For 25 years, beginning with her National Book Award-winning story collection, Ship Fever, Andrea Barrett has devoted vast amounts of her creative energy to vividly imagining several generations of a family and their friends living in central New York. In Natural History, the publisher tells us, Barrett “completes and connects the lives of the family of scientists, teachers and innovators she has been weaving throughout her books.”

First, let’s hope that this isn’t truly our final opportunity to spend time with Barrett’s characters. Long may they prosper! Many of them are female naturalists leading deeply compelling lives in provincial places, corresponding fruitfully with each other and with renowned scientists. They’re not simply unmarried teachers or traveling lecturers concerned with the science lab and the beauty of nature. They’re also devoted family members, lonely visionaries and rivals for the attention and approval of others. Their relationships, professional and emotional, are the understory to the science that seems to so fascinate Barrett.

Second, you need not have read earlier stories to be informed and dazzled by Natural History. (I have read less than half of Barrett’s books and still found myself astounded.) While the larger narrative of Barrett’s collected works has not emerged chronologically but instead episodically, this collection of six stories does contain a basic chronology, following schoolteacher and citizen-scientist Henrietta Atkins (born in 1852) into the early 20th century. A helpful family tree at the end of the book illustrates the range and complexity of family relations as well as the ties “beyond blood or marriage” that link characters.

Third, Barrett is sometimes described as a historical fiction writer. There’s truth in that. Many of these stories are set in the 19th century and offer rich sensory glimpses of small-town American life of that era. At the same time, Barrett has a more modern view of the winnowing processes of history. In one of the collection’s best stories, “The Regimental History,” Henrietta is a bright child serving in the home of a prominent local family, and she reads horrific and confusing first-person accounts of Civil War battles from two brothers in the family. Later, an older Henrietta, now a teacher, helps one brother attempt to clarify and defend his unit’s sullied reputation by contributing to the regimental history. And later still, an even older Henrietta visits a historian who possesses all the soldiers’ testimonials and will now refine and generalize and make everything clear.

Or maybe not. In Natural History, Barrett demonstrates that while history organizes and distills events, fiction brings messy humanity gloriously to life.

There’s no guarantee that a writer who excels at short fiction will naturally succeed at novels, or vice versa, which is why it’s so exciting when a storyteller effortlessly crosses over. With her story collection, Bliss Montage, all the promise and power of Ling Ma’s 2018 novel, Severance, is gorgeously applied to the art of the short story. It’s a lyrical, potent anthology that blends fantasy and reality to dazzling effect. 

The eight tales in Bliss Montage are rooted in familiar, deeply human moments. For example: A pair of friends have an unhealthy relationship with drugs and each other, a woman is haunted by her romantic history, and a wife deals with losing track of her husband at an airport. But within these familiar beats, Ma inserts fantastical conceits, tilting our view of reality, until something strange and new creeps in. In “G,” the two friends take a drug that renders them temporarily invisible. In “Los Angeles,” the woman shares a house with her husband and 100 ex-boyfriends. And in “Returning,” the wife arrives in an unfamiliar country and learns about a burial ritual that might change her marriage forever. 

In each story, Ma seamlessly blends the real and the unreal with astonishing confidence and care. Laden with apt, surprising metaphors, her supernatural elements provide incisive, bittersweet commentary on human longing, loss and love. Her tightly structured sentences are little blades of wisdom and wit that slip into you when you least expect it, opening you up with bursts of raw, emotive power.

Bliss Montage is another triumph for Ma. Fans of elegant, well-crafted short fiction should not miss it.

Forging an entire short fiction collection around a single theme—and delivering one truly original tale after another—is trickier than it sounds. It’s too easy to fall into the trap of repetition and rhythm, making each tale read like the last one, just with the serial numbers filed off. Jane Campbell’s first book, which she’s publishing in her 80th year, maintains a thorough sense of originality while delivering a stunning range of works on the inner lives of older women. The stories in Cat Brushing cross genres and boundaries, daring the reader to meditate on previously unexplored (or at the very least, rarely explored) perspectives on aging, sexuality, violence and beyond.

