Son of Nobody by Yann Martel

Profound, heartrending, and endlessly absorbing, this novel of ancient Greek myth and modern family upheaval will transport any reader.

Booker Prize-winner Yann Martel (Life of Pi; The High Mountains of Portugal) intricately nests one story in another in the excellent Son of Nobody. Protagonist Harlow Donne narrates to a specific audience: his eight-year-old daughter, Helen, named after Helen of Troy. Harlow is, or rather was, a Homeric scholar, and he describes to his beloved, story-loving child the year he spent in postdoctoral study at Oxford University. His discovery there of a previously unknown text relating the Trojan War contained many departures from (and frequently “more offbeat” than) Homer’s version. With a blend of erudition and creativity, Harlow pieces together from fragments what he calls The Psoad. This text forms the novel’s body, with copious footnotes by Harlow detailing both the discovery and restoration of that text, as well as his personal life as it slowly unravels during his year away at Oxford, while his wife and daughter remain at home in Canada.

Harlow’s voice is nuanced, clever, and learned; he paints himself a devoted father if admittedly imperfect husband. The narrative in the footnotes conveys Harlow’s academically controversial restoration alongside his journey through scholarship, love, family, and loss. The Psoad is itself a fascinating read for any lover of Greek myth; Harlow argues “that the heroes of the Epic Cycle, in this case Psoas of Midea, created the space for the appearance of their complement, Jesus of Nazareth, the other foundational figure of Western culture.” These layers, and their quietly complex interplay, showcase Martel’s strengths: subtlety, profundity, humor, pathos.


This review originally ran in the April 3, 2026 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish news.


Rating: 8 chameleons.

It’s Hard to Be an Animal by Robert Isaacs

The sudden ability to hear animals speak offers perspective, romance, and adventure to an awkward young man in this whimsical, tender first novel.

Robert Isaacs’s first novel, It’s Hard to Be an Animal, is a feat of humor, yearning, adventure, angst, and romance. In following a lonely, self-doubting protagonist, this remarkable debut manages to be about all of life, in its most unlikely twists.

Readers meet Henry on a first date at a sidewalk café in Manhattan. Nervous Henry is an inveterate doormat, but he is funny and kind. His coworker Jackie has set him up with Molly, who is playful and ebullient; Henry is quite sure she’s out of his league, but she likes him nevertheless. “Within the hour” of their meeting, “a migrating songbird weighing less than an ounce would upend his life.” Coffee goes well, so they take a walk in Central Park, where Henry spots a magnolia warbler. The sweet, decorative little bird considers the pair, and then speaks. “Fuck off,” it says clearly to Henry and then continues in a similarly foul-mouthed territorial vein. When Henry gets home to the apartment he shares with an exuberant Belarussian named Yaryk, he discovers that his housemate’s two betta fish are involved in an exchange of creatively nasty insults. The situation continues with dogs, a police horse, pigeons: Henry can now hear animals talking. If that fact were not shocking enough, they all seem to be terribly angry. He questions his sanity and finds the animals’ rage depressing.

Henry thinks himself a failure in all parts of his life, but readers can see that he has true friends in Yaryk and Jackie; he handles workplace dramas with aplomb, if also self-denigration; Molly’s attraction to him is genuine, even as they weather miscommunications verging on the Shakespearean. Painfully conflict-averse, Henry is challenged enough by human drama; fat-shaming sparrows and judgmental pythons threaten his threadbare mental health but also offer perspective. When he overhears subway rats discussing a body-disposal site, he inadvertently lets it slip to the unusually adventurous Molly. The budding couple soon find themselves enmired in the New York City subway system and an intrigue of increasingly high stakes. And a neighbor’s yappy Pomeranian turns out to be just the font of wisdom that the pushover Henry needed. In a newly cacophonous world, he may finally find his own voice.

It’s Hard to Be an Animal is one laugh, dire escapade, or poignant moment away from either disaster or nirvana. Hilarious, heartfelt, ever-surprising, Henry’s story is one of hope, redemption, and self-discovery.


This review originally ran in the April 3, 2026 issue of Shelf Awareness for the Book Trade. To subscribe, click here.


Rating: 7 windows repaired.

