Maya Fleischmann

When Sigrid, a 20-year-old working at an unsatisfying job, is left in a coma following a suicide attempt, her older sister, Margit, finds Sigrid’s drafts of a suicide note, along with Sigrid’s emotionally fraught request that Margit write the final version. As Margit takes on this task, she delves into Sigrid’s journals and belongings, both to accurately capture her sister’s voice and to uncover the reasons behind her actions. What Margit discovers leads to a profound reckoning with their shared past and a renewal of the bond forged during their tumultuous childhood.

Emily Austin’s third novel, We Could Be Rats, is a poignant, layered exploration of how lack of belonging can erode the human spirit and drive one to the brink of despair. Through the perspective of each sister, Austin examines how they have diverged from their shared troubled upbringing, responding to their lives in vastly different ways. Sigrid struggles as a high school dropout stuck in a stifling small town, and dreams of the carefree existence of a fat rat eating hot dogs at a fair. Her pain is amplified by the loss of her best friend, Greta. Meanwhile, Margit has achieved her goal of leaving town to attend college, but she hasn’t escaped without some emotional scars of her own. 

While both Sigrid and Margit are deeply sympathetic characters, their narratives occasionally falter under the weight of too much repetition and overly didactic moments that make the novel’s themes feel oversimplified. However, Austin successfully delivers some dramatic revelations that illuminate the complexity of the characters and add tension to the plot. The depiction of Sigrid’s growing inability to cope with the small-town environment, and with the things she finds out about Greta’s past, effectively conveys her increasing sense of alienation.

We Could Be Rats is a heartfelt and stirring read for those interested in fiction that tackles themes of mental health, family relationships and reconnection.

Emily Austin’s third novel, We Could Be Rats, is a heartfelt and stirring read for those interested in fiction that tackles themes of mental health, family relationships and reconnection.

A lusty and romantic kiss turns sour and dilemmas ensue when would-be lovebirds discover they are soon-to-be stepsiblings in Tessa Bailey’s Dream Girl Drama.

When his old but usually dependable truck breaks down at an exclusive Connecticut country club, two-time NHL All-Star Sig Gauthier is rescued by the stunning Chloe Clifford, who lets him into the club so he can call a tow truck. Captivated by the quick-witted beauty, he steals a kiss before continuing his journey to visit his father, who is preparing to marry yet another wealthy socialite. But upon meeting his father’s new fiancée, Sig is stunned to discover that she is none other than Chloe’s mother. How will Sig navigate his overwhelming attraction and desire for his dream girl, without them becoming kissing stepsiblings?

The third entry in Bailey’s Big Shots sports romance series, Dream Girl Drama combines humor and heartfelt moments, exploring its nuanced protagonists through their endearing interactions. Sig is an intriguing blend of organic, rough-and-tumble masculinity and  gentlemanly protectiveness. Bright, sweet and four years his junior, the 25-year-old Chloe lacks practical life skills thanks to living in the lap of luxury with her mother, yet she dreams of making her own way and studying music at the Boston Conservatory.

Although the narrative makes it clear that there is nothing technically wrong with adult stepsiblings dating and embarking on lustful encounters, Sig and Chloe’s parents, as well as Chloe’s mentor, aren’t on board with the unconventional relationship. Some readers may find it frustrating that the obstacles to the couple’s potential romance are often self-imposed and exaggerated, but Dream Girl Drama delivers a poignant look at two people striving to be the best version of themselves, both individually and in regard to their budding relationship, despite feeling unable to act on their true emotions. However, the shifting tone between the sweet and sensual moments can be abrupt. Sig’s voice is especially inconsistent: at times refined, but then transitioning to descriptors laden with f-bombs. That said, both characters’ internal battle to navigate the delicate line between friendship and romance heightens the tension, adding drama to their authentic and genuine dynamic.

A warm, comedic romance that challenges convention and explores self-imposed boundaries, Dream Girl Drama is a treat for fans of forbidden love stories like Bailey’s previous novel, The Au Pair Affair, and The Off-Limits Rule by Sarah Adams.

