Michael Schaub

A Place for Us, the debut novel by author Fatima Farheen Mirza, opens with a kind of homecoming. Amar, the youngest child of an Indian American Muslim family, has returned after a three-year absence to attend his oldest sister Hadia's wedding. Layla, the young man's mother, has been looking forward to finally seeing her son, but is worried about how Amar's father, Rafiq, will react: "The only men she had left in this world to love and neither of them knew how to be with one another."

In a 2000 essay for The New Republic, literary critic James Wood coined a term that's become familiar to lovers of fiction: "hysterical realism." Wood's target was Zadie Smith's "White Teeth," along with novels by Salman Rushdie, David Foster Wallace and others. "The big contemporary novel is a perpetual-motion machine that appears to have been embarrassed into velocity," he wrote.

Energy, the new book from acclaimed author and journalist Richard Rhodes, starts off not with a scientist or inventor, but with a notable name from a different field: William Shakespeare. The Bard of Avon isn't usually associated with physics or power generation — but he was present when his business partners, Richard and Cuthbert Burbage, ordered the razing of the Theatre in London, with the salvaged wood being used to open the now legendary Globe. (Whether their actions were strictly legal is unclear.)

For 40 days in the beginning of 2016, the eyes of the world were focused on the Malheur National Wildlife Refuge in Oregon, in "the remotest corner of the lower forty-eight" states. The refuge had been occupied by a ragtag group of militia members and angry ranchers, outraged by what they considered heavy-handed tactics by the federal government, at the hands of the Bureau of Land Management and U.S. Forest Service.

Towards the end of Kevin Powers' second novel, A Shout in the Ruins, a young man wandering the country in the days of the Civil War comes across a boy his own age dressed in a Confederate uniform. The stranger, in a paranoid fit of rage, slashes the boy's neck and shoots and kills his dog. The stunned boy wraps his pet's corpse in a Union blanket, and comes to a sad realization: "The simple fact was this: it was hard to find a soul left anywhere on earth who believed that there was dignity in death."

Romy Hall has run out of time and hope. The protagonist of Rachel Kushner's third novel, 29 years old when we first meet her, has resigned herself to the likelihood that she'll die in prison; she's been sentenced to two life sentences for beating to death a man who stalked her. "I don't plan on living a long life," she says. "Or a short life, necessarily. I have no plans at all. The thing is you keep existing whether you have a plan to do so or not, until you don't exist, and then your plans are meaningless."

Near the beginning of The Red Caddy, Charles Bowden's slim tribute to the author and environmental activist Edward Abbey, Bowden makes an interesting observation about his late friend's career: "He created a fairly unusual readership — either people have never heard of him or have read everything he ever wrote." It's an exaggeration, of course — plenty of people read his most famous novel, The Monkey Wrench Gang, but never become Abbey completists.

If you grew up in Texas, chances are you've heard the old joke about the man teaching his son about good manners. "Never ask a man if he's from Texas," the father said. "If he is, he'll tell you. And if he's not, there's no use in embarrassing him."

On the evening of Oct. 17, 2013, Sadiq Juma received an email from his two teenage daughters, Ayan and Leila. The girls were late coming home to the apartment they shared with their family in the Oslo suburb of Bærum, which was unlike them; they were generally responsible young women. When Sadiq opened the email, "everything went black."

In the first few pages of Let's No One Get Hurt, the second novel from poet Jon Pineda, a man asks his 15-year-old daughter to shoot and kill her beloved dog (who's named Marianne Moore, after the modernist master from the 20th century. Pearl, the teenager, can't bring herself to do it — she sees the ailing mutt, perhaps as a link to her past, when she lived with both her parents, before one of them disappeared.

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