Mr. Penumbra’s 24-Hour Bookstore by Robin Sloan (audio)

This was a wild one, recommended by Liz, and very deservingly so. I’ve been putting off writing this review and have realized I just need to come to terms with not doing it justice. Mr. Penumbra’s 24-Hour Bookstore is about the intersections and tensions between literature and technology; about love and friendship and belonging; about problem-solving and teamwork; and about the big questions of life.

In contemporary, post-Covid times, we meet Clay Jannon, who after art school went to work for NewBagel in an initially promising techy design/PR/marketing career position, but NewBagel (following an attempted rebranding as the Old Jerusalem Bagel Company) went bust, and Clay’s been out of work at a rough time to be out of work in San Francisco. Then he happens upon Mr. Penumbra’s 24-Hour Bookstore, where he is hired by the elderly, twinkling, mysterious Penumbra as a night clerk. From 10pm until 6am, Clay sits at the front desk among the short shelves of used books, which he very infrequently sells to the very infrequent customer. A little more regularly, he is called upon to help card-carrying members of an enigmatic club to access the very different volumes on what he thinks of as the Waybacklist. The bookstore is long, skinny, and vertical, with very tall shadowy shelves accessible by vertiginous ladders. The books on those shelves are in code.

Clay is an engrossing narrator of this story, so self-deprecating that the reader is nearly as late as he is to realize that he can be quite a resourceful problem-solver. He is lucky (or is it luck?) to be surrounded by an assortment of talented, eccentric friends: his best friend since sixth grade, the once-doofy now-millionaire CEO of Anatomix; his roommate, a special effects wizard; the cute girl he meets along the way, a Google-employed genius; a fellow Penumbra clerk and archaeology graduate student; and more. These are just some of the characters (in every sense of the word) who come to Clay’s aid as he tried to solve the many, layered mysteries of Penumbra’s. What is in the coded books in the Waybacklist? Who are the people who come in the night to borrow them? Each question’s answer only unlocks more questions, and the stakes keep getting higher. It evolves into a quest narrative, reaching beyond Penumbra’s compelling bookstore. Clay and company wind up chasing, among other things, a centuries-old and seemingly insoluble riddle, which will involve Clay’s childhood favorite sci fi/fantasy series, a secret society, and the history of one of the world’s best-known typefaces.

At just 8 hours audio (or around 300 pages), Mr. Penumbra’s 24-Hour Bookstore feels far more all-encompassing than such a neat package would imply. It’s one of those stories that feels like it’s about everything at once, which I love. Also, books and bibliophilia, even in the face of wild technologic advances: what’s not to love? Ari Fliakos narrates with great energy and personality; I wholeheartedly pass on Liz’s recommendation of the format as well as the book itself. I’ll be looking for more in the Penumbraverse.


Rating: 9 red t-shirts.

Mrs. Shim Is a Killer by Kang Jiyoung, trans. by Paige Morris

In this bloody but cheerful novel, a middle-aged widow and mother of two becomes a contract killer to support her family, reinventing herself along the way.

Kang Jiyoung’s Mrs. Shim Is a Killer is a kaleidoscopic novel of murder-for-hire, crisscrossing loyalties, self-determination, and dark humor. In Paige Morris’s translation from the Korean, Kang’s matter-of-fact prose reveals a sly, absurdist wit. This playfully murderous thriller is not soon forgotten.

In the first chapter, readers meet Mrs. Shim. A 51-year-old widow, she supports a family of three; her son is of university age, her daughter just younger. Since the death of her husband five years ago, she has struggled to provide for her family by working in a butcher’s shop, relying on her knife skills to eke out a living while dutifully preparing kimchi, soybean soup, and other staples at home. When she loses her job, she is desperate for other work–not easy for an ajumma, or middle-aged woman, to find. At the Smile Private Detective Agency, however, she meets a boss impressed by her use of a knife. “I’d like you to become a killer,” the man says matter-of-factly, and Mrs. Shim finds she is in no position to turn down the gold bar he offers. Reluctant at first but driven by her need to provide for her children, she becomes Smile’s best killer yet, causing surprised rumors to circulate about the knife-wielding ajumma.

