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The Centre, by Ayesha Manazir Siddiqi (Gillian Flynn). The protagonist of this mystery is a young Pakistani Londoner who earns money writing English subtitles for Bollywood films and longs to translate literary classics. When she receives an invitation to the Centre, a secretive language school that produces native-level fluency in ten days, she enrolls, mastering German and Russian before strange dreams and a hushed-up death alert her to something amiss. The novel explores friendship, purpose, and power; it also frames language as intimate and embodied, casting translation as an opportunity for “a repurposing of things once thoughtlessly imbibed.”
Hope, by Andrew Ridker (Viking). This comic novel, about a year of crisis for an affluent Jewish family, opens with a dinner party at which each guest is served a meal representing a different socioeconomic background. According to the hostess, Deborah, the matriarch, the purpose of this exercise is “to replicate, in a controlled environment, the lottery of birth.” Yet, the control of the family’s own environment becomes a problem after Deborah’s husband, Scott, is caught falsifying data in a clinical trial. Deborah pursues an affair, their daughter becomes reëntangled with a teacher who groomed her in high school, and their son, a premed student who idolized his father, feels increasingly lost. Ridker’s tone remains light even as his characters struggle to correct course. Writing about psychiatry’s new interest in the “transgenerational transmission of trauma” in his medical-school application, the son wonders, “Who knows what else our parents have unwittingly passed on?”
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