Climate change takes center stage in three-time Pushcart Prize-winning author Allegra Hyde’s debut novel. Set in a future world of toxic air, food shortages and deadly weather, Eleutheria is the story of 22-year-old Willa Marks, who refuses to give up hope for a sustainable planet and a better life for all.

Raised by survivalist parents on canned foods in the woods of New Hampshire, Willa has lived a lonely life—until a bad turn of events thrusts her into the arms of her cousins Victoria and Jeanette in the metropolis of Boston. The two sisters are the antithesis of everything Willa has known, their entire life revolving around posting fashionable pictures online.

Willa goes with the flow until a photoshoot gone wrong brings her to Sylvia Gill, a famous sociologist and professor at Harvard University. Sylvia and Willa fall in love despite their stark differences. It’s a comfort and love that Willa has never experienced before. But being with Sylvia also means living among the privileged and wealthy, who still hold onto their vanity amid a dying planet.

Willa doesn’t understand this obliviousness. She eventually stumbles upon a group of Freegans, dumpster divers who are committed to saving the planet, come hell or high water. They inspire Willa, who wants Sylvia to use her celebrity to tout Freeganism as the answer to the climate crisis. This eventually causes a rift between the two as Willa struggles to stay in a relationship with someone who doesn’t support her cause for a better tomorrow.

In this highly emotional state of mind, Willa comes across a book in Sylvia’s library titled Living the Solution by Roy Adams. It seems to provide the salvation Willa is looking for by way of a sustainable community run by the author: Camp Hope, located on the island of Eleutheria near the Bahamas. Willa gives up everything, including Sylvia, to be part of the community—until even this Utopia starts showing imperfections.

Fast-paced and dramatic, Eleutheria is a love story that plays out against the backdrop of a planet in trouble. Hyde, author of the award-winning story collection Of This New World, offers many twists and shocks throughout her first novel, delivering an eerie prophecy of a not-so-distant future if we continue our inaction toward climate change.

In the opening chapters of Dave Eggers’ latest chilling novel, we get a glimpse at a dystopian future in which privacy is a thing of the past and humankind is completely in the thrall of technology. True connection and meaningful communication are withering away. Even the secretary of state tweets dancing rainbow emoji from the official U.S. Department of State account.

At the center of this new world order is the Every, a megacorporation that has acquired Amazon, all the major search engines and social media platforms, and thousands of other companies. Enter Delaney Wells, a young idealist (is there any other kind?) whose parents lost their small-town Idaho store to the Every and now must work for the Every’s Whole Foods-esque grocery service. Delaney believes the Every is “not only a monopoly but also the most reckless and dangerous corporate entity ever conjured—and an existential threat to all that was untamed and interesting about the human species.”

Delaney’s goal is to tear down the Every from the inside. She gets a job at its headquarters and enters an otherworldly corporate culture where everyone dresses the same, steals each others’ ideas and pledges cultlike allegiance to the Every. Delaney begins proposing increasingly outlandish ideas: How about an app that listens to your conversations, tracks the participants’ vital signs and assesses the quality of the interaction? Or artificial intelligence that measures art so we no longer need to decide for ourselves whether “The Last Supper” is beautiful? Or an app called HappyNow? that tells you whether you’re happy with your recent purchases?

To Delaney’s horror, the more ridiculous her pitches, the more enthusiasm they generate, both within the Every and among consumers. She realizes her plan to turn public opinion against the monolithic company has just one flaw: Consumers no longer care about privacy or free will.

Eggers has long established his almost supernatural storytelling skills, and this new book is positively mesmerizing and wholly original. The Every, a companion book to The Circle, will likely scare the bejesus out of readers. The vivid future he depicts feels fantastical but just realistic enough to make you want to unplug your smart speaker and toss your fitness watch.

Laura Hankin’s A Special Place for Women has a ripped-from-the-headlines hook: It’s heavily based on the controversial, real-life, women-only coworking space the Wing and related critiques of “girl boss” feminism, a phrase that diminishes women’s authority while masquerading as empowerment.

