File this one under: How did he know? Rarely have I encountered a book so cuttingly prescient about the current emotional atmosphere. The novel has a simple premise and a familiar-seeming arc: A young, white, comfortable, upper-middle-class family heads out to a vacation rental anticipating a period of glorious disconnection. But that disconnection takes on a different tenor when the (Black) owners of the vacation house arrive, having fled the city and a crisis that is clear to precisely no one. (Alam’s deployment of creepy, inexplicable detail is masterful: A flamingo descends into the middle of the perfectly appointed pool, and I shuddered.) In some ways, the premise feels like the setup of any number of horror films, but Alam’s writing transcends that comparison, and the material with which he’s working is actually much more complex. When these two families are thrown together in a politely intense turf war over the place where they’ve taken shelter, all their preconceptions, biases, and assumptions simmer to the surface as they negotiate who “deserves” the home in this hour of need. This is a thrilling book—one that will speak to readers who have felt the terror of isolation in these recent, torturous months and one that will simultaneously, as great books do, lift them out of it. — Chloe Schama
Evie Wyld’s The Bass Rock is a haunted house of a novel, as intricately built as relentlessly ominous. Wyld, an Anglo-Australian writer, has unnerved us before, with her masterful, slim All the Birds, Singing (2014), but her new work tightens the screws: It’s that rare literary novel that will give you shudders. Set on coastal Scotland across three periods—present day, postwar, and the 1700s—The Bass Rock tells parallel stories of women in states of emotional disarray: Vivianne, a house sitter recovering from a mental episode; Ruth, a new wife saddled with an enormous house by her philandering husband; and an accused witch who has been grotesquely abused. Men are the monsters here—brutish, manipulative, helplessly carnal—but Wyld is so controlled and subtle a storyteller that her themes remain elegantly beneath the surface. What carries you along is the vivid description and an atmosphere of rising dread. A single set piece—a game of hide-and-seek on a windswept beach—is the most gripping thing I’ve read in ages. — Taylor Antrim
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