Mrs. Shim Is a Killer shifts perspective to follow one character and then another, from a long list of players in Mrs. Shim’s story. Aside from the title character, chapter titles refer to them by epithet: The Boss, The Shaman, The Confidant, The Daughter. Intrigue unfolds in this series of puzzle pieces, which provides varying angles on events where killers and amateurs off killers, bosses, and more. Because not all of these character spotlights take place in the same timeline, old secrets also come to light, and present-day rivals may reveal more nuanced relationships in the past. In final standoff scenes, characters are set against one another in unexpected arrangements and, through it all, readers root for Mrs. Shim, a reluctant but determined assassin.

Kang (The Shop for Killers) plays off expectations about mothers, lovers, and cultural norms to her reader’s constant surprise. With a complexly twisting plot, disarming characters, and a deceptive sense of humor, Mrs. Shim Is a Killer breaks genre boundaries in a surprisingly hopeful package. Bloody but cheerful, this unusual tale is entertaining and strangely cozy.


This review originally ran in the February 26, 2026 issue of Shelf Awareness for the Book Trade. To subscribe, click here.


Rating: 7 fishcakes.

The Left and the Lucky by Willy Vlautin

In a gritty world bordering on hopelessness, a man and a boy form a friendship that may just save them both.

Willy Vlautin (The Horse; The Night Always Comes; Don’t Skip Out on Me) applies his characteristic compassion and spare tone to an unlikely friendship in The Left and the Lucky, a novel of hard times and scant hope. A boy whose life has been ruled by abuse and neglect and a man whose hard work has been rewarded by betrayal and loss find each other in working-class Portland, Ore., and forge a hard-won bond to their mutual benefit.

Russell is eight years old and small for his age. He lives with his grandmother, who has dementia; his mother, who works nights; and his teenaged brother, who is angry and troubled. As the latter spins further afield and poses an increasingly serious physical threat, Russell dreams of building a boat or an airplane to take him away to an unpopulated island near Hawai’i: he can think of no nearer salvation.

Eddie lives next door. He runs a small house-painting business, working six or more days a week, and his main employee is a scarcely functioning alcoholic whose paychecks Eddie handles for him with scrupulous honesty. It will take the bulk of the novel for Vlautin to reveal the rest of Eddie’s painful past, gradually filling in the reasons for his generosity. Russell turns up on Eddie’s rounds of the neighborhood: out too late, hiding from something. The man offers the boy food, a ride home. Russell begins waiting in Eddie’s backyard each night after work; he cleans paintbrushes after the workday. Eddie gives him odd jobs and shelter from violence. Each is lacking something in a life lived on the margins, but together they begin to build a slight, meaningful solution. They restore an old Pontiac and care for an old dog. Each finds in the other someone who needs them to survive.

In his eighth novel, Vlautin continues to focus upon an American underclass marked by desperation and poverty, people often forgotten or abandoned. With a gruff tenderness, a quiet lyricism, and moments of humor, he highlights not only the built family that Russell and Eddie assemble, but also motley characters from their neighborhood: Eddie’s employees, an aging aunt, a waitress with goals, Russell’s seething brother. The Left and the Lucky is often grim, but Eddie’s dogged decency uplifts even in this grayscale world of limited options; his unwillingness to give up on Russell offers a slim but profound thread of hope unto the story’s end. Vlautin’s character sketches and the careful value he places on perseverance are not soon forgotten.


This review originally ran in the February 13, 2026 issue of Shelf Awareness for the Book Trade. To subscribe, click here.


Rating: 7 brushes.

Virgil Wander by Leif Enger (audio)

I don’t even know what to do with this book which is in the running for the best of the year! I am overcome. I feel like I’ve found another Brian Doyle: this story is set in a small community, filled with mostly good people, but some maybe not. There is whimsy and not literal magic, but certainly the kind we can find in everyday life, and mysterious forces in nature and human nature… there is a sense of everythingness that I associate with Doyle and with Amy Leach. So many things happen, and they’re all disconnected and they’re all unlikely, but that’s life, too.

