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Imagine finding yourself in the company of a stranger. A simple hello organically morphs into hours of conversation, full of resonating and enlightening stories. This is the feeling one gets while reading Amitava Kumar’s latest novel, My Beloved Life. Telling the life story of a man named Jadunath Kunwar, the novel is a moving collection of memories and experiences entangled with world history.

Born in 1935 in the tiny farming village of Khewali, India, without electricity, money or much else, to a mother who nearly died of a snake bite while pregnant, Jadunath (or Jadu) nevertheless seems destined for big things. Curiosity and a thirst for knowledge lead him away from peasant life to the city of Patna where he eventually becomes a respected professor, a political activist and a loving husband and father. Jadu’s story provides glimpses of life in rural India steeped in superstition and faith, and of India’s struggles for equality and progress from post-independence to the modern day.

In contrast to Jadu’s upbringing, his daughter, Jugnu, is born in the bustling city of Patna in 1965. Raised in a loving home, surrounded by her father’s intellectual circle, Jugnu grows up to be a passionate journalist for CNN in the United States. Jugnu’s perspective adds deeply to our understanding of Jadu beyond his words alone.

The novel feels very intimate as it unfolds in the first person from Jadu and then Jugnu’s perspectives. In the skillful blending of individual experience with extraordinary world events, Kumar’s journalistic background shines through, often making one forget that this is a work of fiction. Additionally, Kumar’s own upbringing in a small town near Patna, and his experiences as an immigrant and professor in the United States, add a very powerful element to his ultimate message that everyone has a story that is worth remembering.

Finding the extraordinary in the ordinary and mundane, My Beloved Life is storytelling at its best.

Telling the life story of a man named Jadunath Kunwar, My Beloved Life is a moving collection of memories and experiences entangled with world history.
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Chitra Banerjee Divakaruni’s Independence chronicles the lives of Bengali sisters Deepa, Priya and Jamini beginning in 1947, during a period of upheaval in India. Deepa looks for fulfillment in marriage, while Priya hopes to become a doctor like their father, and Jamini focuses on family and duty. When their father is fatally shot during a riot, their lives are turned upside down. During the Partition of India and Pakistan, each sister is forced to make a life-changing choice. At once a tender family portrait and a powerful exploration of Indian history, Independence is a rewarding book club pick. 

Dust Child by Nguyễn Phan Quế Mai tracks a diverse cast of characters whose lives are impacted by the Vietnam War. Phong, a Black American Vietnamese orphan, searches for his parents and dreams of immigrating to America. Dan, an American helicopter pilot haunted by his experiences in the war, goes back to Vietnam, aiming to lay the past to rest and mend his marriage. This stirring novel offers a nuanced look at how the country was affected by the conflict, and Nguyễn’s examinations of PTSD and racism will get book clubs talking.

Regina Porter’s The Travelers tells the story of two very different American families whose lives become interlaced over the course of several decades, beginning in the 1950s. James Vincent, a prosperous white lawyer, struggles to bond with his son, Rufus. Tensions mount after Rufus marries Claudia Christie, a Black woman. Through flashbacks, Porter provides a poignant account of Agnes, Claudia’s mother, who was raped as a young woman in Georgia. Porter masterfully spins the detailed stories of other family members as she explores the meaning of kinship and connection. The end result is an epic yet intimate tale teeming with humanity.

In Salt Houses, author Hala Alyan follows the Yacoubs, a Palestinian family displaced by the Six-Day War. The conflict splinters the family, as sisters Alia and Widad settle in Kuwait, and their mother goes to Jordan. Despite a troubled marriage, Alia and her husband, Atef, raise three children, two of whom move to America. Through skillful shifts in perspective, Alyan compassionately portrays the lives of the Yacoubs and their experiences across the years. Tradition, identity and assimilation are among the book’s many rich discussion topics.

Journey from India to Palestine, from Vietnam to midcentury America in these stellar reads.
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Part campus novel, part ghost story, Xochitl Gonzalez’s second novel, Anita de Monte Laughs Last, fearlessly takes on racism and misogyny in the rarefied world of fine art and art history. 

