While a child’s disappearance can shock a community into coming together, it’s also the kind of event that can reveal fissures among residents, heighten conflicts within families and prompt reevaluations of relationships. Fiona McFarlane explores these possibilities and more in her leisurely novel The Sun Walks Down.

In 1883, the potential tragedy of a 6-year-old boy’s disappearance strikes the town of Fairly in “the arid middle of South Australia.” This Outback region is known for dust storms, hilly ranges that were “laid down, long ago and slowly, in layers of rock,” and a sun so red and fierce that the boy in question fears “the gods must be angry.” The boy is Denny Wallace. His mother, Mary, deaf since age 22, sends him out with a sack to gather bark and twigs while his five sisters attend a wedding and his father, Mathew, plants parsnips. But Denny gets lost in a dust storm and doesn’t return home.

The bulk of McFarlane’s novel focuses on the efforts of the townspeople to help the Wallaces look for their son and the stories of the family members left behind as the search continues. This includes Minna Baumann and Mounted Constable Robert Manning, whose wedding was attended by Denny’s sisters; 15-year-old Cissy Wallace, Denny’s oldest sister, who doesn’t understand why the other women won’t join the search party and who secretly falls in love with Robert; Bess and Karl Rapp, Swedish artists fascinated by the reds in “this disastrous South Australian sky”; and Mr. Daniels, a courtly vicar prone to fainting spells.

The Sun Walks Down should be read not for narrative action but rather for the minutely observed relationships among its characters, as Denny’s disappearance is less of a mystery than it is a plot device that allows McFarlane to explore her themes. She does this beautifully, such as when she depicts the relations between white people and Australia’s native Aboriginal people, the wayward behavior that can come from an excess of ambition, and the question of who does and does not constitute a British subject.

“Don’t you like people to be happy?” Denny’s sister Joy asks Cissy. “Happiness won’t find Denny,” Cissy replies. As McFarlane makes clear in this fine work, the quest for contentment can be as elusive as a 6-year-old lost in a dust storm. 

Aleksandar Hemon’s literary career has been nothing if not diverse, with works that range from the comic novel The Making of Zombie Wars to his acclaimed The Lazarus Project, from collections of essays and stories to his collaboration with Lana Wachowski and David Mitchell on the script for The Matrix Resurrections. The World and All That It Holds launches him yet again into new territory, as his ambitious, elegantly wrought novel melds two love stories that play out amid the devastating global conflicts of the first half of the 20th century.

Rafael Pinto, a poetry-writing Bosnian Jew with a weakness for opiates, witnesses the assassination of Archduke Franz Ferdinand and his wife just outside his Sarajevo apothecary shop in August 1914. Shortly afterward, Rafael finds himself conscripted into the army of the Austro-Hungarian Empire and fighting in the bloody trenches of World War I, where “nothing happened all the time, and also very slowly.” Rafael falls in love with Osman, another Sarajevan member of his unit, a Muslim man and gifted storyteller with “a knack for fixing problems.”

Rafael’s entanglement in the brutal, pointless conflict is only the beginning of an odyssey that takes him from Europe’s battlefields to the Asian wilderness and on foot across the Chinese desert, then to Shanghai where he experiences life as a refugee in the period that extends from a few years preceding the Japanese invasion of 1937 to the Communist takeover in 1949. For most of that journey, he’s accompanied by Osman’s daughter, Rahela, after Osman disappears. But even after Osman’s physical presence is gone, his bond with Rafael is the source of a sustaining power within this harsh new life, one that slowly deepens Rafael’s affection for Rahela. 

The World and All That It Holds mostly follows the perspectives of Rafael and Rahela, with occasional detours into the memoirs of colorful British spy Edgar Moser-Ethering, who becomes a ubiquitous presence in Rafael’s life.

Hemon’s ability to pack such an epic narrative into 352 pages is impressive. Across all its settings, the tale is enriched by the accumulation of closely observed details. Vivid action sequences are neatly balanced with scenes exploring the characters’ interior lives. Although the story is not overtly religious, Hemon alludes frequently to the biblical account of the Tower of Babel and God’s decision to “confound their speech, so that nobody shall understand,” as well as the Samsara wheel, the symbol of reincarnation in Buddhism and Hinduism. “Just love each other whatever the world you think you might be in,” a character tells Rafael and Osman. The power of love to give meaning to life, even in the worst of circumstances, suffuses this quietly passionate story.

With a magical protagonist and a vivid cast of heroic and devious characters, it’s easy to imagine Salman Rushdie’s fantastical 15th novel as a thrilling, multipart Bollywood epic. Victory City marks the author’s return to the long arc of Indian history, taking readers on a frisky romp through nearly three centuries of south Indian lore.

Rushdie’s endnotes cite numerous historical works he consulted about the Vijayanagara Empire (14th–17th centuries) while composing the novel. Google Vijayanagar, the city in which the novel is set, and you’ll discover its translation from Sanskrit is indeed “City of Victory.” Search the internet for the shepherd brothers Hukka and Bukka, and you’ll find they were the first kings of the empire. Look for Domingo Nunes, a character who humorously reappears in various incarnations to Pampa Kampana, the novel’s heroine, and you’ll encounter an amalgam of two Portuguese men who wrote with amazement about their early travels through the empire.

But search for Pampa Kampana, and nothing. She is Rushdie’s marvelous invention. At 9 years old, she witnesses the downfall of the old king. She sees the submissive women of the defeated kingdom, including her mother, go willingly to their deaths by fire. But Pampa rejects this path, steps away from the fire and, in anger and anguish, is overtaken by the voice of the gods. She becomes a prophet who gives the shepherd brothers the magical seeds to grow Victory City. She whispers the history of the future empire into the ears of its newly formed citizens. She gives them a past and a present. 

Over the 247 years of her life, Pampa sees the birth of the empire, suffers exile in the Forest of Women, stealthily returns to eventual triumph and then experiences the empire’s final fall. She writes this history down as the empire collapses and hides her account in an urn. Four hundred years later, her words are discovered.

Rushdie tells his tale with a generous and irreverent spirit. Victory City is accessible in a way that suggests he had fun writing it, but this is no lightweight novel. Pampa is the incarnation of the humane values of this (or any) empire, and when she is in ascendance, the empire’s arts and beneficial technologies are ennobled. Women serve as warriors and empire officials. People of all religions are embraced. The empire comes close to being what today we would call an open society, and its collapse is a direct result of turning its back on these values.