After considering 108 titles, the Man Booker International Prize announced their 13-title longlist. The prize, which awards translated works of literature, considers both novels and short story collections translated into English and published in the UK. Here the 2018 longlist (with bonus links where available): The 7th Function of Language by Laurent Binet (Where Randomness and Madness Reign) The Imposter by Javier Cercas Vernon Subutex 1 by Virginie Despentes Go, Went, Gone by Jenny Erpenbeck (The Millions' review) The White Book by Han Kang Die, My Love by Ariana Harwicz The World Goes On by László Krasznahorkai (our review of Krasznahorkai's collection) Like a Fading Shadow by Antonio Muñoz Molina The Flying Mountain by Christoph Ransmayr Frankenstein in Baghdad by Ahmed Saadawi (Saadawi's 2017 Year in Reading entry) Flights by Olga Tokarczuk The Stolen Bicycle by Wu Ming-Yi The Dinner Guest by Gabriela Ybarra
"People have always moved. The story of humanity is essentially a story of movement." —Patrick Kingsley, The New Odyssey Some of the romance of my life in Rome was the view out my apartment's windows: two medieval churches, cobblestone roads, the Colosseum if I stuck my head out, and Colle Oppio park that rolled off the Esquiline Hill. The park's current manifestation was envisioned by the Fascists, and it's easy to find fasces scraped from fountains when you know what to look for. Perhaps starting a week after it opened, the park has suffered the usual Italian neglect. Long grasses scratch at trellises meant for flowers, a bare-bottomed fountain makes a good play-space for children and in August the grass burns to dust. Romans would go there to walk their dogs, tourists to see the ruins of Trajan's baths, and migrants to live. In the park on sunny days, I saw clothes drying on fences and African men playing soccer. Occasionally I saw some men pass through holes in a chain-link fence and disappear behind the tall semi-circular walls of the decaying brick baths. I think they slept above the ruins of Nero's Golden Palace, but I don't know. From all points of the park, from above and below the hill, the group of individuals remained hidden. In a way they were easy not to see, because if I knew more about their privations and struggles in Italy or about their crossings, their stories would haunt me, would spoil some of the insistent beauty of the city. Early in Jenny Erpenbeck's latest novel Go, Went, Gone, Richard, a recently retired classics professor, is struck by his inability to see. It is when he is watching TV that he realizes refugees are staging a hunger strike in the Berlin city square he had passed through earlier that day. On TV he sees they have made a sign which reads, "We become visible," and learns that they refuse to give their names. He wonders why he hadn't seen the demonstration and reminds himself "his going hungry would do nothing to help these starving men." He had his share of adversity growing up after the war in East Berlin. Out of this incident Richard begins to nurture an interest in the refugees. He doesn't entertain a do-good morality about his involvement in their lives. It starts off as something to keep him busy in retirement, a way to be less lonely. He's accustomed to "projects," research, and he initially treats his curiosity in the refugees as such. This is a man who thinks about his lover and dead wife in the same breath without seeming to feel any guilt. Richard is a wonderful and complex character, at once meticulous in his investigation of the refugees' lives and stolidly distant from his emotions and people, which gives him room to grow. He tracks down a group of refugees that he can talk to at an abandoned nursing home where they have been moved by the state. The conversations Richard initiates are grounded in fastidiously designed questions that could fall under the heading Border Crossing, with "border" defined as widely as Erpenbeck defines it, geographical, historical, mythological, between layers, below surfaces, between skin colors. He wants "to investigate how one makes the transition from a full, readily comprehensible existence to the life of a refugee, which is open in all directions—drafty." As Richard learns the difficult stories of how the refugees got to Europe, so do we. And by the light of these stories, we see the individuals. Rufu and Rashid escaped from Libya over the Mediterranean; Rashid's boat tipped over; senseless European laws tie Ithemba and Osarobo to Italy because that is where they first landed in Europe and applied for asylum. Parallel to the unraveling of the refugees' stories, Richard learns about Germany's and Europe's refugee policies. Through Richard's thoughts and reactions, Erpenbeck makes caustically apparent that the atrocities the refugees faced getting to Europe are a fraction of their struggles. Patrick Kingsley points out in his book The New Odyssey: The Story of the Twenty-First Century Refugee Crisis, "In a way the refugee crisis is something of a misnomer. There is a crisis, but it's one caused largely by our response to the refugees, rather than