Virgil Wander is a middle-aged man in the small town of Greenstone, Minnesota, somewhere north of Duluth on Lake Superior. He owns and lives above an antique movie theatre where he spools up reels of old film for his few neighbor-customers, operating at a loss. We meet him shortly after he’s accidentally launched his old Pontiac over a small cliff and into the freezing lake; a fellow Greenstonian pulls him out, and he’s recovering from a TBI, physically off-balance, linguistically working without adjectives, and struggling to sort through his memories. He thinks of the past version of himself as “the previous tenant,” as in, he feels like he’s living in someone else’s apartment, wearing someone else’s clothes, and surmising what that other guy would have done. In a word, the new Virgil is less fearful of giving offense, still mild-mannered, but more likely to speak his mind (mostly sans adjectives).

This book is about many of Greenstone’s motley citizens, but always centered on Virgil, our narrator. Early on, Virgil meets Rune: an old man, new to town, avid flyer of wildly ornate and lovely kites that he makes himself. Rune wants to hear everyone’s stories about Alec Sansome, a former minor-league baseball pitcher and Greenstone resident who disappeared one day in a small plane over Superior, leaving behind a notably beautiful wife Nadine and a young son, Bjorn. In perhaps my favorite of Virgil Wander‘s many bittersweet tragic threads, Rune has only recently discovered that he had a son, Alec – but Alec has been missing for a cool decade now. The old man desperately wanted a child all his life, and in one fell swoop gained and lost one. Now he hangs around Greenstone, delighting the locals with his kites, investigating the lost Alec, and attempting to build family with Nadine (amenable) and Bjorn (as a teenager, less so). There is also the Pea family with their streaks of bad luck and big fish; the mayor and her hope to turn Greenstone’s luck around with the annual fair; the sisters who run a small cafe; and a returned prodigal son who is either the town’s best hope or worst enemy. There are terrible losses and griefs, but also love and new beginnings, fishing and kite flying, reinventions and reinvigorations. Greenstone is an odd place of hard luck, whose history involves deaths and disappearances as well as that one time it rained frogs (yes), and there is more to come. It’s a completely fascinating place and story.

Here are a few of my favorite lines – I’ve decided against offering them any context. Enger is a thrilling writer of single sentences as well as larger plot.

He peered around as though not wishing to be seen accepting birthday wishes from a cheerful moron up to his chin in the freezing sea.

There is nothing wrong with being kissed on the cheek by a sweet round woman in a cafe after you have nearly died.

She had a marvelous eye roll, refined through long discipline, precise as acupuncture.

I’d lived years without a woman to tell me small things. Her work went well and she wanted to say so, and I was the man who was listening. That fact swung open and light came in.

There is no better sound than whom you adore when they are sleepy and pleased.

And all of this read for us by MacLeod Andrews in a delightful sort of humble Minnesotan accent (and Rune’s Norwegian one, which amplifies the reader’s sense of him as a twinkling elf of good cheer). I do not know how this book could be improved upon, except to have more of it. I am devoted to Enger – and sadly halfway through his works. Do yourself a favor and spend some time with Virgil.


Rating: 10 pots of boiling milk.

rerun: Martin Marten by Brian Doyle

I read my first Brian Doyle in late 2014 or early 2015. Since then, I’ve taken in nearly everything he’s written. When we lost him in 2017, I felt that as a blow, and I guess I’m taking my time with his last few titles. The audiobook I’m listening to right now reminds me of him (more on that later, obv), and I’m still feeling the loss of this voice. And with all of his work that I’ve loved, Martin Marten still might rank at the very top. Please enjoy my original review below, and if you’re still hungry, check out my audio re-“read” here. May there be more of this sort of thing in the world.

A lyrical ode to all the inhabitants of the world, fun-loving and deathly serious as nature.

marten

Fourteen-year-old Dave is one of the protagonists of Brian Doyle’s Martin Marten. He lives with his delightful, precocious six-year-old sister Maria and his wise, funny parents in a cabin on an Oregon mountain. Dave prefers to call the mountain Wy’east, which is the name given it by the people who lived there for thousands of years, rather than Hood, “which is what some guy from another country called it.”

