According to Katherine, the narrator of Catherine Chung’s new novel, the 10th muse was the youngest of the semidivine sisters and chose to tell her own stories rather than be a source of inspiration for men. Because of this, the 10th muse was stripped of her immortality. A symbol of female creativity and empowerment, her bold spirit hovers over The Tenth Muse, a sweeping tale of identity, gender and genius.

Katherine was raised in a small Midwestern town as the daughter of a Chinese immigrant and a white American veteran of World War II. Already ostracized because of her mixed parentage, Katherine is further scorned by her classmates after her mother abandons the family. Though Katherine is clearly a gifted math student, her teachers don’t acknowledge her abilities, and on the cusp of college graduation, she is brutally tricked by a classmate who claims her work as his own. At the same time, her father’s plans to remarry force Katherine to uncover the tangled truth behind her parents’ relationship.

Katherine establishes herself in the male-dominated world of advanced mathematics and becomes involved with a charismatic older professor, Peter Hall. But as a woman, she has trouble getting recognized for her accomplishments, and much to Peter’s dismay, she accepts a fellowship in Germany. Pursuing an unsolved mathematical hypothesis draws Katherine further into the mystery of her lineage, and in Bonn, Germany, she uncovers a theorem that promises to lead her closer to the truth. Other characters’ complicated stories of duplicity, innocence and sacrifice are echoed in Katherine’s experiences of stolen research and betrayed trust. Though she finds some answers and even some remaining family in Germany, she also accepts that life has fewer tidy endings than any mathematical formula.

Similar to the way she used Korean folk tales in her first novel, Forgotten Country, Chung uses the history and language of mathematics in The Tenth Muse to explore how the past is inextricably tied to the present. Her writing has a beautiful clarity, and the novel has an epic feel, sweeping between decades and continents without ever losing sight of the human lives at stake. This is a timely story about a woman searching for her identity in an inhospitable environment and emerging scarred but triumphant.

Dominic Smith’s engaging new novel, The Electric Hotel, offers a deep dive into the history of early cinema. In the early 1960s, Claude Ballard, a retired French filmmaker, lives in a run-down hotel. When approached by a young graduate student named Martin Embry about the long-lost film masterpiece The Electric Hotel, Ballard is reluctant to revisit the past, but Embry’s enthusiasm encourages Ballard to recall his role in the making of an early cinematic treasure. Then Ballard reveals that he still has a copy of the film.

A photographer’s apprentice in Paris in the 1890s, Ballard was hired by the Lumière Brothers as a roaming projectionist. His travels took him as far away as Australia and America, where, in picaresque fashion, he befriended a stunt man, a French actress and the young owner of a seedy Brooklyn amusement parlor. Before long, this idiosyncratic troupe settled in the cliffs of Fort Lee, New Jersey (once a prime location for the making of American movies, hence the expression “cliffhanger”), pouring all their energy, money and talent into what Ballard refers to as the “great cinematic experiment.” It will come as no surprise to readers that the making of The Electric Hotel almost destroyed the lives and careers of the four friends.

As in Smith’s own masterpiece, The Last Painting of Sarah DeVos (2016), the joy in The Electric Hotel is in the getting there: the travels from Paris to New York at the very birth of cinema, the repeated run-ins with a litigious Thomas Edison and Ballard’s return to Europe amid the scarring battlefields of World War I. Though an extended set piece in war-ravished Belgium feels like a slight misstep, the novel quickly gets back on track as Ballard and Embry plan for a rerelease of the restored classic.

Smith skillfully blends film history with the adventures of his intriguing crew, never losing sight of their individuality. The Electric Hotel enchants with a compelling plot but satisfies with the fully felt pathos of its characters.

Residents of West Mills, North Carolina, joke that their town never changes. Yet there’s never a dull moment for the stubborn, loyal characters in De’Shawn Charles Winslow’s debut novel, In West Mills.

The novel opens in 1941 with a fight between main character Azalea “Knot” Centre and her man, Pratt. When Pratt enlists for the war, Knot’s neighbor Otis Lee looks after her and keeps her company. He chides her for her obsessive drinking and reading. In turn, she scolds him for his rift with a mutual friend, Valley. And so it goes, friends becoming family until the town includes three generations of fierce fighters and lovers.

