Brandon Taylor’s second book and first story collection, coming in quick succession to his Booker Prize-shortlisted novel, reads like a landmark of millennial fiction, revealing an even clearer picture of the expansiveness of Taylor’s vision than his rigorously structured debut.
Mary McCarthy’s 1949 novel is not just a story about personal failings and internecine squabbling—it’s also a stark warning about intellectual capture, about what can be lost if you don’t approach politics with a healthy dose of skepticism.
“When John le Carré died in December, I was drawn to revisit his 1974 espionage masterpiece. Its plotting was just as crystalline as I’d remembered, yet its enduring power didn’t lie, I realized, in its structure or entertainment value, but in the lucidity of its politics and moral investments.”
Reading Cárdenas’s second novel, with its intricately patterned sentences circling obsessively around an absent center, it’s hard to shake the feeling that the author has done something remarkable, inventing an entirely original language for representing the fractured sensation of being conscious in the twenty-first century.
Lauren Oyler’s debut novel is an audacious, mordant, and frequently hilarious sendup of internet culture at the turn of the decade, and a likely harbinger of how books about the internet will read in years to come.
Ayad Akhtar poses a challenge to liberal consensus not by denying the existence of America’s foundational inequalities along lines of race, class, and gender, but by questioning whether the liberal project of advancement through representation is capable of catalyzing the structural changes necessary to address them.
Doon Arbus’s debut is an enigmatic and necessary book, especially for those conflicted about the physical detritus accumulated over the course of a life.
Gerard’s novel is a fascinating read for anyone looking to understand the world we’ll inhabit when the smoke of the Trump era clears—in particular, the world that’s being left to young people.
Lara Prescott’s thrilling debut novel focuses on the CIA’s efforts to smuggle and distribute Boris Pasternak’s legendary novel. But it takes a subversive approach, telling the story from the perspective of the unsung women, at both the CIA and in Soviet Russia, who made Pasternak’s legend possible.