A poignant thesis for Naima Coster’s second novel: “If there’s something I’ve learned in this country, it’s that your address decides everything.”
Alyan, who is a family therapist as well as a poet and novelist, has a gift for depicting the knotty, messy but ultimately resilient bonds of family love.
Pamela Terry’s novel is like a mashup of Fried Green Tomatoes and You Can’t Go Home Again with a sprinkling of William Faulkner.
Brandon Hobson weaves past and present so skillfully that events that would be improbable in the hands of another author are inevitable in The Removed.
It takes tremendous talent to seamlessly combine social commentary with a powder keg of a plot, and Nancy Johnson accomplishes just that in her gripping debut novel, The Kindest Lie.
Ashley Audrain’s gripping debut is proof that in the hands of the right storyteller, even the most compact novels can be works of great complexity.
Devastating, hilarious and touching, this is an acutely intelligent story about womanhood, parenthood and all the possibilities that lie within.
Peter Ho Davies’ third novel is a poetic meditation on the nature of regret and a couple’s enduring love. It’s a difficult but marvelous book.
J. Ryan Stradal’s Midwestern family drama takes me home. You’re never too old, and it’s never too late, if you’re willing to put a little elbow grease into it.
Simon Han displays incredible range as a novelist, oscillating between honest, almost tangibly real scenes, opaque dreams and refractive memories.
‘Sisters’ casts a spell, and Daisy Johnson’s ability to make her language twist and turn, to hint and suggest at something much larger, is truly remarkable.
If this is not Sue Miller’s best novel, it is surely among her very best. One measure of that is how the experience of it deepens with each reading.
‘Evening’ spins a complicated web of loving, twisted relationships in which the ties that bind are weakening and there is no center.
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