Gabino Iglesias
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Erika T. Wurth's novel belongs to a new wave of horror fiction that delivers the creepiness and darkness readers have always associated with the genre, while also packing plenty of social commentary.
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The Passenger and Stella Maris -- the author's first two books in more than a decade — seem to want to decode the meaning of life, both as standalone novels and together as intertwined works.
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Luda is a magical, multilayered, intoxicating story about identity, stardom, performance, lust, and death that could only have come from the prodigious mind of Grant Morrison.
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Javier Zamora's book, as touching as it is sad, and as full of hope and kindness as it is harrowing, is the kind of narrative that manages to bring a huge debate down to a very personal space.
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A sad, brutally honest memoir about "a poor, sexually abused, drug-addicted Chicano kid," Jesse Leon's narrative is one that vividly brings to the page the realities of someone ignored by the system.
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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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Mona Chollet's book shows how women are still today expected to act certain ways or be ostracized, as it hails feminist minds — our modern witches — and their work.
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Most humans walk around feeling like they know what reality is, but the message at the core of Dr. Guy Leschziner's book is that all sensory information we receive is intrinsically ambiguous.
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Reading about plagues or COVID-19 over the last two years was not an entertaining idea for many. But the pandemic has had an impact on literature — and people may be ready for it to enter the canon.
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Rob Hart delivers a story in which time is broken — and some crucial events that have a huge impact on the present haven't happened yet.