The biggest message of Francis Spufford’s second novel is that a road might lead to a dead end, but the journey could still be worthwhile.
Natasha Pulley balances the topsy-turvy nature of time travel by grounding her story in naval history and a gradually unfolding queer love story.
Monica West’s language is downright musical, pulling readers into this novel of religion, belief and transformation.
Mieko Kawakami’s novel is not a cruel story, but rather one that understands hurt and pain for what it is: universal, unjust and material for new life.
Even in the face of death’s inevitability, friendship can be found, forgiveness can flourish and fun can ease fear.
Brilliantly positioned at the intersection of satire and social horror, Zakiya Dalila Harris’ debut novel is a genre-bending creative triumph.
With the ease of a master, Nana Nkweti shifts between points of view, between American and African slang, and between the straightforward and the avant-garde.
Killing off the main character just a few pages into a book is somewhat unorthodox, but it’s just the first of many interesting choices Elin Hilderbrand makes.
Following a Chinese American assassin in pursuit of revenge, Tom Lin’s debut is a welcome addition to the evolving Western genre.
Kristen Arnett shows her range with laugh-out-loud scenes and moments of honest sadness as she puts her protagonist through the wringer.
Malibu Rising is packed with plenty of scintillating scandal, but Taylor Jenkins Reid’s irresistible characters are the novel’s greatest success.
For fans of The Catcher in the Rye, the hero of J. William Lewis’ novel will ring true.
Fans have waited eight years for this sequel, a minor eternity perfectly in keeping with the precarious immortality of Helene Wecker’s hopeful monsters.
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