Reminiscent of August Wilson’s 10-play cycle marking each decade in 20th-century African-American history, In West Mills telescopes four decades into a densely packed drama surrounding Knot, a woman full of passion and pathos, an object of both hate and love. Knot is nicknamed as a girl for balling up her little body around ceramic “whatnots” stolen from her mother. Other West Mills inhabitants’ nicknames include Pep, Breezy and Goldie, showing how these neighbors claim one another as their own. As the novel progresses, the story becomes less about Knot and more about how the whole town handles its woes, and the story’s central figure becomes a tightly wound web of lies, secrecy and forgiveness.

Characters deal with inflamed emotions, gender and race roles, sexual preferences, addiction and children born out of wedlock—the stuff of the soap operas Knot and friends watch every day on their new televisions. What distinguishes West Mills’ melodrama from episodic TV, however, is the real-life, unglamorous attitudes of ordinary people. Amid their squabbles, they work hard as farmers, cleaners, midwives, teachers and musicians. They eschew happy endings but stick with each other despite their differences.

In West Mills exemplifies the timeless adage that it takes a village to raise one another. This is a historical fiction triumph.

Former slave Frannie Langton is warned early in her service to her London employer, George Benham, that “a good servant must know her place, to be content in it.” Frannie readily admits that this has “always been my trouble. Never knowing my place or being content in it.”

Frannie, who is fiercely independent, immediately likable and stubbornly contrary to the expectations of her role in society, shares many such admissions while awaiting trial for the murder of Benham and his wife, Marguerite. What Frannie can’t account for is how she wound up covered in their blood and being charged with their murders. In an effort to make sense of it all, Frannie pens her life story from jail. What follows is a literary sojourn as Frannie explores her place in history through race, class and sexuality.

Set in the early 1800s, The Confessions of Frannie Langton begins with Frannie’s life as a slave on a Jamaican plantation and her education in reading and writing. From there, she recounts how she attained her “freedom” when her master took her to London, where he “gifted” her to the Benhams, and how she eventually began a love affair with Marguerite. The story casually meanders through Frannie’s narrative in a mostly linear fashion but is interspersed with snippets from the trial in progress, including damning testimony and fiery newspaper accounts, making certain that readers don’t forget what’s at stake.

First-time novelist Sara Collins, a lawyer of Jamaican descent and winner of the 2015 Michael Holroyd Prize for Creative Writing, crafted her debut as a tribute to Jane Eyre, “but with a protagonist who would have lived outside the margins set by history.” In that regard, Collins has succeeded admirably, resulting in a novel that reads like a classic gothic romance.

American poet and short story writer Elizabeth Bishop devotedly chronicled her life in her journals with the curious exception of a three-week period in June of 1937. That three-week gap, during which a young Bishop traveled through pre-World War II France with friends, provides the catalyst for Liza Wieland’s absorbing new work, Paris, 7 A.M.

The novel, which opens in 1930 while Bishop is a student at Vassar College, meticulously combines the ample facts of Bishop’s life with reimagined events of 1937. In this coming-of-age story, Wieland provides glimpses into Bishop’s painful childhood while detailing her burgeoning sexuality and rebellion, nascent alcoholism, close circle of female friends and battles with writer’s block. As she struggles to finds her place in French literary circles, and as fear of fascism spreads through Europe, Bishop is drawn into an underground movement secretly rescuing Jewish infants in Normandy and transporting them to a convent in Paris.

This creative retelling of Bishop’s life provides an intriguing look at a complicated woman and writer. Moreover, Wieland’s choice to write in the eternal present with a limited third-person point of view to reveal Bishop’s thoughts and keen perceptions of those around her lends a particular freshness to the novel. Such skillful writing is not surprising, however, as Wieland has received several fellowships, including one from the prestigious National Endowment for the Arts, and was the 2017 winner of the Robert Penn Warren Award for fiction from the Fellowship of Southern Writers.

