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.
Much of ‘The Margot Affair’ has a very cinematic quality to it, in the vein of classic French cinema.
The clash between rich and poor animates J. Courtney Sullivan’s quietly perceptive new novel.
Lee Conell’s debut will make you laugh even as you grapple with how money defines many of its characters’ most significant choices.
Rachel Beanland loosely based her first novel on the story of her great-great-aunt Florence. It’s a worthy tribute and a satisfying historical family drama.
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