Narrator Jillian Beckley is an unemployed journalist from an unsexy part of Brooklyn who recently lost her mom. Jillian doesn’t have any female friends to speak of, but there are two men in her life: her childhood neighbor, who is New York’s hottest new chef, and a magazine editor on whom she has a crush. In a convoluted plan to impress the editor, Jillian pretends she is dating the chef in order to gain access to an elite club of powerful women called Nevertheless.  

This part of the story is similar to the movie Mean Girls, as Jillian initially mocks these out-of-touch women but quickly finds herself under their spell. Much of the novel alludes to possibly sinister goings-on at Nevertheless; Jillian worries that the organization is a shadowy cabal that ruins its enemies. At this, the reader may wonder if the novel is an overwrought sendup of the #girlboss culture that lauds female billionaires. After all, is there anything original left to say about wealthy, status-seeking women and the corrupting influence of power? 

But then, halfway through A Special Place for Women, a creative twist makes these events delightfully complex. This is where Hankin shows her range as a writer: The book you think you’re reading turns into something else entirely.

Admirably, the class analysis in A Special Place for Women is more finely tuned than most novels with an outsider-masquerading-as-an-insider storyline. That’s largely due to Jillian’s rock-solid millennial Everywoman voice, which allows her to stay relatable amid escalating bizarre circumstances. 

A Special Place for Women is a slow burn that’s ultimately fun, fresh and entirely worthwhile.

In his debut novel, Mateo Askaripour offers a witty yet thrilling examination of the complexities of race in corporate America. The novel centers on Darren Vender, a 22-year-old Black man who shares a Brooklyn brownstone with his mother and works as a shift leader at Starbucks. Despite graduating at the top of his high school class, Darren did not go to college and seems to lack ambition. That changes after a chance encounter with Rhett, the CEO of a buzzy tech startup called Sumwun, who invites Darren into the ruthless world of corporate sales.

At Sumwun, Darren’s attempt to climb the corporate ladder is met with multidimensional racist resistance. Sumwun’s director of sales and Darren’s direct supervisor, Clyde, is a quintessential racist. He disproportionately criticizes Darren and employs incredibly demeaning language while doing so. However, Sumwun also features more subtle forms of racism. For example, white employees often remark that Darren resembles Black celebrities who look nothing like Darren—and who look wildly different from each other.

While fighting for his upward mobility at Sumwun, Darren risks alienating his family, friends and himself. Eventually, an unfortunate incident rattles the foundation of Sumwun and sends Darren on a life-changing and culture-shifting journey that is full of twists, turns and some truly profound messages.

Black Buck is an ambitious book. While being an intellectual and captivating work of satire, it also serves as an instruction manual for Black and brown people working in white-dominated spaces. Askaripour embeds tokens of wisdom in his well-crafted plot and delivers direct messages of advice and encouragement to readers. There is great risk in such ambition, but Askaripour is a fine writer and superbly executes his vision.

This is an entertaining, accessible and thorough look at America's race problem, a book both of the moment and one for all seasons. It’s a necessary read for those living under the weight of oppressive systems as well as for those looking to better understand their complicity within them.

ALSO IN BOOKPAGE: How Mateo Askaripour climbed the corporate ladder, then spun what he learned into fiction gold.

Your favorite celebrity memoir was most likely written by a ghostwriter, an author who anonymously pens books for others (often famous folks) to publish under their own names. Taking a bunch of garbled notes from a celeb and writing up something legible is interesting work, to say the least.

Ghostwriters have to be adaptable and discreet about their clients. This hasn’t been a problem for ghostwriter Allie Lang, a single mom in suburban New England who is the main character in Heidi Pitlor’s Impersonation. Or rather, adaptability and discretion haven’t been a problem for Allie before—until she is hired to ghostwrite a book for famous activist Lana Breban about raising a feminist son.

