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Prudence Peiffer’s “The Slip” is a group biography of six visual artists and the work they created on the edge of Manhattan in the 1950s and ’60s.

Rosie Schaap’s new memoir, “The Slow Road North,” recalls her grief and her subsequent move out of Brooklyn.

In “The South,” a Malaysian man recalls the life-changing period he spent on his family’s dilapidated farm when he was a teenager.

In “The Spinach King,” John Seabrook recounts how his grandfather turned a family farm into an industrial behemoth, and exposes the greed and malfeasance behind the prosperous facade.

“The Spoiled Heart,” by Sunjeev Sahota, contrasts race and class struggles in the story of a man’s downfall.

“The Stolen Coast,” by Dwyer Murphy, is a heist novel involving rough diamonds, crooked lawyers and masters of the double cross.

True to the promise of its title, “The Storm We Made” kicks up a weather system of epic proportions, ranging from military terror during World War II to domestic warmth.

In Karen Thompson Walker’s latest novel, “The Strange Case of Jane O.,” a patient’s unusual symptoms suggest metaphysical mysteries.

Ariel Dorfman’s novel “The Suicide Museum” uses the controversy around a president’s death to examine personal and collective grief.

Antonio Di Benedetto’s characters are repellent and constantly frustrated. Why are they so captivating?