A major debut collection of globe-spanning stories set in the worlds of art, crime, and fantasy, by an exceptionally elegant and mischievous storyteller.A stone appears in a woman’s pocket like a charm only to end up lodged in someone else’s throat. A condescending artist throws a dinner party with his too-square wife, only to learn too late that she is far more daring than he ever imagined. A young and besotted apprentice haunts her mentor’s lover after a stinging betrayal. In The Good Eye, the world can change in an instant. The beautiful turns grotesque, the exalted becomes the disgraced, the genius an imposter. Contradictory forces confront the men and women of Gibson’s collection, as they wrestle with the limits of perception. Pulsing with style and vibrancy, The Good Eye takes readers on an unforgettable journey, without ever giving in to easy answers, and announces the arrival of a prodigious new talent.

The Hour of the Star, Clarice Lispector's consummate final novel, may well be her masterpiece. Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabéa, one of life's unfortunates. Living in the slums of Rio de Janeiro and eking out a poor living as a typist, Macabéa loves movies, Coca-Cola, and her rat of a boyfriend; she would like to be like Marilyn Monroe, but she is ugly, underfed, sickly, and unloved. Rodrigo recoils from her wretchedness, and yet he cannot avoid realization that for all her outward misery, Macabéa is inwardly free. She doesn't seem to know how unhappy she should be. Lispector employs her pathetic heroine against her urbane, empty narrator--edge of despair to edge of despair--and, working them like a pair of scissors, she cuts away the reader's preconceived notions about poverty, identity, love, and the art of fiction. In her last novel she takes readers close to the true mystery of life, and leaves us deep in Lispector territory indeed.

The Hour of the Star, Clarice Lispector's consummate final novel, may well be her masterpiece. Narrated by the cosmopolitan Rodrigo S.M., this brief, strange, and haunting tale is the story of Macabéa, one of life's unfortunates. Living in the slums of Rio de Janeiro and eking out a poor living as a typist, Macabéa loves movies, Coca-Cola, and her rat of a boyfriend; she would like to be like Marilyn Monroe, but she is ugly, underfed, sickly, and unloved. Rodrigo recoils from her wretchedness, and yet he cannot avoid realization that for all her outward misery, Macabéa is inwardly free. She doesn't seem to know how unhappy she should be. Lispector employs her pathetic heroine against her urbane, empty narrator--edge of despair to edge of despair--and, working them like a pair of scissors, she cuts away the reader's preconceived notions about poverty, identity, love, and the art of fiction. In her last novel she takes readers close to the true mystery of life, and leaves us deep in Lispector territory indeed.

The acclaimed New York Times bestselling author of A Woman Is No Man returns with a striking exploration of the expectations of Palestinian-American women, the meaning of a fulfilling life, and the ways our unresolved pasts affect our presents. Raised in a conservative and emotionally volatile Palestinian family in Brooklyn, Yara thought she would finally feel free when she married a charming entrepreneur who took her to the suburbs. She’s gotten to follow her dreams, completing an undergraduate degree in Art and landing a good job at the local college. As a traditional wife, she also raises their two school-aged daughters, takes care of the house, and has dinner ready when her husband gets home. With her family balanced with her professional ambitions, Yara knows that her life is infinitely more rewarding than her own mother’s. So why doesn’t it feel like enough? After her dream of chaperoning a student trip to Europe evaporates and she responds to a colleague’s racist provocation, Yara is put on probation at work and must attend mandatory counseling to keep her position. Her mother blames a family curse for the trouble she’s facing, and while Yara doesn’t really believe in old superstitions, she still finds herself growing increasingly uneasy with her mother’s warning and the possibility of falling victim to the same mistakes. Shaken to the core by these indictments of her life, Yara finds her carefully constructed world beginning to implode. To save herself, Yara must reckon with the reality that the difficulties of the childhood she thought she left behind have very real—and damaging—implications not just on her own future but that of her daughters.

The long-awaited new novel from the bestselling, prize-winning author of Cloud Atlas and The Bone Clocks. Utopia Avenue is the strangest British band you’ve never heard of. Emerging from London’s psychedelic scene in 1967 and fronted by folk singer Elf Holloway, guitar demigod Jasper de Zoet, and blues bassist Dean Moss, Utopia Avenue released only two LPs during its brief, blazing journey from the clubs of Soho and drafty ballrooms to Top of the Pops and the cusp of chart success, and on to glory in Amsterdam, prison in Rome, and a fateful American fortnight in the autumn of 1968. David Mitchell’s captivating new novel tells the unexpurgated story of Utopia Avenue; of riots in the streets and revolutions in the head; of drugs, thugs, madness, love, sex, death, art; of the families we choose and the ones we don’t; of fame’s Faustian pact and stardom’s wobbly ladder. Can we change the world in turbulent times, or does the world change us?

The acclaimed New York Times bestselling author of A Woman Is No Man returns with a striking exploration of the expectations of Palestinian-American women, the meaning of a fulfilling life, and the ways our unresolved pasts affect our presents. Raised in a conservative and emotionally volatile Palestinian family in Brooklyn, Yara thought she would finally feel free when she married a charming entrepreneur who took her to the suburbs. She’s gotten to follow her dreams, completing an undergraduate degree in Art and landing a good job at the local college. As a traditional wife, she also raises their two school-aged daughters, takes care of the house, and has dinner ready when her husband gets home. With her family balanced with her professional ambitions, Yara knows that her life is infinitely more rewarding than her own mother’s. So why doesn’t it feel like enough? After her dream of chaperoning a student trip to Europe evaporates and she responds to a colleague’s racist provocation, Yara is put on probation at work and must attend mandatory counseling to keep her position. Her mother blames a family curse for the trouble she’s facing, and while Yara doesn’t really believe in old superstitions, she still finds herself growing increasingly uneasy with her mother’s warning and the possibility of falling victim to the same mistakes. Shaken to the core by these indictments of her life, Yara finds her carefully constructed world beginning to implode. To save herself, Yara must reckon with the reality that the difficulties of the childhood she thought she left behind have very real—and damaging—implications not just on her own future but that of her daughters.

Millennial expat couple Anna and Tom are living the dream in Berlin, in a bright, affordable, plant-filled apartment. Their life as young digital creatives revolves around slow cooking, Danish furniture, sexual experimentation and the city’s twenty-four-hour party scene – an ideal existence shared by an entire generation and tantalizingly lived out on social media. But beyond the images, dissatisfaction and ennui burgeon. Work becomes repetitive. Friends move back home, have children, grow up. Frustrated that their progressive politics amount to little more in practice than boycotting Uber, tipping in cash, or never eating tuna, Anna and Tom make a fruitless attempt at political activism. Feeling increasingly trapped in their picture-perfect life, the couple takes ever more radical steps in the pursuit of an authenticity and a sense of purpose perennially beyond their grasp. Superbly translated by Sophie Hughes, Vincenzo Latronico’s Perfection is a taut, spare sociological novel about the emptiness of contemporary existence, scathing and brilliantly affecting.