Glenn Frankel’s High Noon (Bloomsbury) puts Hollywood and Washington on the stand. Iké Udé takes a tour through the radical beauty of Nollywood Portraits(Skira). Not all our children will be raised in Kevin Wilson’s Perfect Little World(Ecco). Risible raconteur Jim Shepard imagines The World to Come (Knopf). An immigrant’s Civil War years blow through Sebastian Barry’s carbine in Days Without End (Viking). Kate Hennessy strings together a rosary of memories for her grandmother Dorothy Day (Scribner). Sabotage and subterfuge collide in Giles Milton’s Churchill’s Ministry of Ungentlemanly Warfare (Picador). Bill Hayes is smitten with Oliver Sacks and their Insomniac City (Bloomsbury). Mats Gustafson is the good kind of sketchy for Dior (Rizzoli). Kevin Davis mounts The Brain Defense (Penguin Press). Charles Campisi locks up good cops gone bad in Blue on Blue (Scribner). The Kingdom of Happiness (Touchstone) is upon us in Aimee Groth’s Zappos zinger. Ali Smith’s first season, Autumn (Pantheon), has arrived. J. M. Coetzee pas de bourrées around The Schooldays of Jesus (Viking). Min Jin Lee’s Pachinko (Grand Central) plays with the destiny of one Korean family. Yuval Noah Harari’s Homo Deus (Harper) knows what plagues us. The stars align for Lawrence Weschler in Waves Passing in the Night (Bloomsbury). Elan Mastai’s natty narrator finds himself in All Our Wrong Todays (Dutton).Viet Thanh Nguyen returns with tales of The Refugees (Grove). Mary Grahammakes a power play for The Presidents’ Secrets (Yale). Elinor Lipman satirizes suburbia On Turpentine Lane (Houghton Mifflin Harcourt). Steven Cohen hedges his bets in Sheelah Kolhatkar’s Black Edge (Random House). Joyce Carol Oates wrote A Book of American Martyrs (Ecco) in the time it took you to read this.