In “Susan and Miffy,” a woman develops an unlikely sensual connection with her beautiful caregiver, challenging both of their notions about attraction. In “Lockdown Fantasms,” extreme pandemic isolation leads to a new program that sends government-sponsored spirits into the homes of the “over-seventies” to keep them company. In “Lamia,” a woman returns to the site of an old fling in an effort to recapture something in her own dangerous nature. In “Kindness,” a retired woman in a beachside retirement complex makes a choice that will change not one life, but three. And in the title story, a woman living with her son and his new wife explores the anxieties and uncertainties of existence while grooming her beloved pet. 

The baker’s dozen of tales that make up Cat Brushing are all delivered through lean, incisive, witty prose that calls to mind the calculated directness of Ernest Hemingway and the furious expressiveness of Joyce Carol Oates. Campbell’s sentences are solid, imposing, often free of adornment in terms of punctuation, and each one seems carefully crafted to get to the core of a certain emotional truth. Whether she’s writing a first-person or third-person narrative, Campbell’s wisdom, passion and honesty come through, imbuing the collection with an elegant, often lyrical power. 

Within these women’s stories of loss, desire, pain and memory, we discover the feeling of holding onto something primal even as the world seems determined to forget that side of us. To capture such complexity in one story is powerful, but for Campbell to do so 13 times makes Cat Brushing one of the most compelling fiction collections you’ll find this year.

Every writer has to start somewhere. Maggie Shipstead’s bestselling 2021 novel, Great Circle, earned a place on the Booker Prize shortlist, but the road to such success is often long. In Shipstead’s case, as she explains in the acknowledgments of You Have a Friend in 10A, her path began with stories written while studying at the Iowa Writers’ Workshop and Stanford University. 

This collection of 10 works of short fiction, all previously published, gives readers the inspiring experience of charting the maturation of one of America’s finest authors. Most impressive is the book’s range of perspectives, from the chilling “La Moretta,” in which a couple on their European honeymoon slowly realizes their marriage may have been a mistake, to “Souterrain,” a tale of a dying Parisian man and his housekeeper’s son, who believes the man to be his father.

In a few pieces, it’s clear that Shipstead was still discovering what her words could do, but the best are exceptional portraits of characters unaware of the effects of their actions. Highlights include “The Cowboy Tango,” in which a Montana man who runs a ranch for tourists becomes smitten with the teenage girl he hired as a wrangler and joins “in the silent chorus of the unloved” when she falls for his divorced nephew; and the story “Acknowledgments” (not to be confused with the author’s own acknowledgments), in which a pompous author uses hilariously Nabokovian sentences like “Let us skip that Rabelaisian era known as adolescence and hop jauntily to my twenty-fifth year.”

In one story, a character reflects that “even a life lived properly, lived better than she was living, could bring so much grief.” The finest stories in You Have a Friend in 10A show that perpetual grief may not necessarily lead to great lives, but it can produce scintillating fiction.

If it were possible to sum up Jess Walter’s The Angel of Rome and Other Stories in a word, it would be humane. In the 12 wide-ranging, consistently empathetic stories that compose his second collection, he creates a memorable assortment of characters who bump up against life’s inevitable obstacles, large and small, then stumble through or surmount them.

The collection’s titular novella embodies all these qualities. Its protagonist, Jack Rigel, is an unhappy 21-year-old from Omaha, Nebraska, who improbably receives a scholarship from the local Knights of Columbus to study Latin in Rome in 1993. After he arrives, he inadvertently encounters an Italian actress he’s idolized and an American TV star whose career is on a downward trajectory, setting his life on an unexpected new course. The story of Jack’s coming-of-age is both wistful and often comic.

Walter makes use of his hometown of Spokane, Washington, as the setting for several of these stories, among them “Mr. Voice,” selected for Best American Short Stories 2015. The eponymous character, who’s a ubiquitous presence on local radio whose “rumble narrated our daily life,” turns out to be more than a set of well-tuned vocal cords. In “To the Corner,” which appeared in Harper’s Magazine in 2014, an aging widower contemplates the end of his life as he watches the young boys hanging out across the street from his house, never imagining the role they might play in giving him a reason to live.

