Brian Evenson’s latest collection, The Glassy, Burning Floor of Hell, was published by Coffee House Press in August. Its stories often depict mysterious worlds in which several realities splinter apart. No one is who they seem to be. Everything is a lie, and nothing is true. Today, as our wealthiest citizens race to leave the planet and climate change takes its toll on our forests, oceans, and air, Evenson’s unblinking stories of genetic mutations and ecological disaster read as both cautionary and strangely transcendent.

DAVID PEAK: Several stories in The Glassy, Burning Floor of Hell are

Although it sounds like the name of a sequel, LaserWriter II is the debut novel of writer and designer Tamara Shopsin; it takes its name from a laser printer manufactured by Apple in the early 1990s. The mechanics of printing are a formal concern throughout the book, which is divided by surprising page breaks and pixelated illustrations, as well its central plot fixture: Shopsin follows Claire, a young New Yorker with anarchist leanings, through her stint as a printer technician at Tekserve, a computer-repair shop that operated on West 23rd Street until 2016. Between shifts spent laboring over

In many ways, Alexandra Brodsky’s new book, Sexual Justice: Supporting Victims, Ensuring Due Process, and Resisting the Conservative Backlash, is a breath of fresh air. Skipping many of the moral debates surrounding sexual violence, Brodsky, a civil rights lawyer, looks for solutions. With a survey of the past and present of sexual abuse adjudication procedures, she looks at what’s working (very little), why sexual violence is treated so much differently than other kinds of harm, and what a viable reporting path for survivors might look like.

Brodsky hasn’t always been so deep in the procedural

Marlowe Granados’s debut novel, Happy Hour, follows two twentysomethings, Isa and Gala, as they navigate New York City in the summer of 2013. The pair make ends meet by working odd, off-the-clock jobs and charming everyone in their path. Published by Verso this fall, the book combines fun and glamour with Granados’s sharp sense of how moneyed society really works. Isa and Gala follow in the footsteps of party girls past while living in genuine precarity, but Granados insists that they needn’t suffer for it. For Bookforum, writer Alex Quicho recently caught up with Granados to talk about glamour,

The writer Azareen Van der Vliet Oloomi has just published a new novel, Savage Tongues. The book, her third, features a middle-aged writer, Arezu, who returns to a family property in Spain for the first time in twenty years. As a teenager, Arezu had a brutal affair in the apartment with an older man, Omar. Revisiting the site means coming to terms with abuse, violence, desire, and the ways in which politics and power infuse our intimate lives. For Bookforum, poet and writer Nazlı Koca spoke to Oloomi about personal and political self-destruction, resilience, the literature of exile, and the

POROCHISTA KHAKPOUR: The Days of Afrekete (Farrar, Straus and Giroux, $26) is another outstanding book, following up on your 2006 collection Get Down and your 2015 novel Disgruntled. I just love how you’ve created this incredibly intimate and yet expansive portrait of the complicated friendship of two women at middle age, who have all sorts of identity issues to reckon with—race, sexuality, class, everything. The fact that it is inspired by Virginia Woolf’s Mrs. Dalloway, Toni Morrison’s Sula, and Audre Lorde’s Zami also made it extra-satisfying to read. To what degree do you think it’s important

Mainstream debates over assisted suicide, or the “right to die,” are predictable. The so-called “sanctity of life” is pitched against “personal autonomy,” while murkier questions of context, political power, and personhood remain uninterrogated. Journalist Katie Engelhart’s The Inevitable does more than perhaps any book to date to advance and complicate the issue. The intensively reported text offers intimate portraits of people seeking and fighting to expand the “right to die,” each of whom seems to edge closer and closer to what we might call “imit cases”: individuals whose desires for

In Elias Rodriques’s new novel, All the Water I’ve Seen Is Running, the protagonist, Daniel, returns to his childhood home in North Florida from New York after a high school friend dies in a drunk-driving accident. Back in the town of Palm Coast, Daniel reunites with a cast of old associates including Desmond and Twig—two friends from the track team—and contemplates confronting the person who could be responsible for his friend’s crash. A mediation on grief, memory, family history, and homecoming, the book is also an exploration of how race, class, and queerness affect these time-honored themes.

I spoke with Nana Nkweti during the odd time after my first vaccine shot but before my second, when I felt stuck between the world as it has been since March 2020 and the world as it could be, post-immunity. This sense of being caught in two realities at once felt reminiscent of Nkweti’s debut short-story collection, Walking on Cowrie Shells. As embodied in characters like a pastor’s wife carrying a miraculous pregnancy after years of infertility in “The Devil Is a Liar,” an adopted daughter who isn’t at all like what her parents expect in “It Takes a Village Some Say,” and a jaded publicist

In her new collection of linked essays, Elissa Washuta explores heartbreak, the occult, and the legacy of settler colonialism in the US. Weaving Native folklore with the history of exploitation of tribes such as the Duwamish people—alongside analysis of Twin Peaks, Fleetwood Mac videos, and the Oregon Trail II computer game—Washuta considers broader notions of inheritance, magic, and value. For Bookforum, Washuta and I chatted over Zoom about narrative, literary Twitter, and learning to cede control.

ELIZABETH LOTHIAN: You play with narrative a lot in White Magic. Can you talk a bit about

JULIA PAGNAMENTA: In a recent interview hosted by 192 Books, Ben Lerner observed that your essays in The Hard Crowd “resist psychological access.” You replied that any self-reflection missing from the essays was “intentional,” and that you were interested in analysis rather than in therapy. That the difference between the two models might play a role in the kind of “self-revelations” you were “willing to share.”

I thought of this exchange when reading “Popular Mechanics,” The Hard Crowd’s chapter on writer Nanni Balestrini, where you write about Alfonso Natella, the protagonist in his novel

In your new book, Let the Record Show: A Political History of ACT UP New York, 1987‑1993 you write that you can’t tell the story of ACT UP chronologically because too much was happening at once. So, you arranged the book thematically. What did this allow you to do that you wouldn’t otherwise?

It lets the reader experience what time was like inside the organization. It was so intense. So many people were suffering and so many people were acting. In the back of the book, I do give a timeline so if people want to see when a particular event happened, they can, but it would be impossible to write