Nodding to real-life Cuban-born artist Ana Mendieta and her husband, minimalist sculptor Carl Andre, the novel opens in the late 1980s with the death of artist Anita de Monte. After a violent argument with her husband, Jack Martin, Anita was found on the sidewalk outside their apartment, leaving speculators to wonder—did she jump or was she pushed? As Andre was in his real trial, Jack is acquitted and continues his successful and lucrative career, while Anita’s art is all but forgotten. Ten years later, Raquel Toro is an art history major at Brown. Her working-class, Puerto Rican background makes her feel out of place at the university and even more so in her department, where she doesn’t fit in with the privileged “Art History Girls.” Fortunes change when Raquel begins dating art major Nick Fitzsimmons, whose wealthy parents have ties to New York’s major museums and galleries, and when her advisor enthusiastically supports Raquel’s senior thesis on Jack Martin’s career. 

The dynamic between Raquel and Nick mirrors the one between Anita and Jack, with both men trying to control their partner’s physical appearance, clothing and schedule through microaggressions and expensive gifts. As Raquel’s summer internship redirects her research to include Anita’s experience, Anita’s story, told in parallel chapters, takes a turn for the uncanny; she subtly haunts Jack from beyond the grave, transforming into a bat and shifting his meticulously displayed art works. Though told with humor and a light touch, Gonzalez doesn’t shy away from serious issues: the erasure of women from the art history canon and the racism often faced by first generation students of color at Ivy League colleges. As Raquel brings Anita’s groundbreaking sculptures to light, Anita de Monte Laughs Last boldly questions the choices behind what we are taught and demands that the complete story be disclosed.

Though told with humor and a light touch, Anita de Monte Laughs Last doesn’t shy away from serious issues: the erasure of women from the art history canon and the racism often faced by first generation students of color at Ivy League colleges.
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To step into one of Helen Oyeyemi’s worlds, you have to give up control—accept that something magical and unpredictable is about to happen. Reading with a “yes, and” mentality will make your experience all the more dynamic, curious and surprising. Following up on 2021’s Peaces, Parasol Against the Axe uses place as character to question what, exactly, is true and can be trusted.

That place is Prague. The city is alive, and six-foot-tall Hero Tojosoa is visiting for the weekend, unsure that she should have said yes to participating in a bachelorette party for Sofie Cibulkova, her estranged friend. Hero has brought a book with her, Paradoxical Undressing, and she soon discovers that the book is a changing thing: Depending upon who is reading it, where, when and even why, the text alters. Its instability comes to reflect the ways that people appear and complicate what should be a celebratory weekend.

Stories within the story unfold, and there’s a particular satisfaction in following how they reflect the main narrative of the novel. At famous sights around the city, unexpected guests arrive, some from Hero’s past. They add to the tension between Hero and Sofie, and in each scene, these new characters raise doubts about the truth of the story, the past and the present.

Oyeyemi’s language, along with her ability to drop clues and invite questions without clear answers, makes the reading experience a world unto its own. Readers will find themselves checking the various versions of Paradoxical Undressing against one another, to make sure they haven’t missed any echoes or revisions. The pleasure of Parasol Against the Axe lies in figuring out what is real and what is imagined—and if, in Oyeyemi’s world, the difference even matters.

In Helen Oyeyemi’s Parasol Against the Axe, the city of Prague is alive, and six-foot-tall Hero Tojosoa is visiting for the weekend, unsure that she should have said yes to participating in a bachelorette party for her estranged friend Sofie.
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In The Great Divide, her first novel since 2014’s The Book of Unknown Americans, Cristina Henriquez paints an intricate, layered portrait of a monumental moment in the history of the Americas: the construction of the Panama Canal. Set in 1907, this polyvocal novel is a powerful act of witness and remembrance.

Instead of focusing on only one character, Henriquez threads together the stories of over a dozen people whose lives are profoundly affected by the canal project. This inspired choice suits the scope of the event and hints at even more stories beyond these pages: It’s easy to imagine, in the snippets of lives that Henriquez zooms in on, just how many more love stories, deaths, moments of radicalization, migrations, injustices, protests and other life-altering moments occurred during the construction of the canal between 1903 and 1914.

The characters come from many countries and a wide range of backgrounds. There’s Francisco, a Panamanian fisherman who’s disgusted at what the canal project is doing to his country, and his son Omar, whose decision to work in the excavation zone causes a deep rift between them. There’s Ada, a girl from Barbados who arrives in Panama hoping to earn enough money to help her ill sister back home. She finds work in the house of John and Marian Oswald, a white American couple who have come to the isthmus in the hopes that John can eradicate malaria. Joaquin, a fishmonger who’s mostly content to live an ordinary life in the city, gets swept up in his wife’s burgeoning protest movement when she finds out her hometown is being forcibly moved to make space for the canal.