Two adult stepsiblings navigate their overwhelming attraction to each other in Tessa Bailey’s humorous, heartfelt Dream Girl Drama.

New Yorker Emma is 26 years old and has been sober for a year. With her sponsor’s restrictions on dating lifted, she might be ready to meet someone, and Ben, the sweet guy in her IT department, seems too good to be true. Though Emma believes her life is definitely better now, some things remain unchanged, like the way she hides her personality at work, and her mother’s relentless matchmaking. Emma is also hesitant to open up to those in her life about her sobriety, and continues to wrestle with lingering guilt and shame. This makes her workplace even harder to navigate leading up to the annual holiday party, especially because Emma’s been tapped for the planning team—and so has Ben. 

Emma’s quietly resilient and mostly optimistic response to her internal struggles make her a relatable and likable character. Author Ava Robinson astutely captures Emma’s growing awareness of how her alcoholism has affected not only her life but also her relationships with those around her, particularly in her interactions with her meddlesome mother and somewhat distant father, both of whom have been waiting to disclose their own news. 

Nuanced, hopeful and insightful, Robinson’s debut may especially resonate with readers who enjoy titles like Iona Iverson’s Rules for Commuting by Clare Pooley or Big Girl, Small Town by Michelle Gallen. Definitely Better Now strikes a delicate balance between humor and gravity. The dynamics of Emma’s support group, with its rules, unspoken signals and understanding, feel authentic. Equally credible and effective is Emma’s adjustment to her newfound clarity, and how she navigates returning to the world of romance, amid gossip and miscommunication. Definitely Better Now is an endearing portrayal of a young woman redefining herself. 

Nuanced, hopeful and insightful, Ava Robinson’s Definitely Better Now is an endearing portrayal of a young woman redefining herself after one year of sobriety.

Legendary journalist Connie Chung narrates her tell-all memoir with the same warm authoritativeness she built her legacy on decades ago. The first Asian American to anchor a major network’s evening news program, and one of the first women to do so, Chung never let the fact that journalism was a white man’s world deter her from her goals. Inspired by her idol, Walter Cronkite, the determined 5-foot-3-inches tall Chung, the youngest of five in a Chinese household, used moxie and motivation to land herself a job as a CBS correspondent in 1971, at just 25 years old.

Now in her late 70s, Chung delivers her life story with her signature soft raspiness and confident authenticity. Her reflections on her professional life, as well as her personal life as a wife and mother, are infused with tenderness, chutzpah and humor. Chung gives insight into American history with its changing sociopolitical landscape, and names those who helped (and hindered) her success, while throwing in delightful impersonations of prominent individuals.

Inspiring, entertaining and strikingly relevant, Connie (11.5 hours) will appeal to those interested in the changing roles of women in society and the evolution of American media.

Read our review of the print version of Connie.

Inspiring, entertaining and strikingly relevant, Connie will appeal to those interested in the changing roles of women in society and the evolution of American media.

Daniel Henning’s animated performance provides the perfect splash of drama and drollness in the audiobook of TJ Klune’s sequel to The House in the Cerulean Sea.

In Somewhere Beyond the Sea (16 hours), Arthur Parnassus and his boyfriend, Linus, have welcomed a 10-year-old yeti to their growing orphanage for magical children. But this endeavor of love is threatened by the interference of a social worker, who, believing the children’s abilities to be a threat to society, tries to wrangle enough proof of the danger they pose to remove them from the orphanage. Will Arthur be able to change the political climate in time to save his family?

An engaging storyteller, Henning masters a diverse range of character voices, especially his entertaining Scooby-Doo-esque voice for Chauncey, an adorable gelatinous creature who dreams of becoming a hotel bellhop. Though some plot elements can feel overly simplistic or didactic, Henning’s articulate, earnest narration winningly underscores Somewhere Beyond the Sea’s central themes of self-confidence, kindness, acceptance of others and the importance of working for sociopolitical reform.