by the refugees themselves." Erpenbeck rubs salt in this critique by casting a shadow of Germany's past over the current crisis: Richard asks himself whether forty heavily armed men are really necessary to remove twelve African refugees from a residential facility, not to mention the other 150 or so police officers waiting in the squad cars for their signal. Tomorrow—this is already clear to him—the newspaper will report on the high cost of this deployment, and this country of bookkeepers will be aghast and blame the objects of the transport for the expense, as used to happen in other periods of German history, with regard to other transports. That line gives me shivers each time. [millions_ad] Another image from Rome: Before I left Italy, my husband was arrested by a municipal vigile urbano for taking photos of a Bangladeshi street seller being arrested near the Colosseum. My husband's instinct to record the incident pissed the vigile off. The vigile let go of his arrestee and lunged for Simon. A few hours later, in the jail for foreigners, the vigile referred to the refugees who were packed into the cells as animali, animals. This vigile and those "heavily armed men" are a working arm of what Erpenbeck calls the "iron law:" the Dublin Treaties, the agreements between the refugees and the Berlin Senate, the heavy-duty high wall of bureaucracy. Because even though I've never heard anyone but a power-tripping vigile express his perspective so bluntly, the idea that refugees have lives that are somehow less valuable is obvious in the EU's refugee policies and people's reactions, which include but are not limited to the laws that make it impossible for refugees to work and the fact that so many in Italy are living in unlivable conditions. Even Richard has to be "reminded that one person's vantage point is just as valid as another's, and in seeing, there is no right, no wrong." Perhaps all this makes it seem like the novel is a political treatise, but it is Richard's subtle transformation and Erpenbeck's liquid prose style that make this book glow above and beyond the content. Erpenbeck's mastery of language and image ripples through her pages. The body of a man drowned in the lake behind Richard's house recurs throughout and expands in meaning each time he enters Richard's mind. Her prose is so controlled and flowing—and superbly translated by Susan Bernofsky. Her chapters are compact lessons in form and function, some long, most short, all well-contained. I could go on, but you should find out for yourself. George Orwell in his 1939 essay "Marrakech" writes about the experience of not seeing the native Moroccans in Morocco. He proposes that one way colonialism functions is by making invisible the people who have been colonized. "The people have brown faces—besides, there are so many of them! Are they really the same flesh as yourself? Do they even have names?" Through the essay Orwell catches himself not seeing people: their skulls in the ground, a hungry man as he feeds bread to a gazelle, old women bent below loads of twigs on their backs. The not-seeing becomes seeing. Seeing alone is not necessarily helping. Three years ago I left Rome to live in New York City where the policies regarding immigration and poverty are no better than Europe's, even before the advent of Donald Trump’s presidency (although deporting 200,000 people at one fell swoop is particularly low). But all helping begins with seeing; gradually Richard begins to help the refugees; he drives Ithemba to an appointment with his lawyer, he registers a refugee protest in his name, he tries to teach Osarobo music. And at the end of the novel, Richard's life has widened so profoundly that he now has room to accommodate, physically and emotionally, those he has met who have nowhere else to go. Empathy is a powerful emotion. May it lead the way, a small flame in the dark.
2017, I resented you and your Twitter feeds, the obscenity of your news stream. The skyrocketing of petulance and greed. The normalization of hate. It was a year of half-read books: too difficult to concentrate. But books, they were also, for me, bright stars against the dark night of our political nadir. Scott McClanahan’s The Sarah Book tore a hole in my soul. A semi-autobiographical novel about the break-up of a marriage: think Scenes from a Marriage, think Who's Afraid of Virginia Woolf? set with West Virginia as its backdrop. The sad, clever, and at times woefully misguided Scott chronicles the fallout of his marriage to Sarah, ICU nurse and self-appointed caretaker of helpless things. It’s a sad beautiful song of bleakness and alienation lined with sunbursts of tenderness and redemption. I loved Jess Arndt’s slender gem of a story collection, Large Animals, for its ways of seeing. Arndt's uncanny observations give life to desire, to despair, to the smallest things. In her stories, the mundane is drawn anew—waves appear "like sandwich foil that had been crumpled up and hucked away," a refrigerator's shelves, like a rib cage. The embodied sensuality lies in stark contrast to the narrators’ struggles with the