Updated: 2 hours 26 min ago
New horror fiction includes “The Graveyard Apartment,” about a roomy flat that overlooks a temple, a burial ground and a crematory.
Leo Braudy’s “Haunted” probes the cultural and historical origins of ghosts, witches, vampires and zombies.
Five novels, five books of nonfiction and two graphic memoirs to read before you hit 30.
James Parker and Rivka Galchen discuss the difficulty in writing funny.
In this season’s true crime books, mysteries set in Indianapolis; Austin, Tex.; Louisiana; and elsewhere.
“This Way Madness Lies,” Mike Jay’s history of the asylum Bedlam, tracks attitudes toward mental illness.
The season’s thrillers include Lee Child’s latest Jack Reacher novel, “Night School,” and Francesca Kay’s “The Long Room,” about a British spy in London in 1981.
In “America the Anxious,” the British observer Ruth Whippman argues that Americans’ striving for happiness makes us miserable.
Beth Macy talks about “Truevine”; Calvin Trillin and Roz Chast discuss “No Fair! No Fair! And Other Jolly Poems of Childhood”; and Molly Young on “Bridget Jones’s Baby.”
Marcy Dermansky’s “The Red Car” is a propulsive novel that still makes you stop and think.
In Jane Alison’s “Nine Island,” a woman faces her romantic future.
A May-December romance begins between a drama student and a London actor in Eimear McBride’s “The Lesser Bohemians.”
Marie Ponsot’s “Collected Poems” is the model for every poet who worships procrastination.
Thomas Keneally’s new novel imagines Napoleon’s final exile through the eyes of a young girl.
Beth Macy’s “Truevine” tells the story of African-American brothers who found exploitation then a measure of success as circus attractions.
“Rules for Others to Live By” is Richard Greenberg’s first book of original essays.
Ron Robin’s “The Cold World They Made” is a provocative examination of Albert and Roberta Wohlstetter, whose views influenced policy makers in the 1950s.
Michael McCarthy’s “The Moth Snowstorm” is a plea to support conservation lest we endanger our own primordial pleasure.
Gareth Stedman Jones’s “Karl Marx” focuses on Marx the man, not the ideologue.
Is it a good thing for a novel to stimulate our emotions? Montaigne, Brecht and others thought not.