Also in his adolescence on Wy’east in the same season that Dave enters high school and tries out for the cross-country team is Martin, who likewise is exploring his world, venturing farther from home and contemplating separation from his mother, and who will discover the females of his species around the same time that Dave does. A marten is a small, brownish mustelid with a diverse diet and a large territory, and Martin is as individual an example of his species as Dave is of his.

Doyle (Mink River) follows the coming-of-age of these two young males, and to varying degrees examines the lives and struggles of other inhabitants of Wy’east. These include the woman who runs the general store, Dave’s family and his best friend Moon, a schoolteacher and the dog who adopts him, a massive elk, an elderly bear and a retired horse, and each of their stories is deep and rich with humor and wisdom. The result is a lushly textured, loving, sensitive and whimsical symposium of trees, insects, birds and beasts.


This review originally ran in the April 14, 2015 issue of Shelf Awareness for Readers. To subscribe, click here, and you’ll receive two issues per week of book reviews and other bookish fun!


Rating: 10 tomatoes.

Still.

Like This, But Funnier by Hallie Cantor

A 30-something woman writing for television comedy in Los Angeles must wrestle with personal and social as well as professional qualms in this discomfiting and hilarious debut.

Hallie Cantor’s first novel, Like This, But Funnier, is a hilarious and brutally honest send-up of comedy writing for television, a serious consideration of the woes of modern womanhood, and a compassionate telling of one woman’s fumbling journey.

Caroline Neumann is 34 years old. After a relatively successful and socially engaged stint in New York writing for a sketch comedy show, she moved to Los Angeles to write for a sitcom, which was then canceled. She’s been working from home for the past four years–if you can call it “working” when she’s mostly doing unpaid “development.” “In their twenties, she and [husband] Harry had happily not known together” whether they wanted to have kids. But in the interim, he became sure that he did, while Caroline remains doubtful. Harry used to be unhappy at work, too, but now he is a therapist. “They’d made a little home in the despair together. Until he’d abandoned her to go off and get a fulfilling career that he loved. How dare he.” Now, dubiously employed and depressed, Caroline navigates lonely, work-from-home desperation, cataloging all the ways in which she can feel bad (down to the varieties of milk she might put in her coffee: “oat milk: cliché spoiled California millennial princess, very bad”), while Harry nudges her to consider motherhood.

Propelled by work-related frustration and curiosity about Harry’s favorite therapy client, whom she knows only as “the Teacher,” Caroline indulges in a tiny bit of snooping. When she happens to mention a tidbit from the Teacher’s life in a meeting with a producer, however, events snowball beyond Caroline’s control, until she finds herself working on an actual television script featuring the confidential details of a woman’s life that she has no business knowing. Caroline, for whom failure and rejection have come to feel like a professional norm, figures that rather than withdraw from the questionable project, she’ll just tank the pitch meeting: “Why bother quitting when you could fail instead?” And just to keep things complicated, she assents to freeze her eggs for possible future motherhood, as “spiritual atonement for stalking and befriending [her] husband’s favorite therapy patient.” What could go wrong?

Cantor brings her experience writing for Arrested Development, Dollface, and Inside Amy Schumer to Caroline’s often excruciating story: despite the considerable pathos, these conflicts are deeply funny. This protagonist–liable to clog a toilet at the most inopportune moment, frozen by self-loathing, desperate to do the right thing in an industry that’s never heard of it–is, against all odds and her own fears, uncomfortably easy to relate to. Like This, But Funnier is winning, awkward, and unforgettable.


This review originally ran in the January 29, 2026 issue of Shelf Awareness for the Book Trade. To subscribe, click here.


Rating: 7 Zoom calls.

I Cheerfully Refuse by Leif Enger (audio)

Liz was right. This was beautiful and worth it, even though I was a little bit leery of the dystopia. A gorgeous book, and gorgeously read for us by David Aaron Baker. Glorious.