Read our starred review of the print version of Somewhere Beyond the Sea.

Daniel Henning’s articulate, earnest narration winningly underscores Somewhere Beyond the Sea’s central themes of self-confidence, kindness and acceptance of others.

By George, she’s got it! Annoying yet affable, Kate Greathead’s George is a captivatingly mediocre antihero.

There’s nothing very remarkable about George or his family. They have their issues. George’s mother, Ellen, has become increasingly disconnected from him over the years, though she remains intimidating to him. Ellen is separating from George’s father, Denis, because Denis’s enthusiasm for luxury fashion has been draining the family funds. Then there’s George’s older sister, Cressida, who is unabashedly straightforward and critical of George, and, like his mother, regards him with a hint of contempt. Despite this friction, the unassuming George manages his family dynamics with seeming nonchalance. In fact, he rarely makes a fuss about the events in his life, and only occasionally shows passion for a goal or project, such as a college major in philosophy, before quickly returning to his habitual listlessness. This passivity even applies to his on-again, off-again relationship with his girlfriend Jenny, who, like the members of his family, oscillates between having patience with him and finding him tedious.

The Book of George unravels George’s life in episodes that highlight his misadventures from ages 12 to 38. The epigraph, excerpted from a letter from the mother of philosopher Arthur Schopenhauer to her son, sets the narrative tone: Johanna Schopenhauer tells Arthur that while he has “everything that could make you a credit to human society . . . you are nevertheless irritating and unbearable.”

Greathead’s delicious deadpan delivery, with its understatement and ironic humor, is irresistible. The Book of George can take its place next to other novels with lovably frustrating main characters like Gail Honeyman’s Eleanor Oliphant Is Completely Fine and Fredrik Backman’s A Man Called Ove.

Kate Greathead’s delicious understatement and ironic humor makes The Book of George an irresistible portrait of a lovably frustrating mediocre man.

Effortlessly engaging, Ferdelle Capistrano’s easygoing performance highlights humor and authentic character interaction in the audiobook of Humor Me (10.5 hours), Cat Shook’s sweet tale about navigating relationships.

Presley Fry, Humor Me’s 20-something protagonist, is an overworked and underappreciated assistant at a New York City late night show. Presley keeps romantic prospects at a distance, and has mixed feelings about her BFF getting too close to someone else. Though her job entails literally looking for humor—she scouts talent at comedy clubs—Presley’s been distracted since the recent death of her mother, Patty.

Capistrano’s dulcet tones and flawless delivery capture the endearing Presley, and she shows her range with other characters, like Susan Clark, Patty’s compassionate and quirky friend. Seamless transitions between characters in dialogue and well-timed asides bring out the humor without overdoing it. This charming audiobook will engage and delight fans of romantic comedies.

Read our review of the print edition of Humor Me.

Presley Fry, Humor Me’s 20-something protagonist, is an overworked assistant at a late night show who’s been distracted since the recent death of her mother. This charming audiobook will engage and delight fans of romantic comedies.

Powerful in its nuanced details, Mina’s Matchbox is an immersive and poignant coming-of-age story.

After the death of her father, 12-year-old Tomoko is sent to live with her aunt’s family in the coastal Japanese town of Ashiya, while her mother stays in Tokyo. Mina’s Matchbox chronicles Tomoko’s transformative year with her extended family, from 1972 to 1973, especially her close relationship with Mina, her book-loving cousin who has asthma.

Unlike Yoko Ogawa’s darker novels, such as Hotel Iris and the Orwellian The Memory Police, Mina’s Matchbox adopts a narrative tone that is curious and filled with wonder, conveying Tomoko’s enchantment with the enormous house in Ashiya and its fascinating occupants, such as Tomoko’s quiet aunt; her uncle, prone to mysterious disappearances; her German grandmother, Rosa, who has a unique bond with the housekeeper, Yoneda; and Pochinko, the family’s pygmy hippopotamus. Ogawa draws readers into the personalities and interactions of the family, unraveling the characters’ complex inner lives.

