Gabino Iglesias

Daniel Black's essays call for an overhaul of the U.S. criminal justice system, of the Black church, of the way Black people see themselves, and of the country itself — and do so with authority

Grady Hendrix's tale of siblings who come together after the deaths of their parents to sell their house fully embraces all the elements readers have come to love about Hendrix's storytelling.

Hermetic, paranoid, sleek, dark — and with brief explosions of the sex and violence that have characterized Ellis' oeuvre — The Shards is a stark reminder that the author is a genre unto himself.

Visually striking — NatGeo and superb photography have always walked hand-in-hand — and incredibly complete, deep and nuanced, this is a book that comes close to the impossible.

Luda is a magical, multilayered, intoxicating story about identity, stardom, performance, lust, and death that could only have come from the prodigious mind of Grant Morrison.

Javier Zamora's book, as touching as it is sad, and as full of hope and kindness as it is harrowing, is the kind of narrative that manages to bring a huge debate down to a very personal space.

E. Lockhart's prequel to We Were Liars works perfectly well, too, as a standalone coming-of-age novel about grief, addiction, young love, and learning to navigate the world.

Dan Abrams and David Fisher tell a gripping tale that takes readers into the heart of Ruby's trial, picking up the moment he killed Oswald and then methodically unpacking what followed.

Raven Leilani's new novel will make you cringe for all the right reasons. It's an intergenerational, interracial love story with a heart of noir and gallows humor, so honest it will make you squirm.

Betsy Bonner presents her sister with love, but also with honesty; she is the storyteller, but Atlantis Black is the story, the mystery, the victim, sometimes the perpetrator and always the question.