Crime fiction with a literary bent: THE GOD OF THE WOODS by Liz Moore, MADWOMAN by Chelsea Bieker, MY SISTER THE SERIAL KILLER by Oyinkan Braithwaite, THE MARS ROOM by Rachel Kushner, MIRACLE CREEK by Angie Kim, Tana French, Megan Abbott.   

Literary horror that plays with form and structure: FEVER DREAM by Samanta Schweblin, THE NEED by Helen Phillips, BUNNY by Mona Awad, THE VEGETARIAN by Han Kang 

*Lightly* speculative fiction: THE DREAMERS by Karen Thompson Walker, THE IMMORTALISTS by Chloe Benjamin, NOTHING TO SEE HERE by Kevin Wilson, CLOUD CUCKOO LAND by Anthony Doerr, MY MURDER by Katie Williams, FRESHWATER by Akwaeke Emezi. I am not interested in dystopian, futuristic, inter-galactic, or apocalyptic science fiction.  

Hefty, expansive literary fiction: TRUST by Hernan Diaz, TOMORROW AND TOMORROW AND TOMORROW by Gabrielle Zevin, THE GREAT BELIEVERS by Rebecca Makkai, TRUST EXERCISE by Susan Choi, PACHINKO by Min Jin Lee 

Experimental or genre-bending work: THE RABBIT HUTCH by Tess Gunty, ASYMMETRY by Lisa Halliday, DEPARTMENT of SPECULATION by Jenny Offill 

Dark coming of age: BEAR by Julia Phillips, MARLENA by Julie Buntin, HISTORY OF WOLVES by Emily Fridlund 

Fun and sophisticated upmarket fiction:  REALLY GOOD, ACTUALLY by Monica Heisey, SUCH A FUN AGE by Kiley Reid, MARGO’S GOT MONEY TROUBLES by Rufi Thorpe 

True crime: THE THIRD RAINBOW GIRL by Emma Copley Eisenberg, THE FACT OF A BODY by Alexandria Marzano-Lesnevich, SAVAGE APPETITES by Rachel Monroe