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Sarah Elaine Smith’s debut novel, “Marilou Is Everywhere,” is a coming-of-age mystery that’s also about what it’s like to be an outsider.
A selection of recent books of interest; plus, a peek at what our colleagues around the newsroom are reading.
In “Four Friends,” William D. Cohan examines what happened to four alumni of the famous prep school, including John F. Kennedy Jr.
They all wrote for The New York Times Book Review.
Ted Chiang talks about “Exhalation,” and Helen Phillips discusses “The Need.”
In Megan Goldin’s debut thriller, “The Escape Room,” cutthroat colleagues must figure out how to get out of an escape room and save their lives.
Every state has an infamous crime — and a book about it.
Three new novels trace the experiences of a sad sack bachelor, a lonely gardener and three women with ties to a home for “fallen” young ladies.
Tim Alberta speaks to us about “American Carnage,” his gripping new account of the Republican Party.
Karin Slaughter killed a character with antifreeze; Peter Swanson used cashews and a missing EpiPen. Welcome to the devious minds of thriller writers.
Ali Fitzgerald imagines Agatha Christie’s famous detective on a hunt for clues through the New York City subways.
In Elizabeth Macneal’s debut novel, “The Doll Factory,” a taxidermist becomes obsessed with a young painter.
Readers respond to recent issues of the Sunday Book Review.
In Juli Zeh’s “Empty Hearts,” a German businesswoman runs a start-up that matches despondent people with terrorist organizations in need of suicide bombers.
Six new paperbacks to check out this week.
Lori Gottlieb analyzes the benefits — and side effects — of bibliotherapy.
At the end of her sophomore year in college, Mary Beth Keane’s writing teacher gave her a summer reading list that changed her life.
Suggested reading from critics and editors at The New York Times.
In his latest Graphic Content column Ed Park looks at Daria Tessler’s “Cult of the Ibis” and “Tumult,” by John Harris Dunning and Michael Kennedy — two surreal adventures.
“Important as it is, the language in which you write is secondary,” says Javier Marías, whose new novel is “Berta Isla.” “I myself feel much closer to many foreign authors than to many of my compatriots.”
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