Author Scott Hershovitz sets out to prove that philosophy, like inquisitive, rowdy children, can offer illuminating insights — even when addressing complex subjects related to misbehavior.
(Image credit: Penguin Press)
Hernan Diaz's novel is constantly pulling a fast one on the reader. It opens with the saga of a Wall Street tycoon, but soon another narrative comes to upend the truth of everything that came before.
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Novelist Ann Hood, whose Fly Girl paints a picture of her time as a flight attendant, was a beneficiary of the fight by the women profiled in Nell McShane Wulfhart's book to be treated professionally.
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The award-winning poet's new collection, The Hurting Kind, is a testament to the power of sensitivity and to the reality that the world is here to both guide us and lead us astray.
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The playful and clever story pokes holes in pop culture assumptions about small towns from Hallmark movies to romance novels as two rivals in the publishing world find love far from the city lights.
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Eric Orner's book isn't just a great story, it's an enveloping visual experience crafted by a terrific artist; even if one paged through it without looking at the words, it would be a good read.
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Though winding at times, Sam Knight's book is thought-provoking and deeply researched, presenting the oddity of realized premonitions while allowing readers to come to their own conclusions.
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E. Lockhart's prequel to We Were Liars works perfectly well, too, as a standalone coming-of-age novel about grief, addiction, young love, and learning to navigate the world.
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By exploring binaries such as imagination versus reality and surface versus depth — with their often blurred boundaries — Ali Smith's latest challenges readers to embrace the indeterminate.
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At its best, Beth O'Leary's tender and fragmented narrative feels like a metaphor for experience — how we only ever know part of the story of our lives and control even less.
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T. Kingfisher treats source material like a buffet; the result feels like a cozy but still perilous D&D adventure, full of found-family, second chances, and winks to the folklore that inspired it.
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In this droll, emotionally wrenching and profound memoir, novelist Brian Morton attempt to see his mother as a whole person — not just in relation to him, or, God forbid, as an eccentric "character."
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Jori Lewis tells eye-opening stories of individuals despite scant historical record. At the outset she asks: "How do we tell the stories of people that history forgets and the present avoids?"
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It's still an open question to what degree our planet will remain habitable in the coming years. Elizabeth Cripps offers an urgent message in What Climate Justice Means and Why We Should Care.
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Mandel's latest work is an ingeniously constructed, deeply absorbing novel that summons up three fully realized worlds in three distinct time periods — including the 25th century.
The author of Godshot brings readers a new set of stories; Heartbroke unfolds in a chorus of yearning and sorrow, told in 11 different voices that Chelsea Bieker inhabits with perfect pitch.
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In Jennifer Egan's novel, there is a persistent, lovely countermelody to the corporate project of mapping human experience; it's full of people engaged in a sweeter and more plaintive human algebra.
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In his new collection, poet Ocean Vuong transforms Time, normally associated with death and erasure, into a mother with endlessly regenerative power.
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Station Eleven author Emily St. John Mandel wrote a book during these last two years of social isolation — about big moments in our lives and small moments in time.
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Maud Newton spent decades researching genealogic records, genetic science, and the cultural history of "ancestor hunger"; her book is also a coming-to-terms with how to face and honor family history.
(Image credit: Random House)
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