Describing the plot of a Tom McCarthy novel requires some caveats about the scale and the projection of the thing. One might begin with a description of a man who after suffering a head injury decides to recreate and reenact a day in his life again and again ad absurdum to the point of violence, but this would be insufficient as a depiction of the novel Remainder’s electrical currents of feeling and its intellectual conduits that flip switches on and off in literary theory and philosophy. Likewise, a gloss of Satin Island might rest on the project of its narrator, a corporate archeologist preparing an all-encompassing ethnography of our human era. But such a distillation misses the humor, intrigue, and dreamwork that make the novel an island unto itself. And these baffling plots give way to novels that as the AV club has written, “are more entertaining than [they] have any right to be”.

Such is the case with McCarthy’s latest novel, The Rhyl Poster (Jonathan Cape, 2026), a thriller punched through with intrigue, violence, international skullduggery, and a flawed hero weighing his personal code against the ethical nature of global law and community making. Our protagonist, Stanton, the author of legal decisions of great acclaim for The European Court of Justice, is renowned for his digressive logic and absolute professionalism, but he has got himself into some trouble. When an addiction to pain killers puts him in the crosshairs for espionage at the court, Stanton will have to consider how the ideals of the court and his own language of ethical responsibility collide with his actions in a case that has world reorganizing implications.

But this description fails mightily to describe the experience of reading The Rhyl Poster, a novel that plays in the theater of many different forms of logic and representation. Stanton will, for example, fall into the game world of Grand Theft Auto and experience himself as an infinite chameleon of the open world mode, he will process his own childhood stutter as a means of introducing doubt and reconsideration into his speech and writing, and he will explore the possibilities of other means of thinking and being as far afield from his everyday life as kite concerts and Indonesian shadow puppetry. To read The Rhyl Poster is to surrender to its thinking processes and to understand that literature need not be monolithic in its representational instincts. It is a book that challenges as it entertains, and as such, it finds good company with classical words of philosophical fiction, Dostoyevsky, Elliott, Joyce.

Tom McCarthy’s work has been translated into more than twenty languages and adapted for cinema, theatre and radio. His first novel, Remainder, won the Believer Book Award. His third novel, C, was shortlisted for the Booker Prize, the Walter Scott Prize and the Europese Literaturrprijs and his fourth, Satin Island, was shortlisted for the Booker Prize and the Goldsmiths Prize. In 2013 he was awarded the inaugural Windham Campbell Literature Prize. McCarthy is also author of the study Tintin and the Secret of Literature and the essay collection Typewriters, Bombs, and Jellyfish. He lives in Berlin.

Recommended Books:

• Mary Shelley, Frankenstein
• George Eliot, Middlemarch

Chris Holmes is Chair of Literatures in English and Professor at Ithaca College. He writes criticism on contemporary global literatures. His book, Kazuo Ishiguro Against World Literature, is published with Bloomsbury Publishing. He is the co-director of The New Voices Festival, a celebration of work in poetry, prose, and playwriting by up-and-coming young writers.

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Her clothes shredded and disrobed by her own teeth, Lucy finds herself draped over a high tree branch in the quad of her college, naked but unafraid, a wild leopard more than any humankind. So begins Emeline Atwood’s starling debut novel, A Real Animal (Catapult, 2026). We know early on that Lucy will never be able to reach back to that precise feeling of being the leopard, powerful and at one with the natural world. Instead, she will swim in the harsher waters of a society that scorns and shames her, that seems to revel in her abuse, with a family that would prefer that she silence herself.

A Real Animal exists in a tremorous first person, the reader watching through Lucy’s eyes her attempts at intimate partnerships, with good men, horrible men, indifferent men, each relationship cast off or dissolved by the incoherence of her interior life. In sexual dramas for which she is but a prop, and family spectacles that treat her like so much wallpaper, Lucy seeks an experience of life that abandons performance for something like the sensuousness of the imminent now.

A bildungsroman that throws redemption and assimilation on the trash heap, A Real Animal does what the Russian Formalists hoped literature would do: it shakes you awake and rejects the comforts of your habitual life in favor of something as friction-full as a dirty razor. The waves come hard, and you can but experience the drowning.

Emeline Atwood graduated from the Michener Center for Writers in 2023. She writes fiction and poetry and is a recipient of the Thomas T, Hooper Prize, the Louis Begley Prize, the Roger Conant Hatch Prize for Lyric Poetry, and the Le Baron Russell Briggs Fiction Prize. A Real Animal was just shortlisted for the Center for Fiction Prize for a debut novel.

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In upstate New York in 2001, nine-year-old twins Sabina and Camilla spend the summer weathering the moods of their erratic mother while finding themselves pulled toward diverging interests: Sabina into the mystery of their absent French father and Camilla into burgeoning popularity. But their lives are shaken up by the arrival of an Arab French family across the street. Thrilled by what she sees as a link to the country of her origins, Sabina attempts to befriend the family’s son, Khalil, and is rebuffed for reasons she doesn’t understand.

Yet as the twins and Khalil come of age, they are drawn into a tense and ever-shifting triangular dynamic. As Sabina strives to find her father and make sense of her mother, as Camilla confronts whether the power she held in youth translates to adulthood, and as Khalil reckons with the psychological fallout of a family tragedy, their paths converge in ways both surprising and inevitable. Bookended by events with global resonance, Mistranslation (U Iowa Press, 2026) is a continent-spanning chronicle of family, inheritance, and the reverberations of the choices we do—or don’t—make.

Madeleine Moss grew up in Ithaca, New York, and holds a degree in French literature from Cornell University. She received her MFA in fiction from Washington University in St. Louis in 2020 and currently lives in Strasbourg, France.

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