physical encumbrance of inhabiting a body with breasts, and fantasies and fears associated with having them surgically removed. I've spent months teasing out relationships of teenage girls in my fiction, and sought out other fictions that depict the young girl with complexity: their surly, backbiting, tender, loyal, and vulnerable ways, the ferocity of their attachments. Megan Abbott’s Dare Me did this brilliantly well; I am loath to admit I so enjoyed a book about a team of high school cheerleaders, but, oh, I did. The girls are drawn with such intelligence and wit. Edith-May, loner and protagonist of Coco Picard’s graphic novel Chronicles of Fortune would hate cheerleaders, I imagine, as much she hates bachelorette parties, and for this (and many other reasons) I adore her. "If I have to eat a penis lollipop I'll die," Edith-May tells her roommates (who consist of a mountain that's grown in her city apartment and a crocodile she took in from the roof). Edith May's superhero alter ego comes to life after the death of her mother, though she only appears at night and suffers from ennui. Together they encounter ghosts and healers and moth populations and find ways to grieve. Kate Zambreno’s powerful, lyric processing of her mother's death in Book of Mutter is an artful encomium and stunning homage of a book that at its center conjures Samuel Beckett: “I can’t go on, I’ll go on.” I'm in awe of Vivian Gornick as a thinker and reader and of her powers of observation with regard to the city (New York) and of her love/hate relationship with her mother in Fierce Attachments. I'm still not over Patty Yumi Cottrell’s beautiful and devastating Sorry to Disrupt the Peace, whose narrator returns home after her brother's suicide in an attempt to piece together his reasons and instead finds her parents inhospitable and in denial. And last in this line of loss is the first Elena Ferrante I've read—Days of Abandonment—consumed in what now seems like a prolonged summer haze. Deepak Unnikrishnan’s Temporary People is a brilliant book of interlinked stories that revel in wordplay, and that depict the lives of temporary workers in the UAE and their families and their interchangeable identities in the eyes of the state. In contrast, these characters are so vivid on the page—a woman tapes together workers who have fallen from tops of buildings; a son throws his grandfather’s ashes into a river; a suitcase sprouts legs, a man devours, and in devouring, becomes a plane. Dispensability is key, too, in Jenny Erpenbeck’s Go, Went, Gone, which tracks a group of refugees housed in Berlin through the vantage point of their tutor, a recently retired college professor. We see Richard's privileged life and its relative continuity (despite the fall of the Berlin Wall), his companionship of friends who are like family and have grown old with him, and the stark contrast this poses to the lives of the refugees he befriends and attempts to help. They're survivors of genocide and oppression who escaped via harrowing journeys. They are subject to bureaucracy without rights, subject to prejudice against their skin color and origins, shuffled at the whims of the state, condemned for the burden they pose while not being allowed to work or to settle there. The disregard for the men’s lives is staggering—as is their suffering, the ways state’s intercession only perpetuates the shuffle and undercuts their humanity. Go, Went Gone, is an important book. It's impossible to read and not take a long, hard look at how we're all implicated. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
I was pregnant with my second child for most of the year and I was also working from home, which meant I was very sedentary and slothful, and able to spend a lot of time reading articles that made me miserable. And since I was working on a book, and the pace and nature of that work were utterly different from any other kind of work I’ve done, I was grumpy and anxious a lot of the time even without reading anything at all. And I worried about being miserable and anxious and grumpy, and sedentary and slothful, wondering what it would do to the fetus, and whether the fetus would want to be around someone like me. The reading I did while gestating the baby and my book was catch-as-catch-can and felt mostly like a reprieve and a cheat when I should have been working or doing something civic-minded. Books and the time they went with are blurring together for some reason. I think I read and was ruined by Housekeeping last year, but I can’t be certain it wasn’t this year. I think I read Private Citizens this year and found it spiky and perfect, but I’m not actually sure I didn’t read it in 2016. I do know this year I read The Idiot, which is among other things a delightful evocation of ostensibly fruitless but formative romantic pining, and Sport of Kings, which is absurdly ambitious and devastating. I read The Regional Office Is Under Attack, which is weird and transporting. I gratefully blew off my work for New People, The Windfall, Marlena, The Reef, Hunger, and Conversations with Friends. I read White Tears and