Although those already familiar with Elizabeth Bishop may appreciate seeing this famous American writer in her youth through Wieland’s eyes, enjoyment of this novel does not require prior knowledge of Bishop. However, readers should not be surprised if, on finishing Paris, 7 A.M., they discover a new curiosity to learn even more about Bishop’s compelling life and work.

In Chip Cheek’s debut novel, Cape May, the year is 1957. Young Henry and Effie from tiny Signal Creek, Georgia, are on a two-week honeymoon in Cape May, New Jersey, where Effie’s uncle has a summer home. Henry “had never been north of Atlanta, and he had never seen the ocean.” Effie hadn’t understood what “off-season” meant when describing the bustling vacation spot of her childhood. It’s late September when they arrive, and as the waiter tells them at the one diner they find open that first night, “If you came to get away from it all, you came to the right place.” The newlyweds eat in silence, and are home and in bed by eight o’clock.

By the end of their first awkward week of marriage, Effie wants to go home early, and Henry, defeated, assents. But the night before they are to leave this coastal ghost town, they spot signs of life—signs of a party, no less—and decide to stop in: “They were nervous, for some reason; he could tell that she was too. Maybe it was the Rolls Royce in the driveway. Maybe, absurdly, is that they were expecting some kind of rescue and didn’t want to bungle it.” Enter brassy Clara (“she was a whirlwind, this woman,” observes Henry); her lover Max; his sullen, beautiful sister, Alma; and entirely too much gin and time to kill.

Cheek paints a graphic and sensuous portrait of an fragile marriage embattled well before its time. Henry is a brilliantly complex narrator, devastatingly naive and steadfastly assured of his own essential goodness. Sexually innocent but with a flinty edge, Effie is an enigma to her husband and to the reader.

Cape May is a besotted picnic of a novel—day-drunk and languid, shadowed by ever-threatening storm clouds.

Contemporary postal carriers don’t realize how good they’ve got it. Yes, there are the occasional dogs, inclement weather or the gloom of night, but these inconveniences pale in comparison to the would-be rapists, bigots and crazed preachers on the trail for Cussy Mary Carter in Kim Michele Richardson’s impassioned new novel, The Book Woman of Troublesome Creek.

A courier for Franklin D. Roosevelt’s famed Kentucky Pack Horse Library Project, Cussy is tasked with delivering library books over treacherous paths to impoverished hill folk, rural farmers and coal miners who toil in the Appalachian Mountains during the Great Depression. Cussy, 19, who makes her deliveries on the back of her faithful pack mule, considers her job a necessary one and part of “a respectable life” despite her father’s protestations. Cussy is one of the last of her kind, a blue-skinned woman (resulting from a real-life genetic blood disorder called methemoglobinemia), and so Pa wants her safe. He’d rather see her married off so she’ll have someone to take care of her when he no longer can. He even arranges such a marriage, only for her husband to die from an apparent heart attack while raping her.

Freed of the marriage she didn’t want, Cussy returns to her true passion in her old job of traveling librarian. For many, her visits are more than welcome, and the books she brings offer hope for brighter days, an escape from their daily doldrums and a singular connection to the outside world. But there are also those who distrust both the books she brings—some women complain that “she’s carrying dirty books up them rocks”—and her mysterious blue hue. And there are the aforementioned threats along the trail itself, including Pastor Frazier, the unstable cousin of her late husband, who fears she’s delivering the word of Satan. But Cussy’s strong will and commitment drive her forward.

Richardson has penned an emotionally moving and fascinating story about the power of literacy over bigotry, hatred and fear.

ALSO IN BOOKPAGE: Kim Michele Richardson shares a look behind The Book Woman of Troublesome Creek.

Varian Fry was a young Harvard-educated journalist and editor who worked for the American Emergency Rescue Committee during World War II. His primary goal was to prevent notable artists, writers and political exiles, many of them Jewish, from being interned in concentration camps. Stationed in Marseilles in 1940, Fry procured visas, created false passports and sought out escape routes on both sea and land for almost 2,000 people, including Marc Chagall, André Breton and Max Ernst. His inherently dramatic tale is the basis for Julie Orringer’s thoughtful and absorbing new novel, The Flight Portfolio. 