Additional points of view include those of canal workers from across the Caribbean, a foreman, a mail carrier, a young woman with dreams of becoming a photojournalist and an egotistical French doctor. The canal disrupts their lives in different ways: It kills some of them and makes others rich.

The Great Divide is a collection of small narratives that together create a moving and powerful epic about the human cost of building the Panama Canal. The novel’s greatest strength is this unrelenting smallness. It insists on the importance of every human life, and illuminates the endless, ordinary, forgotten stories that underlie every pivotal moment in human history.

Cristina Henríquez’s polyvocal novel is a moving and powerful epic about the human cost of building the Panama Canal. It’s easy to imagine, in these snippets of lives, just how many more love stories, deaths, migrations, protests and other life-altering moments occurred during the canal’s construction.
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Cuban literature, from the island and from its diaspora, has always been precise and powerful, taking a clear yet dreamy-eyed look at humanity. Jennine Capo Crucet’s new novel, Say Hello to My Little Friend, follows in this lineage, limning the catastrophic life of Ismael “Izzy” Reyes as he tries and fails to find his way in a sinking Miami. At the beginning of the novel, Izzy receives a cease and desist from Pitbull (aka Mr. 305) for doing unauthorized impressions of him around town, leaving Izzy at a loss of job and identity. He finds inspiration in Al Pacino’s Tony Montana from the movie Scarface (which he doesn’t actually watch until a few chapters later). With new wind in his sails, and a sidekick like Tony Montana’s Manolo found in his old high school buddy Rudy, Izzy tries to mold life into what he wants it to be: wealth, power and big booty women. Meanwhile, on the other side of Miami in a too-small Seaquarium tank, Lolita the orca senses the water level rising. She and Izzy are linked by their tragic orphan origin stories, and when the two meet, they share a telepathic message that transforms both of their fates.

Like many immigrant stories, Say Hello to My Little Friend is centered on transformation. Not only does Izzy transform into someone else for a living, but his entire life has been a process of transforming. Though he was raised in Miami, he never feels Floridian, much less American, and after having to take ESL (English as a second language) classes in school, his identity-formation has been constantly frustrated. There is something quixotic in watching Izzy spin himself and those around him into remakes of culture, but this, too, is true about the immigrant experience, which Capo Crucet details with breathtaking precision.

Capo Crucet’s writing strikes a balance between contemporary Spanglish (specifically Miamian), slang and achingly poetic descriptions. But Capo Crucet’s powers do not stop at this alchemy; she also has a rare knack for metanarrative, a skill that allows readers to think about Izzy’s story as a story without ruining its intimacy. Take one of the narrator’s interjections, asking readers to recall Melville’s Moby Dick. It not only grounds the antics of the novel in a classic tale of hubris but also emphasizes the delusional and naive nature of Izzy, allowing us to see him as a victim of fate. As Izzy creates himself again and again, readers are made aware of what stories make up a life.

Say Hello to My Little Friend limns the catastrophic life of Ismael “Izzy” Reyes, a Pitbull impersonator turned wannabe Tony Montana, as he tries and fails to find his way in a sinking Miami.
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Zhenia’s life is, admittedly, not going as planned. Having aspired to be an actor in Los Angeles, she now works as a medical translator for Russian-speaking patients, struggling to salvage what’s left of her marriage after breaking the news of a surprise pregnancy to her husband. So when a psychic named Paul calls to say that Zhenia’s deceased great-grandmother Irina wants Zhenia to listen to her life story and write it down, Zhenia hesitates only briefly; she has little reason to say no. Irina’s spirit seeks forgiveness from Zhenia, though she knows it will be challenging to obtain. They are both painfully aware of the generational pain stemming from Irina’s abandonment of Zhenia’s adored, and currently dying, grandmother Vera, when Vera was a young child. 

Through Zhenia’s listening sessions, author Katya Apekina makes the concept of ancestral connection fascinatingly tangible. Paul is able to connect Zhenia with Irina by venturing into a post-death communal “cloud” of regret, where Irina and others reside until absolved by the living. With Paul as an intermediary, Irina tells Zhenia tales of growing up in early 1900s Russia.

