TBA soon: a mind-bending, story-within-a-story mystery
(F) A HISTORY OF FEAR by Luke Dumas. An eerie, spellbinding literary suspense-horror novel set in Scotland about the psychological unraveling of an American graduate student who fears he is under the Devil’s control as he finds himself implicated in the murder of a classmate. His Twitter.
(F) MOM’S NIGHT OUT by Sarah Langan. Set in the cloistered world of the one percent, an unsettling novel in which one mom’s Night Out goes terribly wrong and a discovery made in its aftermath threatens to dismantle the entire system. Website. Goodreads.
(F) THE FORTUNES OF JADED WOMEN by Carolyn Huynh. A heartwarming, humorous debut following a family of estranged Vietnamese mothers and daughters who grapple with a psychic’s prediction—that the family, all in one year, will experience a death, a marriage, and a pregnancy. Website. Goodreads. This deviates from my usual dark and moody books, but it captured my heart immediately.
(F) BENEATH THE STAIRS by Jennifer Fawcett. Pitched for fans of Jennifer McMahon and Netflix’s The Haunting of Hill House, a chilling literary horror debut in which a woman returns to her hometown after her childhood friend attempts suicide at a haunted house, where a traumatic incident shattered their lives twenty years ago. *NOW AVAILABLE FOR PRE-ORDERS* Website.
Out This Year
(F) A HISTORY OF WILD PLACES by Shea Ernshaw. From New York Times bestselling author of YA novels The Wicked Deep and Winterwood, her adult mystery debut following three residents of Pastoral—a reclusive, seemingly peaceful commune–as they investigate the disappearances of two outsiders: a mysterious children’s book author and the man hired to find her. *NOW AVAILABLE FOR PRE-ORDERS!*
(F) THE SHIMMERING STATE by Meredith Westgate. Jennifer Egan’s cool, transcendent prose meets Karen Thompson Walker’s speculative eye in this luminous literary debut following two patients in recovery after an experimental memory drug warps their lives. *OUT NOW*
(F) GOOD NEIGHBORS by Sarah Langan. Celeste Ng’s enthralling dissection of suburbia meets Shirley Jackson’s creeping dread in this propulsive literary noir, when a sudden tragedy exposes the depths of deception and damage in a Long Island suburb—pitting neighbor against neighbor and putting one family in terrible danger. *NOW AVAILABLE* B&N Book Club Pick for February 2021. Amazon Editor’s Pick for February 2021.
(NF) WE ARE ALL SNOWFLAKES by Dylan Marron. From the creator of the award-winning podcast “Conversations with People Who Hate Me” and the “Every Single Word” video series, a timely personal and cultural book exploring the nuances of difficult conversations in today’s divided society and offering ways to navigate them, expanding on his TED Talk “Empathy Is Not Endorsement.”
Wish List (favorite reads, old and new)
- In general, the darker the atmosphere (“eerie,” “unsettling,” “full of dread,” etc), the more likely I’ll want to see it!
- Literary in style but still a page-turner (See “literary plus” below).
- Character-driven / Emotions
- If you’re more likely to call the novel “genre-bending,” then I’m interested!
- Not for Me: Historical fiction (but I’ll consider historical mixed with genre), erotica, hard science fiction, high fantasy (need to be grounded), and romance. Fiction where marriage drama is the main focus. Anything that has to do with sports (sorry!). No tech industry, military, or wars.
Magical realism or rooted in folklore
- The Book of Speculation and Light from Other Stars (Erika Swyler)
- Himself and Things in Jars (Jess Kidd)
- The Stolen Child (Keith Donahue)
- The Snow Child (Eowyn Ivey)
- Build Your House Around My Body (Violet Kupersmith)
- The Cosmology of Monsters (Shaun Hamill)
- The Demonologist and The Damned (Andrew Pyper)
- The Boy Who Drew Monsters (Keith Donahue)
Family-centric literary fiction/suspense/mystery
- The Last Story of Mina Lee by Nancy Jooyoun Kim
- Everything I Never Told You (Celeste Ng)
- Sisters (Rosamund Lupton)
- Help for the Haunted (John Searles)
- Searching for Sylvie Lee (Jean Kwok)
- The Majesties (Tiffany Tsao)
- Ill Will (Dan Chaon)
- I’m Thinking of Ending Things (Iain Reid)
- Universal Harvester (John Darnielle)
- Broken Monsters (Lauren Beukes)
- I’m often drawn to the strange and the obscure.
- I tend to be more interested in narrative nonfiction than in memoirs
Unexpected subject with universal impact
- From Here to Eternity (Caitlin Doughty)
- Wanderlust and A Field Guide To Getting Lost (Rebecca Solnit)
- Quiet (Susan Cain)
Very specific wants at the moment
I’d love to see a Black Swan-esque dark literary mystery/suspense/thriller set in the K-Pop world.
A novel similar to the sci-fi/mystery/drama Netflix show “The OA.”
A novel similar to the slow-burn crime/suspense Netflix series “The Sinner” and “Broadchurch.”
Vietnamese authors writing beyond the Vietnam War.
Spark Words + More
Diverse voices (I wish I can underline this a thousand times!), ; unusual perspectives; Vietnam War; Vietnam refugee experience (and other refugee and immigrant experiences); misfits; supernatural events; hauntings and demons (literal and/or figurative!); human connection; trauma; psychological literary fiction; unrequited love; family secrets; clever plot twists; sisterhood; unlikely friendships; and more!
I can best describe my fiction interest as “literary plus.” Upmarket is the “correct” description, I suppose, but “literary plus” makes more sense to me. Maybe if these terms are placed in a line, it’d be commercial, upmarket, literary, then literary plus? Upmarket might still emphasize the commercial hook over the character/interiority development, whereas literary plus emphasizes the latter.
So, “literary” to me means the prose is polished, distinct, stylish. It signals that the author has paid attention to each word, sentence, and paragraph, and considered their emotional impact on the reader. The “plus” means elements such as horror, magical realism, or suspense that add propulsion to the pages and lift up the plot. Ill Will is literary + suspense . . . The Cosmology of Monsters is literary + horror. You get the point. I don’t respond as strongly to commercial fiction because it tends to have more plot versus character development. NOTE: This is not to say that commercial fiction isn’t valuable or important; I’m just not the editor for it.
In the story itself, I hope to encounter nuanced characters who feel as if they’ve lived a full life. They have a past—a past trauma, a past love, a past hope—but they also have a reason to move forward. And the secondary characters feel just as necessary as the protagonist.
I am also huge on atmosphere. I like feeling like I’m there in the story, and can easily imagine each scene playing out in my head like a film.
I’m not a huge reader of nonfiction so I don’t acquire many nonfiction titles. I don’t respond strongly to memoirs. But I gravitate toward titles on unusual subjects that have universal impact like Susan Cain’s Quiet, Rebecca Solnit’s The Field Guide to Getting Lost or Wanderlust, and Mary Roach’s books. I like people who have obsessions and just want to share them with the world.