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Salesses has written a novel of doppelgängers that begins forging its own double, attempting to confront the vast problems of racial inequality both in its plot and in its meta-structure, asking if there might be a parallel world for our own, one where these injustices could be corrected—or if that, too, is pure fantasy.
Obsession, loss of innocence, grief, forgiveness, belonging. Readers of Livesey’s impressive oeuvre will recognize these recurring themes; each one of her novels animates different variations on these experiences. Her ninth novel, out today, explores them, too, via a seamless kaleidoscopic narrative and artful suspense that propels the story along.
Landragin’s new book can be read in paginated order, moving through each of the three books within in turn, or it can be read in the “Baroness Sequence,” which leads the reader through all three books simultaneously, following notes within page footers à la the Choose Your Own Adventure series.
Francisco’s newest book, presented simultaneously in English and Spanish, is that of a young poet matured, leaning into the naturalist observations present in his previous work and writing haiku with the precision and wisdom of a sure-handed veteran—while infusing them with a trademark sardonic wit.
Burns’s new novel resurrects the experience of women in Appalachia rather than letting their stories be buried while their husbands’s live on.
Scanlan’s new collection challenges literary norms, making a story do more than perhaps we previously thought possible.
What all the stories in Thammavongsa’s debut collection, out today, have in common is the stubbornness of desire manifested by the characters, whether it is the desire to defend your parents against mockery, the desire to fit in, the desire for physical intimacy, or the desire to be seen.
Chris McCormick’s debut novel represents American identity—full of choice and individualism, though not in as positive a manner as we would like to believe.
Lara Prescott’s thrilling debut novel focuses on the CIA’s efforts to smuggle and distribute Boris Pasternak’s legendary novel. But it takes a subversive approach, telling the story from the perspective of the unsung women, at both the CIA and in Soviet Russia, who made Pasternak’s legend possible.
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