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.
It isn’t a mystery, yet in many ways, Jill McCorkle’s novel builds like one as characters appear, reveal more of their secrets and expose their connections.
It takes a village to raise a child. But as Akwaeke Emezi implies in this novel, it takes a culture and its mythologies to erase a child.
The discovery of a random crime leads to an empathic exploration of family, connection and creativity in Margot Livesey’s ninth novel.
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