FICTIONBy Chimamanda Ngozi Adichie.
By turns tender and trenchant, Adichie’s third novel takes on the comedy and tragedy of American race relations from the perspective of a young Nigerian immigrant. From the office politics of a hair-braiding salon to the burden of memory, there’s nothing too humble or daunting for this fearless writer, who is so attuned to the various worlds and shifting selves we inhabit — in life and online, in love, as agents and victims of history and the heroes of our own stories.
Radical politics, avant-garde art and motorcycle racing all spring to life in Kushner’s radiant novel of the 1970s, in which a young woman moves to New York to become an artist, only to wind up involved in the revolutionary protest movement that shook Italy in those years. The novel, Kushner’s second, deploys mordant observations and chiseled sentences to explore how individuals are swept along by implacable social forces.
Tartt’s intoxicating third novel, after “The Secret History” and “The Little Friend,” follows the travails of Theo Decker, who emerges from a terrorist bombing motherless but in possession of a prized Dutch painting. Like the best of Dickens, the novel is packed with incident and populated with vivid characters. At its heart is the unwavering belief that come what may, art can save us by lifting us above ourselves.
Demonstrating the agile style and theatrical bravado of her much-admired Jackson Brodie mystery novels, Atkinson takes on nothing less than the evils of mid-20th-century history and the nature of death as she moves back and forth in time, fitting together versions of a life story for a heroine who keeps dying, then being resurrected — and sent off in different, but entirely plausible, directions.
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