Katie Kitamura’s Audition charts the shifting dynamics between an actress and a young man in her most experimental novel yet; Cristina Rivera Garza’s Death Takes Me follows a professor aiding a detective tracking a poetic serial killer; Michel Nieva’s Dengue Boy unfolds in a flooded 23rd-century Argentina; Nicholas Binge’s Dissolution reveals memory theft through an elderly woman’s interrogation; Laila Lalami’s The Dream Hotel sees a woman detained after an algorithm predicts she’ll kill her husband; Ocean Vuong’s The Emperor of Gladness finds a Vietnamese man forming a chosen family in rural Connecticut; Aria Aber’s Good Girl follows Nila, the daughter of Afghan parents, through Berlin’s underground club and literary scenes; Bridget Read’s Little Bosses Everywhere questions the legality of MLM schemes like Mary Kay and Herbalife; Claire Baglin’s On the Clock captures the monotony of a fast-food job and the narrator’s complicated love for her electrician father; Andrew Lipstein’s Something Rotten sees disgraced NPR host Reuben in Copenhagen, entangled with his wife’s old friends and her terminally ill ex; In Stag Dance, Torrey Peters explores insecurity and desire through tales of romance and pandemic horror; Jamie Hood’s Trauma Plot examines how society makes survivors atone for past violence; Erika Swyler’s We Lived on the Horizon imagines AI blurring reality even further in the future; Colette Shade’s Y2K revisits the 2000s: fun tech, Starbucks luxury, and post-9/11 anxiety. ● - By Clarity Quarterly Staff
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