Laura Sackton

Sara Nović’s second novel is a vibrant celebration of Deaf culture and Deaf communities. Set at the fictional River Valley School for the Deaf in the struggling industrial town of Colson, Ohio, True Biz follows the interconnected lives of several students and teachers over the course of one tumultuous year. It’s a remarkable book that is many things at once: a primer on Deaf history, a love story, a coming-of-age tale, a riotous political awakening, a family saga and a richly layered character study.

February, the headmistress of River Valley, is a hearing child of deaf adults. She’s trying desperately to keep the school afloat in the face of ongoing budget cuts, while also taking care of her aging mother and trying to keep her marriage intact. Austin is the golden boy of River Valley. He grew up immersed in Deaf culture, but his blissful life is shaken when his baby sister is born hearing, causing hidden tensions between him and his hearing father to rise to the surface. Charlie is a deaf teen with a cochlear implant, whose hearing parents, at the urging of doctors, didn’t allow her to learn American Sign Language as a child. Arriving at River Valley in the wake of her parents’ divorce, she meets other deaf people for the first time, begins learning ASL and discovers the joys and challenges of being part of a community that speaks a language she can understand.

Though written in English, the book is bursting with ASL, offering an exploration into the power of language and the violence of language deprivation, the beauty of free and open communication, and the possibilities (and limitations) of translation. Throughout the novel, signed conversations are translated into English, each chapter heading is an illustration of a character’s name sign, the first signed letter of their name. Interspersed among the chapters are school assignments and other ephemera that detail ASL lessons and exercises.

The narrative moves in and out of the three main characters’ points of view, offering intimate glimpses into their inner lives. The novel’s sense of emotion builds slowly, from Austin’s intensifying anger and February’s growing desperation to Charlie’s burgeoning confidence. By the end of the book, each character is changed, and their transformations are explored with a beautifully subtle touch.

Deaf rights activist Nović incorporates so many issues that affect the Deaf community, including education inequality and the rise of cochlear implants. Though it focuses on three central characters, the story feels symphonic as the entire River Valley community comes to life. At times somber, often bitingly funny, awash in playfulness and fiercely proud, True Biz is a masterfully crafted love letter to Deaf culture.

Poet Destiny O. Birdsong’s (Negotiations) debut novel is as much about what isn’t said—what can’t be said—as it is about what’s actually on the page. Nobody’s Magic is a masterfully crafted and sometimes painfully honest story told in triptych, centering on three Black women with albinism living in Shreveport, Louisiana.

This unusual novel is built on spaciousness and silence, with each section reading almost like a novella. Suzette lives with her wealthy parents, who shower her with gifts while keeping her sheltered from the world. After falling for a tenderhearted mechanic who works at her father’s shop, she begins to express her own desires for the first time. Maple is grieving the sudden death of her mother, a straight-talking, fun-loving and beloved sex worker. And Agnes has spent most of her adult life trying to set herself apart from her sister. When she meets a man while on a temporary job in Utah, a string of impulsive choices leads her to a confrontation with her family.

These are dynamic characters, each with her own distinct narrative voice and particular way of looking at the world. Suzette’s first-person narration is informal, conversational and intimate. Maple’s section is raw with grief. Agnes’ story, told in the third person, is slightly distant, as if she can’t quite bear to face herself. But each woman experiences a major shift: Suzette makes a momentous decision, Maple experiences a catastrophic loss, and Agnes faces her conflicted relationships with her mother and sister.

Each section is bound to the others through themes of Black womanhood, familial expectations, grief and the power of self-determination, but instead of drawing straightforward conclusions about these connections, Birdsong leaves the reader to meditate on the questions and ideas she raises. What do these very different experiences of Black womanhood have to say about one another? How does Suzette’s story inform our understanding of Maple’s? How does Maple’s relationship with her mother influence how we read Agnes’ section? Buried in these pages are infinite conversations—about what it means to be labeled “other,” to be a part of a community, to choose something for yourself.

Nobody’s Magic is worth reading simply to spend time with these women, but the thoughtful and unexpected way that Birdsong combines their three unique stories into one is what makes the book unforgettable.

It’s been nine years since the publication of Jeanne Thornton’s debut, The Dream of Doctor Bantam, and her second novel, Summer Fun, has been worth the wait. Dizzying and deliciously weird, it’s a sprawling yet intimate story about music, hidden trans histories and the transformative act of creation.

Gala, a trans woman living in small-town New Mexico, is obsessed with a classic 1960s pop band called the Get Happies and their mysterious lead singer, B       . In a series of remarkable letters to B       , full of whip-smart observations and dark humor, Gala slowly reveals the true story of B       ’s life and music, shedding light on herself in the process.

This is no ordinary epistolary novel. Thornton discards convention, choosing instead to use the form to explore the possibilities of cross-generational queer and trans conversations. Gala’s letters act as a kind of portal, a manifestation of trans magic. She addresses B        directly, often inhabiting the singer’s thoughts and emotions. Gala tells B       ’s story from the inside, as if she were the one who lived it. Each letter is a small act of discovery, an unfolding mystery. The unique epistolary format makes space for deep connections, not only between Gala and B        but also between Gala and the reader. It is impossible not to read these heartfelt missives without becoming wholly invested in her world.

Reflecting on the impossibility of authenticity in the music industry, Gala muses as B       , “No one gets to sound like who they are; that isn’t how success operates.” But Thornton proves this isn’t always the case. Gala’s narration is singular—assured, sarcastic and yearning. She’s determined to tell her story, as well as B       ’s, through her own particular lens, unrefined and vulnerable, full of messy contradictions. Thornton’s plotting is masterful, her prose elegant and her characterization nuanced. But it’s the emotional heft of Gala’s narrative voice that sets this novel apart.

Summer Fun is unpredictable and delightful, structurally innovative and epic in scope. It’s a heartbreaking yet hopeful addition to the growing canon of literature that celebrates the complexity of trans lives.