The Changeling and Frankenstein in Baghdad on the bus to the OBGYN and marveled at the ways great writers are documenting the effects of the unholy past on the unholy present. I read 10:04 in a lovingly serene and receptive state after spending $60 to float in a very salty pool in the dark (I was trying to make the fetus turn head-down). When I was freaked out about everything the only book that sort of soothed me was the phenomenal new translation of The Odyssey, which is modern but not jarringly so, and highlights the sense of human continuity we apprehend from an ancient text. I re-read Off Course, a wonderful California novel that has become one of my favorite books in the last few years. I re-read A Suitable Boy to get ready for A Suitable Girl, which is allegedly arriving in 2018 and which I’ve been waiting for my entire adult life. I read The Golden Road, Caille Millner's gemlike memoir about growing up. I read a Word document containing the first half of Michelle Dean's excellent forthcoming literary history Sharp, and I'm clamoring for the rest of it. I read a Word document containing the entirety of Meaghan O’Connell’s forthcoming essay collection, And Now We Have Everything, and it is a stunningly insightful book that I’m hesitant to say is about motherhood because it might turn away people who might otherwise profit from it. I loved my colleagues Edan and Claire and Sonya’s novels Woman No. 17 and The Last Neanderthal and The Loved Ones, which are about motherhood (and fatherhood, and daughterhood, and a lot of other things too). More mothers: I cried over Mr. Splitfoot in an airplane after reading Samantha Hunt’s “A Love Story” in The New Yorker. The book I thought about most during my gestational period was Mathias Énard's Compass, which is a love story of a different kind. I don’t think I’ve read another book so deft in transmitting both the desire and the violence that are bound up in the production of knowledge, another complicated act of creation. In October I had the baby. I wouldn’t suggest that anyone have a baby just to shake things up, but babies have a way of returning you to your body and adjusting your relationship to time that I’d hazard is difficult to find elsewhere in the arena of positive experiences. First you have the singular experience of giving birth; then you have the physical reminders of that experience, and a baby. If you are lucky you get good hormones (if you are spectacularly lucky you get paid leave, or have a spouse who does). The morning she was born I looked at the baby lying in her bassinet and felt like the cat who swallowed the canary, or a very satisfied hen. Animal similes suggest themselves because it is an animal time: you smell blood and leave trails of it on the hospital floor; milk oozes. You feel waves of such elemental fatigue that rational thought and speech seem like fripperies for a younger species. Even now, nine weeks later, sneezing reminds me viscerally of what the flesh endured. This is what I mean when I say the experience returns you to your body. If it’s your second child, it also makes you a time traveler. I spent my first child’s infancy desperate to slow down time, to fully inhabit this utterly strange nesting season of my life and hers before we were both launched into the future. When the second baby was born I got the unhoped-for chance to live in that season again. I had forgotten so much: the comically furtive and then plucky look a newborn gets when she is near the breast, and the bizarre thing her eyes do when she's eating—zipping back and forth like a barcode scanner apprehending some ancient sequence. The sound she makes after sneezing, like a little wheeze from an oboe. Since, during this period, I felt I had a legitimate excuse to not read every dire news item for at least a couple of weeks, and since I experienced a wonderful if brief disinclination to open Twitter, and since sometimes I got to sit in clean linen sheets that are my prized possession and nurse a tiny brown-furred baby, I fell in love both with the baby and with every book I touched. I started re-reading Mating when I was waiting to give birth and finished it the week after. I read it for the first time three years ago when my older daughter was born and felt so incredibly altered by it then, and I slipped back into that state immediately. Right after Mating I read Mortals, and after Mortals, I read Chemistry, and forthcoming novels The Parking Lot Attendant and That Kind of Mother, and I loved them all too. Being with the baby and reading deeply and more or less avoiding the things that make me miserable was such an unanticipated return to Eden that even the bad things I now remembered about having a baby were good: the strange combination of agitation and dullness that enswaddled me when the sun went down and made me weep; the sudden urge to throw beloved visitors out of the house; visions of stumbling, of soft skulls crushed against sharp corners; fear of contagion; agonizing knowledge of other babies crying and drowning and suffering while your own baby snuffles contentedly in a fleece