For just over a year, Fry and a core staff of Jewish and non-Jewish expats focused their efforts in the south of France, collaborating with an extensive network of forgers, blackmailers and petty thieves. Working out of a hotel room, Fry eventually rented a villa to provide a temporary home for refugees who needed a safe residence.

The Flight Portfolio opens after an unpersuasive visit to the Chagalls, who show no interest in leaving France. Fry is approached by Elliott Schiffman Grant, an old friend and lover from their student days at Harvard, where both men were part of Lincoln Kirstein’s inner circle. Now teaching at Columbia, Shiffman—or Skiff, as he is called—has followed his German-born Jewish lover, Gregor Katznelson, to Europe in hope of locating Katznelson’s son. Both father and son need to leave Europe, and swiftly. Although Fry and Skiff haven’t seen each other in over a decade, they become romantically involved as they work together to provide the Katznelsons with safe passage.

Like Orringer’s earlier novel, The Invisible Bridge, The Flight Portfolio mixes historical fact with imaginative fiction. Though Skiff is an invention, Fry’s bisexuality is well documented, and Orringer makes use of the relationship to explore Fry’s sense of growing empathy and to highlight the moral issues inherent in deciding who is and who is not worth saving. Orringer is a meticulous researcher, and the novel’s cloak-and-dagger thrills keep the pace lively in this lengthy but intriguing tale of resilience and resistance.

A wealth of history turns Wunderland into a novel that’s both beautiful and devastating. Author Jennifer Cody Epstein (The Painter From Shanghai ) taps into the 1930s prewar era, laying out an unsparing narrative that details tragic events and horrifying legacies.

Renate and Ilse, Jew and Gentile, are best friends in pre-World War II Germany, but they’re driven apart in the terrible buildup to war when Ilse joins Bund Deutscher Mädel, the female division of the Hitler Youth movement. Many years later, in 1989 New York City, Ilse’s estranged daughter, Ava Fischer, receives her mother’s ashes and a trove of letters, addressed to Renate but never sent, that reveal her mother’s terrible secrets. In turn, Ava resists sharing Ilse’s history with her own daughter, Sophie, and Ava realizes that she “has kept Sophie from her own story.” 

The narrative unfolds from several characters’ perspectives, making plain “the things we lie about to make our crimes bearable,” while also opening a new door that may lead to redemption and joy for future generations.

In his ninth novel, Courting Mr. Lincoln, Louis Bayard dramatically re-creates the months after Abraham Lincoln’s 1840 winter arrival in Springfield with delicious detail and diligent diplomacy. Alternating between the disparate voices of Lincoln’s future wife and Lincoln’s best friend, Bayard offers an insider’s view of just how much the two may have influenced the awkward, often ill-mannered country lawyer as he began to inch his way up the political ladder.

Mary Todd is a debutante who has been told she needs to find a husband, and quickly. While visiting her sister in Springfield, Mary is not at all impressed by Lincoln in their first meetings, and besides, her family believes that Springfield’s societal rules restrict Mary from allowing the man a spot on her dance card, much less a courtship. Lincoln soon discovers that Mary is not the average young woman. She is educated and passionate about politics, something he doesn’t usually encounter in young women, if he ever even notices them. Mary eventually becomes drawn to Lincoln’s intelligence, humor and respect for her boldness. When Lincoln and Mary begin their relationship, albeit clumsily, they are forced to hide their courtship from everyone, including Lincoln’s roommate, Joshua Speed.

Joshua rescues Lincoln as he arrives in Springfield with only the clothes on his back and a few other items in saddlebags. With no money and no legal work yet, Lincoln agrees to Joshua’s suggestion that they share a room with only one bed. The two become inseparable, historically rumored to have been lovers, and bonded together by mutual respect and a great deal of admiration. Joshua guides Lincoln through Springfield’s waters, which can quickly become raging if proper customs regarding attire, table manners and the like are not observed. Joshua is not looking for a woman to share his life with, and he really doesn’t think that Lincoln should either—hence the crux of the problem and the book’s main thrust. Will Lincoln sacrifice his relationship with Joshua to court Mary? Better yet, should he?

