Jason Sheehan

So there's the one about the puma in the airplane toilet. The one about the time traveler who doesn't feel like saving the world. The one about the fake-woke boyfriend. The one about the woman hiring the Ultimate Assassin to kill her husband and how it all goes wrong.

The problem with time-travel stories is the haywire factor: Their tendency (almost guaranteed) to, at some point, just go completely off the rails.

See, there's an in-built suicide switch in a time-travel story that's endemic to the form. Because once you start messing with timelines and alternate, competing realities, you're decoupling effect from cause, removing consequence from action. And once you do that, narrative structure, like a doughnut in hot coffee, just falls all to pieces.

It is a terrible thing to read a Paul Tremblay story.

Terrible because you know, going in, that it's probably going to mess you up. That his stories and his words have this way of getting under your skin. Of crawling inside you like bugs and just ... living there. They become indistinguishable from memory. They become a part of all the cells and goop that make you you.

Hey, you. Did you really like A Canticle For Leibowitz but think it needed more robot hookers and a talking goat? Then FKA USA is the book for you.

Did you think The Road suffered by not having enough gunfights with Mormons? Do you have a fondness for The Wizard Of Oz but believe, deep in your weird little heart, that it suffered a crippling lack of footnotes, bad language and fart jokes? Yeah, me, too. Which is (maybe) why I liked FKA USA so much.

Here's the thing you gotta know about Blake Crouch.

You remember that guy from college, sophomore year? The one that was always there at the bar, on the strange nights when it felt like you could hold off last call just by talking fast enough and thinking big enough? He was the one you'd find yourself listening to at 3am, sitting on the floor, weed and cheap beer twining together in your head as he spun out some bonkers theory about perception, psychology, memory, reality. The one who never seemed to sleep. Who always said the most fascinating things.

The story begins with the death of one woman. It ends with the death of a city.

Elvia Wilk's novel Oval is like an ever-expanding sphere. A slow-growing, smoldering fire that doesn't really dig in and become something until the very, very, very end.

Neal Stephenson has a new book out, called Fall, or Dodge In Hell.

For some of you, that means nothing. Couldn't care less. For some of you, it's a curiosity — Stephenson is a big deal among sci-fi fans of a certain taste and vintage, and adding a new book to his canon is, at the very least, noteworthy.

There's an alien under the bed and another on the lawn. Zoe Snapp has a pearl in her pocket that's really a transdimensional gateway, opened solely by playing a particular riff on her trumpet. A few blocks away, Villy (who is maybe, kinda, Zoe Snapp's boyfriend) and his younger brother Scud are arguing about hamburgers, the replacement of spark plugs and the road trip Villy and Zoe have planned.

It begins with Roger Middleton and Dodger Cheswich. Twins, separated at birth, not entirely human. Telepathic twins, sporadically present in each other's heads and each other's lives. Destined (it seems, possibly by design) to never be long apart.

There are books so jammed with brilliant, mind-exploding ideas it's like the author packed fireworks between the covers, all strung together on a very short fuse.

The astronaut alone in their capsule. The explorer stranded far from home. The one who wakes to the flickering light and failing systems of their underground bunker. The lonely survivor in a ruined world — Last Man Alive.