bag. But even when the blues fluoresced what registered was not the badness of the thoughts, but their intensity. The shitty hospital food you eat after expelling a baby is the best food you’ve ever had because you had a baby and you didn’t die. And like a person on drugs who knows a cigarette is going to taste amazing or a song will sound so good, an exhausted, oozing postpartum woman can do her own kind of thrill-seeking. I re-read Under the Volcano, which really popped in my altered state. It’s a hard book to follow but I found to my delight that I’ve now read it enough I’m no longer spending a lot of time trying to understand what is going on. Its insane, calamitous beauty was perfect for my technicolor emotional state; rather than despairing over my inability to form a sentence I put myself in the hands of a pro, shaking though Malcolm Lowry’s were as he wrote. It hasn’t all been déjà vu. There have been new things, some of them bad: namely the feeling of being driven absolutely bananas by my poor sweet firstborn, who is no longer tiny and blameless and new, but a harum-scarum toddler who jumps on the bed and windmills her arms and kicks and screams WAKE UP MAMA and refuses to put on her jacket. On this front one of the random galleys that pile up in the vestibule was a surprise hit—a children’s book from the Feminist Press called How Mamas Love Their Babies. My daughter loves this book, which has beautiful photo collage illustrations. It is a progressive book that encourages workers’ solidarity in a way I was not necessarily prepared to address with a just-turned-three-year-old but am now trying to do in my poky fashion (“Some mamas dance all night long in special shoes. It’s hard work!” the book reads, and my child peers inquisitively at a photo of platform lucite heels). It also helps me: I look at myself in the mirror and note that some genetic vandal has lately streaked what looks like raspberry jam across the skin of my hips and one (!) breast (“Some mamas care for their babies inside their own bodies,” the book reminds me). When the baby was three weeks old I got pneumonia, and that was a bad new sensation too, although even that interlude had its attractions. I discovered coconut water, and read Swamplandia in a febrile, almost louche state of abandon in my increasingly musty sheets, a perfect complement to the novel’s climate—its rotting house and the visions and moods of its protagonists. [millions_ad] During early nights of nursing I read a galley of a memoir by a writer who also got good hormones and who became addicted to having babies, having five in fairly rapid succession. If nothing else, I understood the irrational drive to overabundance. In the first weeks of this new baby’s life I astonished myself by wanting more, more, more. Around week five I actually googled “is it morally wrong to have a third child,” and if you are a well-fed, utilities-using first-worlder like me, yes, not to mention yes, in philosophical terms (not to mention we can’t afford it, not to mention it would surely drive me batshit). Everything you read about life on this planet, including some of the novels I read this year, suggests you should not have children, and if you must, that you should have only as many as you have arms to carry them away from danger. Even that formulation is a consoling fallacy. Things are less technicolor now, but the hormones are still there, propping me up. (I read over this and see they've even led me to write a somewhat revisionist history of what the past few weeks have been like.) Last week, week eight, I finally read Open City, which is a few years old but speaks to the state of the world today in a way that is depressing. I love how it is a novel of serious ideas and style, but is also approachable and pleasure-making for its reader. I love that it is a humane book even as it is gimlet-eyed. Now I’m reading Go, Went, Gone by Jenny Erpenbeck and finding it similarly humane and gimlet-eyed and serious and pleasure-making. It is about the state of the world at this moment. It also speaks to the double consciousness of people like its protagonist, who are living not necessarily with suffering but with a metastasizing awareness of suffering, and how it changes them, and this is on my mind. The novel also seems to be about time and space and how people are altered when their time and space are altered. It's about the difference, not between "us" and "them," but between "you" and "you." I’m thinking about that too as I time travel this winter. I know I need to prepare for the moment when all this gladness provided gratis by Mother Nature will deflate and disappear like a wet paper bag. And there will be a time—I feel it coming on as I type this and hope the baby stays asleep in her bouncer—when the deep satisfaction of one kind of generative act, this bodily one, will be supplanted with the need for other kinds of creation. I think Cole and Erpenbeck's novels will help me with these eventualities. I’m counting on them, and on all the beautiful things I hope to read next year. You know what they say about books: they’re like babies; when you have one you’re never alone. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005
