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 Agile intelligence combines with an almost ruthless lack of sentimentality in the novels of Dana Spiotta, from 2001’s Lightning Field to 2016’s Innocents and Others. These are gloriously cool books, deftly assembled, brimming with mood—and full of outcasts and misfits who can’t quite assimilate to modern culture. For fans of Spiotta, her fifth novel, Wayward, is something new: a strikingly human and affecting story of a woman in her fifties going through what you might call, in a more ordinary book, a midlife crisis. In Wayward, Sam’s flight out of conventional suburban housewifery is turned over with a kind of forensic (and mordantly hilarious) scrutiny. In the opening pages she leaves her husband and buys a very specific tumbledown house in the decrepit heart of downtown Syracuse, New York. She then plunges into various obsessions: quasi-feminist Facebook groups, nightwalking, stand up comedy, weightlifting. Through it all Sam both yearns for her teenage daughter, Ally—who is furious at her mother for leaving the family—and refuses to fit any expectations of what a good mother should be. Wayward is a hymn to iconoclasm, a piercing novel about what we lose and gain by when we step out of life’s deepest worn grooves. — Taylor Antrim

Katie Kitamura established herself as a master of cool disquiet with her 2017 breakout, A Separation, a taut and cosmopolitan near-mystery about a young woman moving across the globe in search of her soon-to-be ex-husband, who has gone missing. Her fourth novel, Intimacies, is wholly set in the rainy municipality of The Hague, but its spirit is no less unmoored. The unnamed narrator is living in a city that does not feel like home, filling a temporary job as a translator in a war-crimes court and staying in the emptied apartment of a lover who may or may not be reconciling with his wife. There’s more than a tinge of danger to the story, with war crimes and street violence playing a small part in the narrative, while messages encoded in Dutch art and libraries curated by interior designers enliven the book’s intense interiority. Kitamura writes with forceful, direct prose that makes for a bracing read and leaves the reader mesmerized. As the narrator understands, “The appearance of simplicity is not the same thing as simplicity itself.” —Lauren Mechling

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