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“Border Districts” and “Stream System,” by Gerald Murnane, reflect the author’s forays into the inner reaches of his own mind.
In his collection “Not Here,” the poet Hieu Minh Nguyen makes art from his memories of racism and abuse.
In her book “Futureface,” Alex Wagner takes a skeptical look at companies that research our genetics only to hedge their bets in the fine print.
In his new book, Richard Rhodes makes his way through four centuries of energy use, from oil to nuclear, and how each innovation has changed the world.
In “Asperger’s Children,” Edith Sheffer explores the roots of autism, first diagnosed in Nazi Germany as the regime engaged in a program of child euthanasia.
In Joe Mungo Reed’s debut novel, “We Begin Our Ascent,” a cyclist competing in the Tour de France gets wrapped up in the complicated costs of possible victory.
Joseph Crespino’s “biography” of the virtuous lawyer in “To Kill a Mockingbird,” and the real man he was modeled after, brings to life the inconsistencies of the South.
Tom Santopietro’s “Why ‘To Kill a Mockingbird’ Matters” is painstakingly researched, if substantively and structurally flawed.
In “Twilight of the Gods,” Steven Hyden writes about what a generation of music gave to the culture — and whether any of it can last.
For nearly 40 years, Mr. Reese shaped tastes, cultivated collectors and advised museums and libraries from his by-appointment-only store in New Haven.
In “The Solitary Twin,” by Harry Mathews, fractured identities come together in small, miraculous revelations that never feel contrived at all.
Mr. Reid, a member of the Stop Watch Gang, later found success as a writer, but he was never able to fully leave his past behind.
Carl Zimmer discusses “She Has Her Mother’s Laugh,” and Henry Alford talks about “And Then We Danced.”
Building buzz and raising cash — the publishing social circuit is good for more than free booze.
They range from terrifying to hilarious.
The 6-year-old narrator of Rhiannon Navin’s debut, “Only Child,” tries to decipher the grief that transforms his parents.
In “You All Grow Up and Leave Me,” Piper Weiss remembers an infamous attack in the 1990s, and the man who was allowed to get alarmingly close to the female students who idolized him.
Lynne Murphy’s “The Prodigal Tongue: The Love-Hate Relationship Between American and British English” depicts nations divided by a common language.
That’s the question Catherine Steadman explores in her tense debut thriller, “Something in the Water.”
“The Great Revolt,” by Salena Zito and Brad Todd, allows Trump backers to speak in their own voices.


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