Also of interest ... in new fiction from old favorites

Zero History

by William Gibson

The Week

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Reading William Gibson can be “like studying screen shots from the world’s smartest surveillance camera,” said Mark Feeney in The Boston Globe. The author of Neuromancer remains an unparalleled observer of sociological trends in technology, fashion, and nearly every other aspect of modern society. Here he “combines elements of thriller, mystery, and spy novel” in a twisty plot that somehow connects the weapons industry with the world of haute couture. It’s “easily the funniest of Gibson’s novels.”

Squirrel Seeks Chipmunk

by David Sedaris

(Little Brown, $21.99)

This is a “downright odd” new book from one of our foremost humorists, said Tasha Robinson in the A.V. Club. A bigoted chipmunk, a xenophobic rabbit, and other unpleasant critters all receive grotesquely ironic comeuppances in David Sedaris’ Aesop-inspired animal fables. “While a few of the stories are wryly insightful” about contemporary society’s shallowness, too many pick easy targets and lack the “gentle wit and sophistication” Sedaris shows when writing about actual humans.

Getting to Happy

by Terry McMillan

(Penguin, $27.95)

In 1985, Waiting to Exhale “broke the color barrier to dominate the best-seller lists” with its tale of five African-American friends negotiating “romantic turmoil,” said Connie Ogle in Pittsburgh Tribune-Review. In this long-awaited sequel, Terry McMillan’s heroines, all 15 years older, help one another through menopause, money woes, and “various midlife crises.” McMillan’s once-breezy dialogue has gone flat, but she nails the feeling of aging and realizing there’s “less time left to get things right.”

Fall of Giants

by Ken Follett

(Penguin, $36)

Novels like The Pillars of the Earth established Ken Follett “as a master of the pop historical epic,” said William Sheehan in The Washington Post. His thrilling new book traces five families through World War I, whisking readers from Welsh coal mines to the Western Front to Woodrow Wilson’s White House. In each setting, Follett “gets the physical details right”; when he slows to explore his characters’ relationships, though, he produces the novel’s “most awkward, least-convincing moments.”