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The Imposters by Tom Rachman review: Dark humour and a flair for invention

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Sleepwalk by Dan Chaon review: Both insane and insanely brilliant

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Dixon and Daughters: Vital National Theatre production shows how trauma can echo through generations of women

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The best TV of the year 2023

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Never Was by H Gareth Gavin review: ‘A dreamy and promising debut’

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A blast of Benidorm will make everything seem sunny

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Biography of X review by Catherine Lacey: ‘A stroke of genius’

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Missing: A nifty tech thriller that raises the bar

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Shy review: Max Porter’s spectacular novel unpacks teen attitudes to masculinity

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Eddie Piller’s electrifying trip back to Mod’s second wave

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Greek Lessons by Han Kang review: A luminous reflection on the difficulties of language

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The Long Form by Kate Briggs: Profoundly ambiguous, wonderfully unstructured

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Historical fiction

The House of Doors by Tan Twan Eng review: Compelling drama set in the shadow of Empire

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Dystopian fiction

Thirsty Animals review: A dystopian future ‘impeccably depicted’

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Death Watch review: Killer timepieces and the emptiness of consumerism

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God’s Creatures: Paul Mescal flexes his brogue in artfully bleak Irish family drama

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Porn: An Oral History could have been fascinating

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Rise and Fall is a microcosm for our whole class-obsessed country

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Brutes by Dizz Tate review: Disrupting the ‘missing girl’ trope

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Voyager by Nona Fernandez review: Memory as an act of rebellion

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