The novel is set in a world very like our own, maybe just a little further down the road to ruin. The narrator, Rainy, lives in town of Icebridge, which I think is on the American side of the border with Canada, on the Great Lakes. Political, economic and environmental collapse have advanced beyond our current situation. Rainy lives in a leaning but charming three-story house with his wife Lark, who is a golden person and one of the town’s most beloved. She runs a bookshop, possesses a great and contagious love of art and literature, and holds wisdom and appealing beliefs. At the story’s beginning, they take in a lodger, Kellan, who eventually admits to being on the run from the ‘astronauts’ he was pledged to as indentured worker. (‘Astronauts’ are not literal, but simply the astronomically privileged and wealthy in an increasingly divided world.) Rainy likes Kellan; but it is true that, as predicted, he brings devastation upon the household. In its wake, Rainy is forced to take to Lake Superior, that great inland ocean, in an ancient sailboat imperfectly restored by hand. He has it in mind that he might find what he is looking for if he can reach the Slate Islands, where he and Lark once sailed, fifteen years ago, on Rainy’s only sailing venture ever until this point. His voyage – really, his quest – will be circuitous, at the mercy of weather patterns and storms, and beset by people who mean him harm. There will also be friendlies along the way. He will pick up a most fascinating passenger, a nine-year-old girl named Sol.

This story is compared to the Orpheus myth, but I don’t see how we can miss Odysseus in it, too, or any quest you choose. It has large, nearly all-encompassing scope, and beautiful ideas about how we make the world around us and what friendship looks like. It considers literature and art and music, and offers hope where it seems unlikely. It is lovely at the sentence level. The lake “was a blackboard to the send of sight, and any story might be written on its surface.” “There’s something in romance if it puts you on a boat with the one you adore in a harbor no storm can penetrate with an affable ghost anchored nearby.” Its events are often horrifying, but I’m left with the weird sense that I’d still be satisfied to follow Rainy anywhere within his world.

This is one of those I’d happily take a high-level lit course in. Solid rec, Liz. Thank you.


Rating: 9 steaming mugs of coffee.

I Am Agatha by Nancy Foley

A solitary aging painter rages against the slow loss of her partner to dementia in this spare, feeling first novel.

Wrestling with grief, love, and creation, a reclusive painter struggles to navigate the decline of her beloved with the help of a loyal 13-year-old neighbor, a trusty pickup truck, and a couple of shovels. Nancy Foley’s I Am Agatha is a striking first novel, jumping off from scant details of the life of a true historical figure to follow the author’s imagination beyond. Like its protagonist, this story is sure-footed and occasionally, markedly vulnerable.

Based upon the painter Agnes Martin, Foley’s Agatha Smithson leaves 1960s New York City to resurface in New Mexico, where she builds an adobe house on a high mesa, lives mostly apart from society, and creates her life’s finest works. She’s passionate about her home and her “ocean canyon”: “It’s ridiculous that anything goes on anywhere other than Mesa Portales, that one can isolate oneself from the world but still it goes about its business.” She is prickly, domineering, capable of grim humor. “You’d sure make my job easier if you could give a straight answer now and then,” comments a local lawyer. “But I guess it’s not in your character.”

Agatha is peremptory, “quick to recognize the correct path forward in all situations.” She is given to strong allegiances but demands great loyalty and holds long grudges; her friends are few and precious. Thirteen-year-old Josey is, like Agatha, obstinate, free-willed, and given to few words. He is her ally, a valued hard worker, and a vital human connection. Agatha has one great love, found later in life: a widow named Alice, who lives alone with a secret buried in her backyard. As Alice’s dementia worsens, Agatha will be late to learn what secrets have been kept from her, too. Fierce and indomitable, Agatha is also overwhelmed by love and grief.

Driven by commitment to her work, which she takes very seriously, Agatha is moved not at all by the opinions of others. But in Alice, she finds something different and shocking. “Work is not the only thing in life,” Agatha says, to a young disciple’s incredulity, but “I surprise myself by feeling it to be true. I would do anything possible, anything at all, to keep Alice with me.” Agatha’s big, brash personality and determination to grow old with Alice is pitted against more staid forces like Alice’s son, who would rather move his mild-mannered mother into assisted living. An accomplished artist and staunch recluse, Agatha does not easily brook resistance, but the end of Alice’s life will be one of her greatest struggles. I Am Agatha is an arresting, darkly funny, and heartrending consideration of life, love, and endings.


This review originally ran in the January 12, 2026 issue of Shelf Awareness for the Book Trade. To subscribe, click here.


Rating: 7 peanut-butter-and-tomato sandwiches.