Between the publication ofAmericanah and The dream counter Twelve years have passed, during which Chimamanda Ngozi Adichie (Enugu, 1977) has become, in addition to a well-known writer, a world reference for feminism since the TEDx conference Everyone should be a feminist (2014). It has been so at least until the month of March when, coinciding with the appearance of the new novel, translated into Catalan by Anna Puente and published in Fanbooks, the writer declared to The Irish Times who had opted for surrogacy of twins in her second pregnancy, something she has spoken about on subsequent occasions: "Although it is a personal issue, I have spoken about it so that mothers who have not followed traditional paths feel less stigmatized," she declared in May to Premium Times from Nigeria, the country where she grew up until, at the age of 19, she left for the United States to study at Drexel University in Philadelphia.

With this fourth novel, the film director and performer Miranda July –having just turned fifty– has overcome a kind of symbolic barrier that had been erected in the middle of the path of his life and has entered the realm of the Great Writers. But she didn't do it dressed as a distinguished lady, but rather, she got down on all fours and fucked everything that was in front of her: boys, older ladies, and girls, in abundance. She got dirty, she descended into the deepest abyss of femininity, and she emerged renewed, like the protagonist of this novel: "She could have always been like this, like in this room: imperfect, genderless, playful, shameless. She had everything she needed in her pockets, a complete soul."

After writing three thrillers starring a squad boy, Javier Cercas (Ibahernando, 1962) offers a unique variation in his new book, in which the detective is the author himself and the person under investigation is none other than Pope Francis. God's Fool at the End of the World –published by Random House Literature, after a period of the author in Planeta that began with Terra Alta (2019) – explains the writer's trip to Mongolia as part of the courtship of the supreme pontiff with the aim of constructing an in-depth portrait. "I have had the privilege of being the first writer to whom the Vatican has opened its doors to write a book," he says. "When they made the proposal to me, I immediately said to them: 'Don't you know that I am a dangerous guy?' But they didn't back down either. In fact, I have had absolute freedom to write whatever I wanted. Not even what I wanted. Not even. if it is read by the Vatican, they don't decide to excommunicate me."

"The author opposes this novel being used to train any type of artificial intelligence, whether now or in the future," reads the credits page of May you be (Random House, 2025), the new novel by Belén Gopegui Durán (Madrid, 1963). The warning fits perfectly with one of the main themes of the book: how the surveillance society in which we live – a concept popularized by sociologist Shoshana Zuboff – erodes our rights, whether through the collection of personal data, the bias spread by certain social networks or the algorithms that guide programs.

About thirty emaciated men, some of whom can barely stand, arrive on a rickety boat to the southwestern coast of Brazil. The crew claim to be the only survivors of the Wager, a British warship that had left Portsmouth almost two years earlier with more than 250 officers and sailors. In 1742, almost a year after the ship went missing south of Chile, the reappearance of part of the expedition is considered a miracle.