The collection’s concluding story, “The Way the World Ends,” is representative of Walter’s light touch and ability to expose his characters’ flaws with a combination of candor and sympathy. Two climate scientists interviewing for the same position at Mississippi State University spend an alcohol-drenched evening with their faculty hosts, bemoaning the rapidly approaching demise of the planet. Jeremiah Ellis, a Black student manning the desk at the university guest house where they’re carrying on their revels and who’s recently come out of the closet, overhears their grim musings. His reaction in the bright light of the morning is both chastening and a reminder of the persistence of hope.

The tales in The Angel of Rome aren’t easily categorized, but each one, in its own way, provides a refreshingly honest glimpse into what it means to be alive.

Although each of the 12 linked tales in Morgan Talty’s debut collection captures a particular moment, relationship or experience, together they give Night of the Living Rez the heft, movement and complexity of a novel.

All of the stories are narrated in the first person by David, a Penobscot man living on a reservation in Maine. About half the stories occur during David’s childhood and adolescence; in the other half, he’s a young man in his 20s, passing the time drinking and smoking with his friend Fellis, struggling with the effects of opioid addiction and longing for a place to belong in a confusing world.

There is so much beauty in these stories, but also heaviness, including sexual assault, inherited trauma and violence toward Indigenous people. Talty writes truthfully and openly about the challenges faced by David and his family but never reduces any of them to their pain. David and the people around him—his mother, his stepdad, his sister and Fellis—are real and flawed. They try their best and make mistakes; they get in fights and let one another down. They also look out for one another, express their affection through food and laughter, tell stories and share ceremonies. Funny and direct, David is a brilliant observer of these ordinary yet specific lives. He’s the perfect guide to the constellation of relationships, history and culture that defines the reservation he calls home. 

What’s most remarkable about the collection is the way Talty carefully guides readers to the book’s climax. Each story reveals something new about David; small details from one story become life-changing events in another. In this way, the stories in Night of the Living Rez build on themselves the way a life builds: messily, unpredictably, with love and heartache and never quite in the way you expect.

Two-time Booker Prize-winning British author Hilary Mantel’s books pack a memorable punch, no matter what she writes. Fans have devoured her Wolf Hall trilogy, whose final book, The Mirror & the Light (2020), was 784 pages long. Her memoir was lengthy, too—400 pages for Giving Up the Ghost (2003). Now readers are in for a decidedly different yet equally rich treat: a brief collection of short stories (clocking in at 176 easily digestible pages) that she intriguingly describes as “autoscopic” rather than autobiographical. 

Learning to Talk consists of seven stories, arranged chronologically, in which Mantel reflects loosely on her English childhood and explores, as she writes in the preface, “the swampy territory that lies between history and myth.” She explains that the writing of these stories was a “strenuous” process that took years. For example, the first and final lines of “King Billy Is a Gentleman” arrived almost simultaneously, but she needed “twelve years to fill in the middle.” 

These are evocative, precisely drawn, ghost-ridden tales about impoverished, difficult times, yet they are also filled with a growing awareness that better things await. In the aforementioned “King Billy Is a Gentleman,” the narrator describes her gradual realization that her mother created a scandal by bringing in a lodger who became her mother’s lover. In the arresting “Curved Is the Line of Beauty,” the narrator and her family take a day trip to Birmingham, where the narrator becomes hopelessly lost in a junkyard with another girl—just as Mantel wanders in the memories, myths and secrets that filled her childhood. In “Learning to Talk,” the narrator is beginning to find her voice while taking elocution lessons to learn to “talk proper.” Notably, the narrator says, “Surely it was not necessary to talk for a living? Wouldn’t it be possible to keep your mouth shut, and perhaps write things down?”

Why write such stories after publishing a memoir? In the final story, which shares its title with Mantel’s memoir, the author answers this question precisely: “The story of my own childhood is a complicated sentence that I am always trying to finish, to finish and put behind me. It resists finishing, and partly this is because words are not enough; my early world was synesthetic, and I am haunted by the ghosts of my own sense of impressions, which reemerge when I try to write, and shiver between the lines.”

Learning to Talk is an unusual and ultimately fascinating amalgam of fact and fiction as Mantel sorts through the puzzle pieces of her past.