Apekina isn’t new to literary fiction; her first novel, The Deeper the Water the Uglier the Fish, was a finalist for the Los Angeles Times Book Prize and named a Best Book of 2018 by Kirkus Reviews and other outlets. But Mother Doll marks her triumphant first foray into fabulism. While Irina’s story is largely distinct and chronological, Zhenia’s life unfolds only in connection to her great-grandmother’s, producing parallel narratives that are impressively inseparable. Even as more details about Irina’s life surface, the reader remains grounded in Zhenia’s experiences, her dry humor lending a lightness to otherwise profound subject matter.

For those who enjoy diving into the metaphorical, Mother Doll holds a deep wisdom. Apekina’s writing is witty and compellingly relatable, leading to a fast-paced reading experience. She hits on something beautifully innate: Who are we if not the histories of our ancestors?

In Mother Doll, Katya Apekina hits on something beautifully innate: Who are we if not the histories of our ancestors?

A Gentleman in Moscow by Amor Towles

As the days become shorter, there’s nothing more comforting than immersing myself in a sweeping historical novel—the bigger, the better! When my book club recently voted to read Amor Towles’ A Gentleman in Moscow, I welcomed the opportunity to escape nightly into the grand halls of the Metropol hotel where aristocrat Count Alexander Rostov, deemed a threat by the Bolsheviks in 1922, is sentenced to lifelong house arrest. Hotel employees, guests and other visitors round out the vibrant cast of characters in the Count’s orbit as he adjusts to his new circumstances and tries to pursue a meaningful life in confinement. His friendship with precocious 9-year-old Nina is particularly endearing; the pair’s quest to explore every nook and cranny of the hotel is a delight. All the while, outside the Count’s window, political turmoil and inevitable social change are transforming Russian society. Written with wit and warmth, Towles’ tale is one you’ll want to curl up with and return to night after night.

—Katherine, Subscriptions 


The Name of the Rose by Umberto Eco

I spent a few sublime weeks last winter in the company of Umberto Eco’s magisterial debut novel, The Name of the Rose. This medieval whodunit is intellectually absorbing and slyly hilarious as it tracks Brother William of Baskerville and Brother Adso of Melk’s quest to solve a spree of bizarre murders at a monastery in Italy. A historian, philosopher and literary theorist, Eco transports readers into the 14th-century mind, and while things get heady (at one point, Adso contemplates a door for more than a page), Eco never lets his own erudition run away with him. There are impressively gruesome deaths to describe, tangled little dramas of monastery life to tease out and one of the most unforgettable libraries in literature to explore. I read long into the night, wrapped in blankets with a mug of tea at hand, happily looking up Latin phrases and medieval heretics until arriving at Eco’s grand finale, a satisfying conclusion with a few icy notes of existential dread to balance things out.

—Savanna, Managing Editor


The Guest Cat by Takashi Hiraide

To me, coziness is a cat dozing on my lap, but a book that captures the magic of our purring friends will also do. A sublime, delicate meditation on the passage of time within everyday life, Takashi Hiraide’s The Guest Cat washes over you like a dream, making it an ideal read for a long winter night. A male narrator and his wife fall in love with their neighbor’s cat, naming her Chibi as she begins visiting them at their rented house. The wife tells the man how a philosopher once said that “observation is at its core an expression of love,” and indeed, Hiraide’s ruminations on the quotidian—dragonflies flying towards water sprayed from a garden hose, Chibi climbing a tree—carry tremendous emotion despite the unembellished prose. With equal parts joy and melancholy, the couple’s relationships with the cat and each other shift, along with the course of their lives and Japan, as the late ’80s economic bubble bursts. Hiraide slips in and out of reflection and memory with precise, feline grace.

—Yi, Associate Editor


The New Life by Tom Crewe

There is something so pleasurable about spending a chilly day absorbed in the concerns of another time and identifying resonances with our own. Tom Crewe’s debut novel, The New Life, provides just such a pleasure, placing vivid characters and thorny moral dilemmas against a finely textured historical backdrop. Based on two real life freethinkers in late Victorian Britain, Crewe’s John Addington and Henry Ellis are documenting the lives of gay men for a book that they hope will shift cultural perceptions of homosexuality. It’s risky, but they believe in the cause—and that their status as married men will protect them. However, ideological differences emerge, and Addington begins to wonder if ideals can be legitimate if they are not lived openly. Crewe excels when depicting the nuances of conflict and the question of balancing personal risk against the ability to effect change, drawing readers in with polished old-fashioned storytelling that also speaks to a modern sensibility—A.S. Byatt meets Alan Hollinghurst.

