Jason Sheehan
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Caitlin Starling's tense new horror novel follows a desperate young cave diver who's lied her way into a job on a dangerous planet, and the supervisor who may not have her best interests at heart.
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Salvatore Scibona's new novel is a generational saga, an epic of Vietnam and other places rendered in language that makes even simple things sound mythic. But first, a boy is abandoned at an airport.
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Don Winslow's sprawling, operatic epic about the War on Drugs has some flaws, but it does the same thing Shakespeare's histories did: It simplifies current events into messy, bloody, gripping theater.
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Irvine Welsh catches up with Renton, Begbie, Sick Boy and Spud — now middle aged and gone their separate ways — for what he says is the last installment in the Trainspotting saga.
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Kim Stanley Robinson's new book kicks off with a murder on the moon — which sounds exciting, but Red Moon spends too much time wandering off on digressions about science, technology and politics.
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Kate Atkinson's new novel follows a young woman recruited to Britain's MI5 spy agency during World War II. Juliet's wartime deeds may come back to haunt her — but she still has her old spy skills.
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Lawrence Osborne's new Marlowe novel brings us a version of the gumshoe in his 70s, lonely and slow, looking into another mysterious death. It's a book that seems simple, but hides cavernous depths.
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Paul Tremblay's new novel is the best (and scariest) kind of horror — the quiet, believable kind of story that doesn't involve possessed dolls or body doubles, and could absolutely happen to you.
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Laura Anne Gilman winds up her Devil's West trilogy with a fascinating story of tension and friction between old friends and new enemies, marred only by some odd choices at the end.
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Katie Williams' debut novel follows a woman who works for a company that can tell you infallibly how to become happy — and a drifting group of characters who aren't really looking for happiness.