Furies author Groff is finally back with a tantalizing historical fiction release, about a 17-year-old girl who is cast out of her royal court and sent to England to serve as the prioress of an abbey.

Bewilderment by Richard Powers
Norton | Fall 2021

Powers’ jaw-dropping, Pulitzer-winning tree opera, The Overstory, is unsurpassed in environmental fiction—but there’s always room for more. His next novel examines a world “both perilous and imperiled that we are leaving for our children to inhabit” through the story of a father and his son.

Harlem Shuffle by Colson Whitehead
Doubleday | Fall 2021

The novel we’re most excited to read in 2021 is easily this one from two-time Pulitzer Prize winner Whitehead. Coming off the utterly necessary emotional devastation of The Nickel Boys, we’re thrilled to hear his latest is a tale of heists and hijinks in 1960s Harlem.


ALSO IN BOOKPAGE: Discover all of BookPage’s most anticipated books of 2021.

With these novels on the horizon, it’s easy to feel excited about what’s to come in 2021. From all-time favorites like Kazuo Ishiguro to buzzy up-and-comers like Zakiya Dalila Harris, we can’t wait to check out these fiction releases.

Maria Hinojosa’s masterful book on American immigration and her own family story is a must-read in its own right, but the Mexican American author is also the anchor and executive producer of NPR’s program "Latino USA," and she brings that knowledge and experience to her performance of the Once I Was You: A Memoir of Love and Hate in a Torn America audiobook. It’s moving, funny, heartbreaking, informative and utterly captivating, making it one of the best audiobooks of the year. Here Hinojosa discusses her role as narrator, which allowed her to fall back in love with her own book.

As you were writing the book, were you imagining the way it would be delivered on audio?
I was absolutely not thinking about the audiobook when I was writing! It would’ve been too hard for me to even begin to think that way. The upside for me, however, is that I am always reading things out loud while I’m writing, because that’s what I do for work. As a radio journalist, at some point, everything I’ve written I have said out loud. If it doesn’t roll off my tongue, that’s when I might change something, especially if it doesn’t sound right. But I never thought about the audiobook when I was writing my book.

“A writer is always so conflicted about their work, so it was liberating to be able to be in this space of my words, without being judgmental or changing anything.”

Was there any question that you would narrate the audiobook? If so, what was that process like?
For me, it was an absolute given to narrate the audiobook, but I have to be honest with you: It was one of the things that I felt the most overwhelmed by! I’ve never had to read something as massive as an entire book, and the thought of doing that was actually quite terrifying and overwhelming.

Tell us about transforming your book into an audiobook. How did you prepare?
I prepared like I was going to run a marathon. Even though I felt very overwhelmed by the number of hours it would take for me to record, I had to convince myself that I was going to make it! The pandemic forced me to transform one of the bedrooms in my home into a studio, but in order to work I have to ask everybody in the entire household to be quiet when we record. There was just no way that I could have asked the entire household to be quiet for five hours at a time, much less make the street noise disappear.

In a sense, recording the audiobook was my first break from this psychological barrier of “working from home,” as it marked my return to the office studio. I prepared myself with a lot of tea and my dog, who sat on my lap for about half of the recordings when he wasn’t noisy.

And then there were other parts, like preparing for the more emotional parts of the book. There’s really no way to prepare for that. In fact, my emotions caught me off guard a few times, I just couldn’t help it.

Did narrating your memoir change your relationship to it in any way?
Yes! I fell in love with my book.

A writer is always so conflicted about their work, so it was liberating to be able to be in this space of my words, without being judgmental or changing anything. I vividly remembered the ideas that I had, where I was when I had them, how I imagined this moment of holding this book, I was emotionally connected to it. I reflected on the story of my arrival, and then my time as a young woman. I cried during the scene of my rape, and I found myself rooting for my character as I read on! I laugh about it now because I am the character, she is me! The process of narrating completely transformed my relationship to the memoir, even after I never imagined that it would.

ALSO IN BOOKPAGE: Read our starred review of the Once I Was You audiobook, plus more great audio recommendations.

Did you picture a specific audience to whom you were performing, and did the relationship to your perceived audience change through this performance?
Imagine this story as if you were telling it to your mother.

I always write with this in mind. Keep in mind this doesn’t necessarily work when writing a memoir, but it helps to focus on telling the story to one person. I didn’t have an image of a reader, per se, but I knew that I had to use my voice to connect to them. When you connect to somebody’s writing, it is powerful because it is such an intimate experience, but imagine an added element—the element of your voice. You can use your own voice to exude sensuality, anger, love, raw emotions. I go into the studio a lot, so doing this wasn’t particularly hard for me. I just close my eyes and go into a space.

