(in chronological order)
- Rachel Cusk’s Second Place
- Maggie Shipstead’s Great Circle
- Kristen Arnett’s With Teeth
- Kelly McClorey’s Nobody, Somebody, Anybody
- Claire Luchette’s Agatha of Little Neon
- Louise Nealon’s Snowflake
- Claire Chambers’ Small Pleasures
- Lucy Corin’s The Swank Hotel
- Claire Vaye Watkins’ I Love You But I’ve Chosen Darkness
- Ayşegül Savaş’ White on White
- Francisco Pacifico’s The Women I Love
- Nataliya Deleva’s Four Minutes
- Cara Blue Adams’ You Never Get It Back
- Will Aitkin’s The Swells
- Gunnhild Øyehaung’s Present Tense Machine
- Renée Branum’s Defenestrate
- Ella Baxter’s New Animal
- Maayan Eitan’s Love
- Sheila Heti’s Pure Colour
- Lee Cole’s Groundskeeping
- Dawn Winter’s Sedating Elaine
- Siobhan Phillips’ Benefit
- Christopher Linforth’s The Distortions
- Camille Laurens’ Girl
- Jessi Jezewska Stevens’ The Visitors
- Mark Haber’s Saint Sebastian’s Abyss
- Ottessa Moshfegh’s Lapvona
- Steve Stern’s The Village Idiot
- Lucy Ives’ Life Is Everywhere
- Kevin Maloney’s The Red-Headed Pilgrim
- Geoffrey D. Morrison’s Falling Hour
- Chelsea Martin’s Tell Me I’m An Artist
- Jáchym Topol’s A Sensitive Person
- Eliza Minot’s In The Orchard
- Zadie Smith’s The Fraud
- Christine Lai’s Landscapes
- Louise Kennedy’s The End of the World is a Cul de Sac
- Rachel Cusk’s Parade
- Aysegül Savaş’ The Anthropologists
- Austin Duffy’s Cross
- Kathryn Davis’ Versailles
- Sonya Walger’s Lion
- Rebecca Fishow’s How To Love A Black Hole
- Edwin Frank’s Stranger Than Fiction
- Maggie Armstrong’s Old Romantics
- Issa Quincy’s Absence
- Review of Marisa Matarazzo’s “The Terrarium”, as featured in Summer 2021 Ploughshares
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