Although readers know Lincoln eventually marries Mary, Bayard does an exceptional job of keeping readers engrossed as he weaves fact and fiction in this intriguing tale of intimacy between Lincoln and his two closest confidantes.

Following several lauded volumes of nonfiction, visual artist Kris Waldherr delivers an accomplished debut novel, The Lost History of Dreams, an atmospheric and hypnotic love story that not even death can end.

Wracked with grief over an accident that befell his wife three years previously, Robert Highstead has cut himself off from his family and turned his back on his writing, instead devoting himself to photographing the dead as one final memento for their family members. Incapacitated by sorrow, Robert remains ensconced in the past, one in which he and his wife are still madly in love with each other. But when Robert’s brother reaches out and requests that he head to the wilds of Shropshire to deliver the body of their cousin, the famed poet Hugh de Bonne, Robert finds himself powerless to refuse. Hugh’s last request was that his remains be buried beside his own wife, Ada, and that he be photographed alongside his niece and heir, Isabelle Lowell, in a dazzling glass chapel built in Ada’s memory. When Robert arrives at his cousin’s estate, however, he receives a prickly reception from Isabelle, who holds the only key to the chapel. In no uncertain terms she tells him that Hugh will never be allowed entrance to the chapel and that Robert is wasting his time. Finally the two strike a deal: Over the course of five evenings, Isabelle will relate Ada’s story, and Robert will transcribe it. Only after the story is completed will Isabelle open the chapel, and the many ghosts tethering both her and Robert to the past can finally be laid to rest.

“Love stories are ghost stories in disguise,” Isabelle warns Robert on their first evening together. The Lost History of Dreams is a sensual, twisting gothic tale that embraces Victorian superstition much in the tradition of A.S. Byatt’s Possession, Diane Setterfield’s The Thirteenth Tale and Emily Brontë’s Wuthering Heights; the mystery is slyly developed, while the love story is tastefully titillating. 

In a novel that blurs the line between life and death, nothing can be taken for granted, and just when you think you have everything figured out, Waldherr turns the tables once again. This means that at times the narrative becomes convoluted and certain plot points don’t come to fruition, but it’s still an absorbing read.

On the surface, Beatriz Perez is a gorgeous 22-year-old society woman gliding through a cycle of parties, gossip and marriage proposals along with the other moneyed elite in 1960s Palm Beach, Florida. But beneath her cool exterior burns a pure, sharp desire for revenge. In Chanel Cleeton’s When We Left Cuba, we learn that Beatriz and her family (including sister Elisa, protagonist of Cleeton’s Next Year in Havana) left Cuba after Fulgencio Batista was overthrown, Fidel Castro took power and her sugar-magnate father’s land was seized by the government. 

The Perezes moved to Palm Beach in hopes of finding a sense of safety, rebuilding the family fortune and, to Beatriz’s unending frustration, marrying off the unwed daughters. She has much bigger plans—like, say, taking down Castro so she can go home to her beloved Cuba. Thanks to her still-privileged social position and her strong bond with Eduardo, a family friend and revolutionary, she’s actually got a chance at doing so. Eduardo introduces her to a CIA agent who sees her as a good bet: She’s fierce and smart, anger has made her reckless, and her social status gives her plausibility.

But there’s a complicating factor. Beatriz and Nicholas—a smart, sexy senator-to-be—meet at a fancy party, and their chemistry is immediate and electric. Alas, he’s engaged, an arrangement orchestrated by two families that want political and financial benefits from the union. Beatriz and Nicholas understand each other on that level and so many others, from the political to the personal to the physical. But amid the aftermath of war and continued upheaval in the U.S. and Cuba, plus divergent views on how best to achieve their goals, being together often feels impossible.

An edifying, entertaining read filled with adventure, suspense, history and romance, When We Left Cuba is a thought-provoking look at the ways in which politics can be intensely personal.