We can demand that silenced voices need to be heard, that untold history needs to be brought to light, but to hear your voice narrate Once I Was You drives it home, from the strength you imbue into your mother’s voice to the sly tone with which you skewer hypocrisy and racism. Did you have any goals for your narration?
As you may know, I wanted to be an actor, so I have learned to understand the power of my voice figuratively and literally. I have to be honest and say there were moments when I wanted to just keep reading and get through it. But then there were other moments where I wanted to be a good actor, and it turns out I was actually just being my most authentic self! I really wanted to entertain you and draw you in with my voice, use it in the way that radio journalists know we can and share this feeling with the reader.

Once I Was YouWas there a section of your memoir that proved most difficult to narrate, and how did you get through it?
The hardest part of my narration was when I read about my assault. I cried. It took me a while to get through it, maybe because of the way I wrote it. It was very graphic and one of the parts of the book that I wrote while crying. It felt like the scab was off, and I was diffing deeper into my wounds when I talked about this moment and others.

It was hard, but I also felt like I needed to go through that pain as part of my therapy. I needed it to heal. It was hard to relive the moment of almost being taken from my mom, and writing about my dad (may he rest in peace) while feeling him coming toward me. That was hard.

What do you believe is the most rewarding or coolest thing you get to bring to the reading of your book?
I get to bring my drama! I really wanted to bring my entire personality with the book, let loose and be funny, silly, capturing the laughter or cynicism. When writing, you try to take people into those spaces, but when you get to record your audiobook, it’s all about getting people there faster! I loved it!

Are you a frequent audio listener? What role do audiobooks play in your life?
To tell you the truth, I don’t do audiobooks, and I don’t know why! For me, reading a book is in the pleasure of the reading because it’s like a sixth sense that I’m using. I’ve almost felt like I need somebody to initiate me into audiobooks with the best audiobook there is out there to listen to because I am all about having the book in my hand, like the actual book. Even digital books sometimes don’t do it for me. There’s something that’s a little bit less satisfying about them. But I am prepared to try an audiobook because I’m prepared to give my fans an opportunity to tell me which audiobook is the best I can start with!


Author photo by Kevin Abosch

Author Maria Hinojosa’s performance of the Once I Was You audiobook is moving, funny, informative, heartbreaking and utterly captivating. Here she discusses her role as narrator, which allowed her to fall back in love with her own book.

The drama and relationship foibles of trust-fund billionaires make for tremendous fun in Kevin Kwan’s novel Sex and Vanity, which cavorts from an over-the-top wedding in Capri to the streets of New York City. Lydia Look makes it all come alive in the relentlessly entertaining audiobook.

Look, a Los Angeles-based actor, writer and producer who has over a hundred film, TV, theater and voice credits, and who has previously narrated Kwan’s novels China Rich Girlfriend and Rich People Problems, brilliantly hops from one character to another, switching accents and attitudes in a dazzling performance. Here she discusses the “infinite magic” of Kwan’s fiction and what it’s like to produce audiobooks during the pandemic.

Tell me a bit about transforming Sex and Vanity into an audiobook. How did you prepare, and what did you most enjoy about the preparation?
It paralleled Lucie’s journey to Capri at the top of the book. Fraught with highs and lows, it was truly memorable. The highs were being asked to do the job and the prepping of the book—that was magical. The lows being that it coincided with the onslaught of the COVID-19 pandemic. We were in complete lockdown and had to revert to recording from home. I spent a great deal of time trying to get supplies to arrive in time in order for my broadcast-quality home studio to be ready for the job, and it was a challenge putting it all together in quarantine lockdown mode, to say the least.

I start by reading the book, then rereading certain passages that strike a chord personally. Then comes the best part—I start getting personal with the characters, in my waking hours and in my dreaming hours. The latter is where all the magic happens, as I live vicariously through them as I sleep.

Prepping the book is no different than filling an empty canvas with color. The more detailed you get, the richer they appear as people. The most enjoyable part was getting up-front and cozy with the wonderful characters in the book and assigning people in my life as them. I have a relationship with every character that I voice, and I love it.

“There is infinite magic to Kevin Kwan’s writing, and he spreads great joy through it.”

The wealthy, globetrotting cast has so many different accents. Tell me about the process of capturing their voices. Was there a character’s voice that proved especially challenging, or perhaps one you enjoyed most?
It was great fun! I’m lucky in life to have grown up and been surrounded with a diverse crowd of people of all colors and creeds that I constantly draw from. They make my imagination rich, and I’m so grateful for it. I cast people in my life as the characters in the book, but they remain anonymous in perpetuity. Casting is top secret! The essence of each character’s unique voice comes from having an intimate relationship with them, and I did with great relish. Each character’s vocal timbre reveals his/her inner truth, and the accompanying accent is a road map of their life experiences in total. Accents betray class and pedigree, and timbre reveals a person’s inner truth.