This year I read too many wonderful books to name all of them here, but some highlights were: Katie Kitamura’s intoxicating A Separation, which is such a wild and yet disciplined exploration of the idea of the traveler and of grief. Anuk Arudpragasam’s The Story of a Brief Marriage came out last year, but it is a book I hold close to me these days, a miracle of a novel, one of the most humane, visceral, gut-wrenching and precise stories I have ever read. Atticus Lish’s Preparation for the Next Life exploded in my head and I’m still reeling from the effects of living that journey. I absolutely loved Jenny Erpenbeck’s new one, Go, Went, Gone. She is one of my favorites, one of those rare writers who, I think, can write a narrative where you feel layers, not only the layers of a character’s life, but literally the layers of sky, the earth, soil and history and the future. Hernan Diaz’s In the Distance will haunt me forever, a narrative that continues to astound me, and I think a near perfect portrayal of aloneness and solitude and deep longing. Finally, I just finished a book coming out next year, Happiness, by the great Aminatta Forna. It is a novel that carries a tremendous sense of the world, where I looked up upon finishing and sensed a shift in what I thought I knew, what I wanted to know. What a gift. It was what I needed. Readers are in for a treat. More from A Year in Reading 2017 Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now. Don't miss: A Year in Reading 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005 [millions_ad]
We wouldn’t dream of abandoning our vast semi–annual Most Anticipated Book Previews, but we thought a monthly reminder would be helpful (and give us a chance to note titles we missed the first time around). Here’s what we’re looking out for this month. Find more September titles at our Great Second-Half Preview, and let us know what you’re looking forward to in the comments! Sing, Unburied, Sing by Jesmyn Ward: Ward returns with her first novel since her National Book Award-winning Salvage the Bones. Ward’s two books between, a memoir (Men We Reaped) and a book of essays she edited (The Fire This Time), deal head-on with racism in America and the woeful ways it’s still deeply embedded in our society. In Sing, Unburied, Sing, Ward’s southern-steeped voice is just as keen and continues to take on the South’s murky history, this time through the young Jojo as he travels with his drug-addicted mother and baby sister as they go to pick up his father just released from prison. (Anne) Forest Dark by Nicole Krauss: Krauss’s fourth novel follows the lives of two Americans in Israel in alternating chapters. The first character, Jules Epstein, is a recently-divorced, retired lawyer drawn to a rabbi; the second, a novelist named Nicole, is recruited by a mysterious literature professor working on a project about Franz Kafka. Krauss’s novel A History of Love has been rightly praised, but this new book might send people back to her equally intriguing debut, Man Walks into a Room, another investigation of what happens when our lives are radically transformed. (Nick R.) Little Fires Everywhere by Celeste Ng: With her 2014 debut, Everything I Never Told You, Ng proved she is a powerful storyteller of multifaceted families and the women within them forced to make difficult decisions. Her sophomore effort tangles multiple families in a drama of class and race in a Cleveland suburb. When single mother and artist Mia Warren moves to Shaker Heights, she rents from the well-off Richardson family. Of course, the initial fascination with the Warrens turns sour when they are pitted against the Richardsons in a town rift about a family adopting a Chinese-American child. (Tess) Five-Carat Soul by James McBride: McBride returns to fiction for the first time since winning the National Book Award for The Good Lord Bird, his masterly novel about the exploits of the doomed abolitionist John Brown and his entourage. McBride’s new book, Five-Carat Soul, is a collection of stories told through the eyes of an antique toy dealer who makes the score of a lifetime; the poor kids in a neighborhood band called the Five-Carat Soul Bottom Bone Band; a mixed-race child who believes he’s the son of Abraham Lincoln; a boxer; a lion; a doctoral student who uncovers a beautifully complicated war story. Five-Carat Soul will thrill fans of McBride’s unmistakable fictional voice. (Bill) Dinner at the Center of the Earth by Nathan Englander: Though the latest by Englander takes place on three different continents, at heart it’s a novel about the conflicts of modern Israel. Z, or rather Prisoner Z, has been held at a black site in the desert for close to 12 years, where the only company he’s allowed is a single guard. The one official who knows about him is a comatose figure named The General. Through a series of flashbacks, we learn who Z really is: an American operative who compromised Israeli state secrets. (Thom) Katalin Street by Magda Szabó (translated by Len Rix): Why does writing this vivid take so long to find its way West? Equal parts lament, paean, and family saga, Szabó’s 1969 novel (and 2007 Prix Cévennes winner) in Len Rix’s legato English translation captures handily the “double tragedy of eastern Europe”—razed by Nazis and rebuilt by Communists. The unquiet spirits of post-war Budapest put meat on the bones of the Soviet joke that “only the past is unpredictable,” and one less-than-silent witness of the sins and slights of a shattered community harbors no illusions about permitting the living to exist peaceably in the soft-focus sentimentality of their survival. (Il’ja) Letters to Memory by Karen Tei Yamashita: The author of Brazil-Maru, Through the Arc of the Rain Forest, and Tropic of Orange mines her family's history with archival materials from a Japanese internment camp, creating a hybrid work of fiction, nonfiction, and memoir that features recreated correspondence between composite characters from a range of academic disciplines. (Lydia) Sourdough by Robin Sloan: If Mr. Penumbra's 24-Hour Bookstore was any indication, Sloan has a knack for putting the weird and wonderful back into the tech world. Protagonist Lois Clary is a San Francisco software engineer who find herself given the responsibility of keeping a secret sourdough starter alive. The addled coder soon turns into the most sought-after baker in the Bay Area, ruffling a few industry feathers along the way, until she's invited to join an emerging food and tech scene. It all sounds too wacky to be good, but Sloan's signature humor makes it a promising second novel. (Tess) Bluebird, Bluebird by Attica Locke: I heard Locke—award-winning author of Pleasantville, a writer on Fox’s Empire, and a native of Texas—say that she wanted to write something about the black experience in the South that wasn’t only about prejudice, but showed that complexity and love and joy exist even in oppressive systems. I may be paraphrasing poorly, but I’m excited to read her book, which is about a black Texas Ranger trying to solve the murders of a black lawyer from Chicago and a local white woman. (Janet) Affections by Rodrigo Hasbún (translated by Sophie Hughes): A work of historical fiction based on the life and family of Hans Ertl, cameraman to Leni Riefenstahl and photographer of Rommel, who settles in Bolivia after the war. The novel is set in the 1950s and 60s, and follows Ertl and his children on a disastrous mission into the Amazon. Kirkus calls it "A one-sitting tale of fragmented relationships with a broad scope, delivered with grace and power." (Lydia) A Loving, Faithful Animal by Josephine Rowe: Rowe’s two previous books—How a Moth Becomes a Boat and Tarcutta Wake—were collections that walked the line between short fiction and prose poetry. A Loving, Faithful Animal, her exquisite first novel, is concerned with the long shadow of war across generations. Rowe tells the story of a fractured family in 1990s Australia after the father, a Vietnam War veteran, leaves home. (Emily) After the Flare by Deji Bryce Olukotun: The sequel to Nigerians in Space, the afrofuturist novel The Guardian described as “an exquisite blend of unpredictable twists and lightening-speed plot.” After the Flare finds the world plunged into chaos following a devastating solar storm, after which only the Nigerian space program is functional. A group of scientists have to contend with looming space disaster and Boko Haram in a sequel that a starred Kirkus reviews calls "spectacularly imagined." (Lydia) Go, Went, Gone by Jenny Erpenbeck (translated by Susan Bernofsky): German author Erpenbeck’s fiction takes deep root in personal history. To research her first novel she re-enrolled in high school. Visitation followed the history of a piece of land in her family, as it was divided and passed between past owners, as a lens for looking at the travails faced during WWII. With Go, Went, Gone Erpenbeck turns to the current refugee crisis—in the book a retired professor becomes involved assisting refugees and spends his evenings documenting their stories. Erpenbeck’s own work with refugees inspired the stories woven into her narrative; “the fusion of the found and the invented yields an indistinguishable amalgam,” according to the Goethe Institute. (Anne) Border by Kapka Kassabova: When Kassabova was a child growing up in Iron Curtain-era Bulgaria, the country’s isolated southern borderland—where Bulgaria meets Turkey and Greece—was rumored to be a relatively easy crossing point into the West, and so the region swarmed with migrants, soldiers, and spies. In Border, a work of narrative reportage, Kassabova returns to a region whose natural beauty is matched only by the complexity of its political and cultural landscapes: the Communist-era spies have long since departed, but the borderland, Mark Mazower wrote recently in The Guardian, remains “an environment that does not spare the unlucky or the vulnerable.” (Emily) A Legacy of Spies by John le Carré: The first George Smiley novel in a quarter of a century, from the master of spy fiction. Enough said. (Lydia)