—Trisha, Publisher

Ready the fireplace, put the kettle on and get out some thick woolen socks. These four titles are worthy companions for long winter nights.
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Beloved and buzzy authors such as Tia Williams, Francis Spufford and Katherine Arden took new and exciting directions in February!
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Behind You Is the Sea, Susan Muaddi Darraj’s debut novel, brings readers into the lives of three Palestinian families in and around Baltimore: the Salamehs, the Baladis and the Ammars. Generational disputes form the core of the novel’s action, which unfolds through weddings, graduations, unplanned pregnancies and funerals. Women’s issues are also at the fore, as each of the novel’s chapters, which function as linked stories, reveal families both divided and united by class, gender and traditional values.

In the opening chapter, “A Child of Air,” teenage Reema Baladi resolves to keep her baby, while refusing to marry her Puerto Rican boyfriend. In “Mr. Ammar Gets Drunk at the Wedding,” Walid, patriarch of the wealthy Ammar family, despairs at the lack of Arab traditions at his oldest son’s wedding to an American. “Ride Along” focuses on a police officer, Marcus Salameh, and the rift between his father and his sister, Amal, over Amal’s perceived dishonor, a rupture which grows deeper after the death of their mother.

Darraj deftly explores class tensions in the titular chapter: When the Ammars employ young Maysoon Baladi as a housekeeper, she is shocked by the couple’s indolence and their spoiled teenage kids, but flirts openly with father and husband, Demetri. In a later chapter, Demetri’s daughter Hiba moves in with her grandparents after an embarrassing incident in college and an unspoken but deeply felt lack of support from her parents. The final chapter “Escorting the Body,” the only chapter not set in the United States, sees Marcus fulfilling his father’s wish to be buried in his Palestinian village, a visit which reveals dramatic secrets about the life he left behind.

Behind You Is the Sea draws a composite portrait of Palestinian American families with sensitivity and humor, its linked stories breaking down stereotypes and embracing complexity.

Behind You Is the Sea draws a composite portrait of Palestinian American families with sensitivity and humor, its linked stories breaking down stereotypes and embracing complexity.
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The protagonist of Temim Fruchter’s remarkable debut novel, a queer grad student studying Jewish folklore, describes her work as collecting scraps. In the wake of her father’s death, 30-year-old Shiva decides to get her master’s, hoping to unravel the family mysteries her mother has kept hidden from her all her life. Shiva eventually travels to Warsaw, where a series of experiences, from a night in a queer bar to a performance of a famous Jewish play, lead her to a deeper understanding of herself, her mother and her ancestral heritage.

This novel, like Shiva’s work, is a collection of beautiful scraps—scraps of folktales and memory, hidden family histories, love letters, accounts of strange happenings in the past and present—all tangled together and rewoven into a whole that’s strange, lush, imaginative and pulsing with life. Fruchter draws on folklore remembered from her own childhood, as well as a whimsical (and sometimes dark) universe of invented tales to create something entirely new.

The narrative refuses to sit still, jumping between points of view, decades and countries as Fruchter traces four generations of Jewish women from a tiny Polish shtetl in the early 20th century to contemporary New York. Fruchter’s rich and unwavering exploration of queer lineages, alongside matrilineal and Jewish ones, is extraordinary. As Shiva becomes more deeply immersed in the lives of her foremothers, those foremothers become more vibrant and detailed, in prose that moves from shimmering and dreamlike to sharply funny to wonderfully contemplative.

Readers looking for easy explanations will not find them in City of Laughter. Readers looking for questions—and the spaces they open—will find them in abundance. This is a book full of belly laughs, intergenerational wonder, queer beauty, Jewish history, and storytelling that reshapes worlds. It’s a story about the work it takes to look into a rupture—in yourself, in your family, in history—and, through looking, begin to transform it.

