Alberto Salas is on a mission: to discover and document all the potatoes he can “before they’re lost for good.” The renowned Peruvian agronomist—affectionately portrayed as a rosy-cheeked, wiry-haired, squat man clad in a yellow coat—plays the game of potato paka paka (or hide-and-seek), scouring the Andes to support the development and proliferation of potatoes across the world. Each day the growing effects of climate change make his endeavor more urgent. Blending an affable, often playful tone and a loose yet incredibly informative narrative peppered with words in Spanish and Quechua, Fajardo recounts the potato expert’s adventures in all their glory, putting the story into a broader context that makes clear the global issue of widespread hunger. The author homes in on Salas’ precise methods and unorthodox solutions, including homemade maps and newspaper pouches to transport plants. Working in paper collage, Martinez-Neal favors dabs of rich colors among broad landscapes of earthy browns and lots of potatoes of different shapes and sizes to bring Salas’ potato exploits to life, including his collaboration with Indigenous communities. A robust glossary and backmatter delving further into Salas’ work and the diversity of potatoes round out a sublime portrait. Publishes simultaneously in Spanish.

At 29, Margaux “Max” Adams isn’t just down on her luck: her pot of gold is bone dry. Following the pandemic—and after having borrowed thousands of dollars from her family and friends—the former chef was forced to close Frida’s, her dream restaurant in Maine. After moving into a shoebox apartment with a perpetually stoned, ranch-dressing-loving roommate and isolating herself from her loved ones, Max now lugs boxed wine out of vans for a second-rate catering company. Then, at a wedding she’s working, she’s approached by a woman who says Max reminds her of Sofia Christensen, an assertive 30-year-old powerhouse who was recently named prime minister of a country called Summerland. While their life paths couldn’t be more different, Max is aware that she and Sofia look eerily alike, almost as if they were long-lost sisters. Max would never have imagined crossing paths with the PM, but now the strange woman—who turns out to be a CIA agent—gives her an offer she can’t refuse: Pretend to be Sofia while the government works to prevent an assassination plot, and receive $5 million for her trouble. All Max has to do is relax on a beach in Positano—under the guise of a vacationing prime minister with laryngitis, in case she can’t master a Summerlandian accent—and soon she’ll be able to pay her friends and family back every penny she borrowed. It sounds simple enough, until Max learns that her CIA handler will be none other than Flynn Forester, with whom she had a teenage summer fling. With Flynn back in her life, the sudden disappearance of the real Sofia, and the looming threat of a Scandinavian organized crime group, Max is in for the summer of a lifetime. Walker’s adventure romance is a breezy read, full of hijinks and thwarted assassins, without any fear of actual death or danger. Max and Flynn have their sweet and steamy moments, but their relationship doesn’t get enough time on the page to make it satisfying.

The unnamed child, who narrates, loved the harvest festival; it was an opportunity to dance, feast, exchange stories, and bond with relatives. But the family’s new home feels worlds away from their old one: “No green fields. No pet goats. No Nani’s breakfast paronthas.” (Though the author doesn’t state where they’ve moved to, images of cardinals and Canada geese suggest a North American setting.) As the holiday approaches, the youngster wonders: “How will we celebrate here in our new home?” To the protagonist’s surprise, the local gurdwara, or Sikh place of worship, hosts a Vaisakhi celebration featuring music and foods that echo the youngster’s memories of home. Things aren’t exactly the same; the child longs for Punjab, with its “fields filled with yellow flowers,” and the aloo paronthas at the gurdwara are “delicious but not as good as Nani’s.” Still, the youngster feels hopeful about a new life full of joy and laughter. This tender story encapsulates the conflicting emotions that often accompany a move; Singh encourages readers to embrace change while acknowledging the inevitable feelings of grief. Though the hectic illustrations sometimes make it difficult to discern details, they capture the loving chaos of the protagonist’s old and new lives.

A mischievous young girl longs for a beautiful doll, unaware of what the adults around her are getting up to. A wife suffers a tragic loss. An office worker dates a man who turns into a stalker. A librarian gives in to a secret desire. A sister is haunted by the memory of a younger brother who disappeared. Animals feature in several stories: a pet cat, a fox in the snow. A heart transplant recipient tells his wife that the surgeon cooked his original heart, then fed it to his dachshund. The focus throughout this collection is on women: their inner lives, their desires, their complex thoughts and often contradictory feelings. There are men here as well, but they’re ancillary, never the main characters. A woman repulsed by her alcoholic stepfather tries to understand how her mother ended up with him: “What about him did she come to like, why did she want to marry this man, have children, live together with him day to day, year to year, eat at the same table, sleep in the same bed?” With a perceptive eye and a nuanced understanding, Egle shows the complicated bonds that connect families, friends, and romantic partners, their dependencies, frustrations, tenderness, and incongruities. Her characters contend with heartbreak, loss, and cognitive decline. “It’s a woman’s fate to love and suffer,” a woman thinks on a three-day hiking trip with an old flame who wants to marry her, but “she has strongly resolved to cheat fate.” The prose is unhurried, the language at times refreshingly earthy, and in any situation there’s more than first meets the eye. Of a field of beautiful flowers, the same woman observes, “In the sweltering heat they exude the aroma of a piss-filled jar of honey.”

It begins on the Normandy coast on Oct. 22, 1895, as Mado Pelletier boards the eponymous train after buying some unspecified “supplies.” Donoghue displays her usual flair for in-depth research with the next scene, when 7-1/2-year-old Maurice Marland is confused by the 5-minute discrepancy between the times on the clocks over the station entrance and on the platform. The station clock is set ahead to prod tardy passengers, the train guard explains. Similar nuggets of train lore throughout—most notably detailed descriptions of the driver’s and stoker’s perfectly synchronized teamwork—add to rather than detract from the Hitchcockian suspense as readers wait for the crash. (It’s a nice touch that, reminiscent of Donoghue’s contemporary novels, the aforesaid driver and stoker, both men, are unspokenly in love.) The author assembles a large cast, many of whom are real-life figures, though some were not actually on the train. Readers won’t care as Donoghue imagines compelling inner lives for her factual and fictional characters. They include ammunitions manufacturer Jules-Félix Gévelot, who has secret proclivities; African American artist Henry Tanner, who finds a kindred spirit in Cuban-descended medical student Marcelle de Heredia, also the subject of prejudice; and Alice Guy, secretary to the head of Gaumont and Co., who battles sexism to convince her clueless boss there’s a future in moving pictures. About a third of the way through the trip, we learn that Mado, an anarchist, carries a bomb to blow up the train; her principal targets are deputies on their way to the National Assembly session, but she knows many innocent people will also die, and her private struggle with this knowledge joins other expertly juggled plot lines to render each character a sharply delineated individual. Donoghue doesn’t aspire here to the thematic depth that distinguishes such earlier historical novels as Life Mask (2004); this one’s just for fun.