Looking back from three decades later, the adult Tomoko finds profound insights in her childhood delight with the expansiveness of life. Ogawa’s masterful descriptions, too, add depth and suggest simmering secrets that wait to boil over.

Translated by Stephen B. Snyder, Mina’s Matchbox is an elegant and stirring work that captures the dreams of youth, and the lingering sweetness that can remain even after those dreams have faded.

Yoko Ogawa’s Mina’s Matchbox is filled with wonder, conveying 12-year-old Tomoko’s enchantment with her extended family during the year she spends with them, from 1972 to 1973.

India Mullen’s taut performance highlights the devastating, long-term effects of traumatic events in the audiobook of When We Were Silent, Fiona McPhillips’ debut novel.

Despite her traumatic past, Louise (Lou) Manson is living a relatively normal life. That changes when Ronan, the brother of her former close school friend, Shauna, shows up. Ronan, now a lawyer, persuades Lou to testify in a lawsuit against Highfield Manor, jeopardizing her newfound stability by unearthing secrets and lies that have been buried for decades. Mullen brings out the complex emotions that surface when Lou is forced to relive the incidents that occurred when she attended the prestigious Dublin private school for girls. With her full-bodied voice and unhurried pace, Mullen conveys an unsettled atmosphere and the intricate dynamics between all the players—villains and victims—as their paths reconverge and the truth of what happened to the girls, including Lou, is revealed.

Fans of Megan Miranda’s The Perfect Stranger and Lisa Jewell’s The Night She Disappeared will enjoy this suspenseful and haunting listening experience.

Read our starred review of the print version of When We Were Silent.

In When We Were Silent, India Mullen’s skillful narration brings out the complex emotions that surface when Lou Manson is convinced to testify against the prestigious Dublin private school she attended decades prior.

Myth and folklore intertwine seamlessly with the tumultuous lives of Asian women in this mesmerizing collection of stories.

Each story in Ninetails: Nine Tales reveals the poignant struggles of young Asian women marginalized and scorned, struggling to eke out their identity, follow their heart and break free from political oppression and social expectations. At the heart of these tales of strength and transformation is Ninetails, a fox spirit known by many names—hulijing, huxian, fox demon or fox fairy—who helps women of diverse backgrounds and ages transcend the violence and turbulence of their lives.

The central story, divided into several parts, is called “The Haunting of Angel Island.” Set in the 1900s, against the backdrop of the Angel Island immigration station located in San Francisco Bay, it features Tye, a Chinese interpreter who witnesses the harrowing experiences of women detainees. Other stories include the tale of a silicone love doll who yearns to be human, the plight of a Korean girl bullied in a land foreign to her, and the story of two friends connected by being cheated on by the same man. Unfolding with gripping intensity through author Sally Wen Mao’s vivid depictions of the gritty settings and sobering situations that confront her characters, each premise is made even more powerful by the magical element introduced when a fox spirit manifests to liberate the women from their misery, or inflict retribution for wrongdoings.

Some of the stories in Ninetails end abruptly and can feel a little disjointed; nevertheless, Mao’s compelling depiction of Asian women’s experiences is powerfully unsettling in its authenticity. Through themes of revenge and redemption, these stories illuminate our enduring capacity for resilience.

In Sally Wen Mao’s Ninetails, a fox spirit helps Asian women of diverse backgrounds and ages transcend the violence and turbulence of their lives.

In her latest spellbinding collection of poems, The Moon That Turns You Back, Hala Alyan renders rich, intricate landscapes of heritage and place that arise from her own experiences. A Palestinian American novelist, poet and clinical psychologist, Alyan is familiar with diaspora and displacement. Born in America, she moved to Kuwait with her Palestinian father and Syrian mother, then returned to the American Midwest after the Iraqi invasion in 1990. She completed some of her education in the U.S. and some in the Middle East.