Temim Fruchter’s remarkable debut novel is a book full of belly laughs, intergenerational wonder, queer beauty, Jewish history and storytelling that reshapes worlds.
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Cyrus Shams is, in his own words, “another death-obsessed Iranian man,” fixated on death—but more than that, on martyrdom. He needs his death to matter, for the act of his dying to have a purpose.

Cyrus’ family inheritance is one of pointless death. His mother died when her plane was shot down by American forces over the Persian Gulf; she was traveling to visit her brother, a man decimated by his experiences fighting in the Iran-Iraq War. Cyrus’ father died soon after Cyrus left for college. Uneasily sober after years of chasing addiction, Cyrus decides to write a book on martyrs. To help himself get started, he seeks out an artist in New York City, an older Iranian woman named Orkideh, who, in a Marina Abramovic-style performance, has made herself publicly accessible while she dies of cancer by spending the end of her life in the Brooklyn Museum.

Over several days, Cyrus and Orkideh speak on death, art, nation, victimhood, gratitude and family. In between scenes of their easy connection, we read poems from Cyrus’ book and witness flashbacks to Cyrus’ mother’s, father’s and uncle’s stories. There are also chapters recounting supernatural conversations from Cyrus’ dreams, between his mother and Lisa Simpson, Orkideh and the American president of 2017, his father and the poet Rumi, and an imaginary brother and Kareem Abdul-Jabbar.

Martyr! has a certain loudness, between the echo of a weighted Iranian history, the roar of Cyrus’ broken family legacy and his intense internal warfare. Even the book’s title can be taken as a shout, its exclamation point signifying an accusation or revelation. That which quiets the noise is simple enough, delivered in sublime prose from Iranian American poet and debut novelist Kaveh Akbar: “Love was a room that appeared when you stepped into it,” he writes late in the novel. Akbar has previously published two collections of poetry (Calling a Wolf a Wolf, Pilgrim Bell), and his writing makes just enough time for beauty while never languishing.

Throughout Martyr!, language is a saving grace, if imperfectly so. “I get frustrated this way so often,” Cyrus’ mother says in a flashback. “A photograph can say ‘This is what it was.’ Language can only say ‘This is what it was like.'” Similarly, although a novel cannot capture what life is, its truths and inventions can powerfully gesture toward what life is like: full of both pain and pleasure, with death inevitable, and love a choice.

Kaveh Akbar’s writing makes just enough time for beauty while never languishing: “Love was a room that appeared when you stepped into it,” he writes in Martyr!, his debut novel.
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Kiley Reid’s sophomore effort Come and Get It is a compelling, dialogue-driven novel about consumption, desire and class set at a state university in 2017. Readers who enjoyed Reid’s debut, Such a Fun Age, will find themselves in welcome territory.

Millie, a woman whose college years were interrupted by helping an ill parent, has returned to the University of Arkansas as a 24-year-old senior, working as a resident assistant in her dorm. Mature and responsible, she fantasizes about Josh, her hunky supervisor, and is diligently saving to purchase a house. Agatha is a visiting faculty member in her late 30s, recently separated from a younger professional dancer who married her for health insurance. At the beginning of the semester, Agatha asks Millie to organize a small group of students for Agatha to interview as part of her research for a potential book on wedding traditions. What starts as an innocent gathering of information becomes a more complicated entanglement when Agatha begins paying Millie for access to the dorm to spy on the students’ personal conversations, which she then writes up as a series of demi-comic pieces for Teen Vogue. Meanwhile, a prank dreamed up by Tyler, the mean girl of the dorm, sparks a vengeful retaliation which threatens both Agatha and Millie’s livelihoods.

This reader’s advice is to follow the money, as much of Come and Get It is embedded in the details of ostensibly insignificant transactions. Reid prefers to serve her themes amid a frothy concoction of witty dialogue, campus capers and unrequited crushes, but underneath it all, her eye is firmly fixed on obsessive consumerism and intersecting issues of race and class. Though no crimes are committed, there are enough errors of judgment, blurred ethical lines and microaggressions to permanently alter the life trajectories of her characters. Yet Reid writes with enormous compassion, showing us flawed humans caught in systems outside of their control who are, mostly, doing the best they can.

Come and Get It is a frothy concoction of witty dialogue, campus capers and unrequited crushes, but underneath it all, Kiley Reid’s eye is firmly fixed on obsessive consumerism and intersecting issues of race and class.

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