Jamel Brinkley’s second story collection, Witness (Farrar, Straus and Giroux; 240 pages), records glimpses of lives across New York, disparate but proximate—as though looking at people in lit windows across the cityscape. Lingering in the worlds and heads of his protagonists, Brinkley’s stories elongate these moments into chasms of psyche and memory. They remind us that whatever we see in the window, observation alone is superficial. To witness is a full-body experience, affecting the mind as much as the eye. New York is a familiar setting for Brinkley, whose debut, A Lucky Man (2018), also features stories set in the […]

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In Kathleen Alcott’s Emergency (W.W. Norton; 208 pages), the tales of seven women whose lives come undone create haunting depictions of desire and harm. Alcott’s first story collection following three novels, Emergency is permeated by a sense of disaster lingering in the wings and about to unfold. Her protagonists are typically clever and have ascended by their tenacity to the middle or upper-middle classes. Yet even in these stations they are endlessly reminded of the boundaries that do not get erased by their bank account balances. Several of them leave their homes, but often become trapped in their escapes. Sometimes […]

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The name “Comet” evokes the fiery and dramatic path of a celestial body, the kind that might portend the end of the world, or at least make for good cinema. But a comet is also a solitary thing, moving silently through the solar system. In Patrick deWitt’s new novel, The Librarianist (Ecco Press; 352 pages), Bob Comet is the curiously quiet carrier of this name. Bob is a protagonist out of step with time and life. On deciding to become a librarian, his mentor tells him that “librarianism doesn’t hold up in our society’s real time … the language-based life […]

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Autofiction is usually accompanied with disclaimers and explanations, shame and caveats. Caroline O’Donoghue’s new novel The Rachel Incident (Knopf; 304 pages), too, is bookended with disclaimers. It opens with, “It was never my plan to write about any of this” and closes with the protagonist saying, “It’s not my story.” Though it is unclear how much memoir this confessional novel actually holds, this conceit of autofiction is marvelously executed—the details of memory feel preciously excavated, the plot clicks in place in that inevitable way of real life. Even at its most alarming—the protagonist extorts an older couple to fund her […]

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With her fifth novel, Yellowface (William Morrow; 323 pages), R.F. Kuang promised a departure from the speculative genre work of her fantasy Poppy Wars trilogy and science fiction Babel (2022), winner of the 2022 Nebula Award for Best Novel. Yellowface is a biting satire about the publishing industry, informed by Kuang’s own experience as a Chinese American writer who regularly tops bestseller lists. It follows the publication of protagonist June Hayward’s second novel, a historical drama titled The Last Front about Chinese laborers who fought for the Allied Forces in World War I. Kuang writes for a wide audience, and […]

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