These poems reflect not only the countries that make up Alyan’s identity and history, but also the range of cultural ideals and differences that exist within that history, exploring the perspectives of family members such as her maternal grandmother and her mother. Alyan’s poetry draws the reader in through form, including interactive poems styled in a choose-your-own-adventure format.

Alyan tackles complex, even disturbing, topics. She writes of everyday objects using striking, vivid descriptions: “underwear the color of the summer, of the ocean, of the dead.” “In Jerusalem” employs the recurring image of a woman’s hair. It’s sensual, feminine and powerful, but it can also render the speaker vulnerable: “In Jerusalem a man blocked the door of a hostel // to tell me to unpin my hair. I did, / but then kept the story from anyone for years.”

While her succinct and candid language, arresting imagery and bold approach to form are effectively disquieting, there is also a very organic sense of hope and renewal in these poems, even in the darkest hour. There’s a hint of this in the titular line from, “Interactive Fiction :: Werewolf,” where Alyan writes: “In the / darkest dark, I wait for / the / moon // that turns you back.”

The Moon That Turns You Back is a bountiful collection of poetry, especially for those interested in diaspora and the complexity of multinationalism.

Hala Alyan’s The Moon That Turns You Back is a bountiful collection of poetry, especially for those interested in diaspora and the complexity of multinationalism.

Graham Halstead serves up an atmospheric performance in the audiobook of The Glutton (11 hours), A.K. Blakemore’s mesmerizing novel about a peasant boy with a voracious appetite for just about anything.

Tarare is a sickly man close to death, strapped to his hospital bed and watched over by a nun who is terrified by rumors of the many things he has eaten, which include live animals. Tarare attempts to entice her by telling her the story of his fascinating and sordid life. Halstead’s English and French accents immerse the listener in the French Revolution setting, and the smooth quality of his voice paired with Blakemore’s sumptuous descriptions is hypnotic. Tarare’s account of enduring cruelty and extreme poverty elicits sympathetic horror. And yet, the boldness and richness of Halstead’s narration lends a strange beauty to the story.

Based on the legend of the Glutton of Lyon, this fictionalized tale will be especially enthralling for those interested in the French Revolution and fans of Han Kang’s The Vegetarian.

Read our starred review of the print edition of The Glutton.

Graham Halstead’s hypnotic narration lends a strange beauty to this story of a peasant boy’s fascinating and sordid life, eliciting both horror and sympathy.

A bookshop becomes an inspiration for transformation in this thought-provoking tale by author and essayist Hwang Bo-reum.

After she burns out from her intense career and divorces her controlling husband, Yeongju decides to find emotional fulfillment by pursuing her childhood dream of owning a bookshop. Although she finds the business aspect of running a bookshop more challenging than she expected, Yeongju discovers that she’s created a special space for thought, growth and connection with others. Included in the cast of characters who are inspired by Yeongju and her bookshop sanctuary are Minjun, a young man desperate for work after dropping out of university who becomes the shop’s barista; Jungsuh, a woman who quits her job because of its unfair policies and now spends her time crocheting at the store; and Seungwoo, an office worker-turned-author who hosts a writing workshop at the bookshop.

Welcome to the Hyunam-Dong Bookshop is a slice-of-life tale with appealing characters whose trials stay light on drama. Their stories explore aspects of Korean culture, including the expectation that children defer to their parents and wives to their husbands, and the value placed on success in work over the development of one’s inner life. While the prose is clear and uncluttered, at times the narrative can feel stilted and repetitive, although this may be an impact of the translation from the original Korean. Still, the messages about happiness and not wasting time in unsuitable and meaningless endeavors are uplifting and provide a cozy read. This title may be a match for fans of What You Are Looking For Is in the Library by Michiko Aoyama and Before the Coffee Gets Cold by Toshikazu Kawaguchi.

Welcome to the Hyunam-Dong Bookshop is an uplifting and cozy slice-of-life tale with appealing characters whose trials stay light on drama.

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