Like Cecil and George in the book, many of Kevin’s characters are well-heeled travelers that code switch easily between accents depending on the company they’re keeping, and that gave me license to create each character's unique sound in each different setting. That kept me joyfully engaged and on my tippy toes!

I don’t play favorites with the characters I get to breathe life into, but I am very tender toward Rosemary, as I see many shades of my own dynamic, irrepressible and life-loving mother in her. It would be wonderful to get to play her on screen if I could.

Sex and VanityThis is the third of Kevin Kwan’s novels that you’ve narrated. What have you learned in the process, about your work and about Kwan’s?
There is a beautiful shorthand that inherently exists between Kevin and I. It’s blossomed and deepened further over the books, and I really cherish it. I’ve also learned that I can never, ever be as fully prepared as I like and to just show up. In narrating Kevin’s books, you have to be fully present, as his words flow fast and his complex and chameleonic characters appear in a blink of an eye, often unpredictably. There is infinite magic to Kevin Kwan’s writing, and he spreads great joy through it. Be warned, he’s highly addictive!

Sex and Vanity is a reimagining of A Room With a View. Did the film adaptation of the E.M. Forster novel influence your performance in any way?
Oh, very much so! Kevin was majorly influenced by the Merchant Ivory film and requested that I revisit the film prior to recording. I was glad to be able to draw from the film’s witty spirit and astute observations of class and pedigree from a brilliant British cast. Watching it again gave me the permission I needed to have fun with the vocal storytelling. Nothing is too much if it’s grounded in truth, and the film displays that in full finery.

Kwan’s footnotes are especially fun, as they offer commentary from a seemingly omniscient narrator. Who is this voice, to you?
They are my favorite, too! I have had the pleasure of voicing them in three books now and always look forward to them. Those wickedly razor-sharp observations crack me up yet deliver a sobering dose of reality check at the same time. Brilliant, really. I never kiss and tell in casting, but I’ll reveal this one due to it’s obviousness. The spirit and essence of the omniscient narrator is Kevin Kwan, of course! But it’s Kevin’s female doppelgänger, Kevina Kwan (pronounced Keh-vee-nah). It was impossible to imagine anyone else in this part.

Kwan’s novels enjoy poking gentle fun at the incredibly wealthy, without ever being unkind. Similarly, your narration finds humor in the events without ever being mean. How do you balance this?
The more incredibly wealthy they are, the more human their foibles are to me. Their everyday cares and concerns are no different than ours. All they have are incredible means in terms of wealth and power, which they use to fix their everyday problems and that don’t always work. Money can’t buy you everything, not for the things that truly matter in life. So I try to find humor in their pathos and brevity in their farce. Besides, it’s impossible to be mean with Kevin’s writing. He spreads joy. It’s pure love.

ALSO IN BOOKPAGE: Read our review of the Sex and Vanity audiobook.

What do you believe are your greatest strengths as a narrator of audiobooks? What is the most rewarding or coolest thing you get to bring to this experience through your reading?
Ignorance. Initially, it was brilliant that I had no hindsight of what was really in store for me, so I had zero fear going in. Also, I have no shame. The microphone gives me permission. I am utterly shameless in front of it. I am blessed with a very good ear and, to quote the Irish nuns that nurtured me in my childhood, “a gift of the gab.” The most rewarding is hearing the character's truth, when it works, as I breathe life into them. It’s a complete high for me! Yes, I can have fun all by myself. Ahem . . .

What’s one thing people might not expect about your role as narrator?
It’s hard work! I have so much respect for the craft. When it works, it’s pure elation. When it doesn’t, it is utter devastation. You’re all alone, with a stone-cold mic and only the sound of silence as your scene partner. Narrators are storytellers. I breathe life into the writer’s words and characters and hope to bring you on a journey with me. One hopefully filled with joy and pathos. I pray for a transformative one for the listener. Also, it takes a village to make an audiobook! Big love to my intrepid director Christina Rooney, who guided me expertly, and the wonderful team at Penguin Random House Audio.

The drama and relationship foibles of trust-fund billionaires make for tremendous fun in Kevin Kwan’s novel Sex and Vanity, which cavorts from an over-the-top wedding in Capri to the streets of New York City. Narrator Lydia Look makes it all come alive in the relentlessly entertaining audiobook.

Sign Up

Stay on top of new releases: Sign up for our enewsletters to receive reading recommendations in your favorite genres.

Trending Features

Sign Up

Sign up to receive reading recommendations in your favorite genres!