Allie admires her ballsy new client, and adopting the voice of a trailblazing feminist comes naturally to her. Allie wants to raise a feminist son, too. Yet it becomes clear over time that the two women are not fighting the same battles. In fact, they might not even be fighting on the same battlefield. Lana has a financially generous book deal, an assistant and Hollywood pals on speed dial. Furthermore, she’s spent little to no time actually raising her son. She has a nanny for that.

Pitlor’s genius is that Impersonation doesn’t resort to pitting two women against each other. One woman’s career is circumscribed by care work, and the other’s career is not. But when Allie laments that “integrity—and real feminism—were clearly for people more financially secure than I,” it’s apparent that the issues between this ghostwriter and her client are emblematic of so much more. Impersonation isn’t just a critique of the “white feminism” of privileged women who prioritize money and success in existing power structures. It’s also more than a critique of the publishing industry, which only cares that Lana seems “maternal” enough to sell parenting books. Impersonation is a critique of our society’s fragile social safety net for so many vulnerable women, full of satirical humor and a lot of harsh truths.

As Brexit throws Britain into another protracted turmoil, Jonathan Coe once again turns his talents to documenting the state of the nation. Middle England’s authenticity lies in its characters—reintroduced from The Rotters’ Club (2001) and its follow-up, The Closed Circle (2004)—now in late-middle age, with grown children of their own, grappling with a country more divided than ever.

Like the previous works in this series, Middle England covers a lot of ground. It moves swiftly from the election of the coalition government in 2010 to the riots of 2011. The 2012 Olympics gives us a feel-good respite of multicultural pride, but that’s quashed by the 2016 referendum and its subsequent fallout, ending in 2018.

Though each chapter revolves around the storyline of its many characters, if there is a central protagonist it would be Benjamin Trotter, the focal point of Coe’s earlier works. He is now single, living in a Shropshire Mill House and toiling over a novel that has spiraled out of control. His sister, Lois, is in a dysfunctional marriage, and her daughter, Sofia, is a university lecturer who has embarked on an unlikely romance with a driving instructor, who is in thrall of his mother and her far-right views.

There are many other funny and fascinating characters, too: Sophia’s gay Sri Lankan best friend, Sahan; Charlie, a boyhood friend of Benjamin’s who is now scratching out a living as a clown for children’s parties; and Doug, another old friend, now a political journalist with his own faltering marriage and activist daughter.

At times the novel feels like Coe is cramming in as much action from topical events and somehow weaving it into the plot, but it’s really only a minor complaint. Middle England is a hilarious, nuanced and well-observed novel that keeps the pages turning while leaving a smile on readers’ faces.

“Bunny” is the cloyingly sweet pet name shared by four young women in Samantha’s MFA program. They even look sweet. Samantha has her own names for the Bunnies: She calls one “Cupcake” because “she looks like a cupcake. Dresses like a cupcake. Gives off the scent of baked lemony sugar. Pretty in a way that reminds you of frosting flourishes. She looks so much like a cupcake that when I first met her at orientation, I had a very real desire to eat her.”

They are the worst kind of friend group: cliquish, self-obsessed, prim, moneyed, privileged. But when they invite tall, awkward Samantha to a “smut salon,” she is curious despite herself. What could these cardigan-clad ladies—whose idea of a helpful fiction critique is clasping hands while proclaiming, Can I just say I loved living in your lines and that’s where I want to live forever now?—possibly know about smut? When Samantha arrives at a Bunny’s apartment for the event, she finds herself in the middle of a fever dream of an evening, with drinks and visits from her past and more drinks. As Samantha gets drawn into their circle, she learns that sometimes sweet is just a cover for something much more sinister.

Mona Awad made her mark with her acclaimed debut novel, 13 Ways of Looking at a Fat Girl, a striking, at times heartbreaking examination of how body image affects modern life. Bunny is an astonishingly self-assured next step, a surreal journey into the depths of a nightmare. Awad’s writing is somehow both gorgeous and gritty as she explores creativity, art and the universal desire to belong.