Meg Wolitzer’s 10^th novel has been hailed as a breakthrough, a feminist blockbuster, an embodiment of the zeitgeist. (Nicole Kidman has bought the film rights, which goes to show.) But in all her fiction, she deftly explores motherhood, career, misogyny, feminism, the domestic detail within the bigger picture, with a very American, affectionate wit – she’s particularly good at awkward teenagers – though sometimes there’s a feeling of skill at the expense of substance.

The journalist Frank Gardner has turned to fiction to illuminate with imagination the world that he knows inside out from years of reporting. His biographical trajectory, from scholar of the Middle East and the Arab world, through BBC correspondent in the region – he was shot by terrorists in Saudi Arabia, which left him confined to a wheelchair – has given rise to a riveting memoir, Blood & Sand, as well as a previous thriller, Crisis.

A body can be pushed to the brink, to the point where thoughts flatten to a line of light, and come back from death, but the heart is complex and the damage it wreaks barely controllable. For Grace, Lia and Sky, the three sisters of Sophie Mackintosh’s debut novel The Water Cure, living by a discipline which tames their bodies and emotions to strict rituals is more than a matter of self-control – it is a matter of survival.

To readers of newspapers and magazines, the name Clancy Sigal will be very familiar, probably as a film reviewer. Addicted to writing, and to his old Smith Corona #3 portable typewriter, “Hemingway’s preferred machine”, he was a version of the man who came to dinner. He arrived – inevitably, for this was the early 1950s – off the boat in Dover, intending to spend a weekend exploring before returning to the US. He stayed 30 years.

Mario Vargas Llosa has written a thriller which opens eye-poppingly. Two wives, one staying over with the other, discover in the course of the night that they are in fact bisexual.

Born into the late 1950s, I was too young to be a 68er, though I remember watching it all on TV: the protests in Red Lion Square and Grosvenor Square, where Tariq Ali and Vanessa Redgrave were the leading lights, demonstrating against Vietnam; Paris, where student protests, strikes and sit-ins quickly spread across the country, and General de Gaulle fled briefly to Germany; the riots across the United States that followed Martin Luther King's death, and at the Democratic Convention in Chicago; and of course the

Joe Dunthorne's debut novel Submarine (2008) burrowed plausibly inside the head of a teenager worrying about sex and his parents’ marriage. Richard Ayaode latched onto its quizzical appeal in his film adaptation. Dunthorne’s longer and more ambitious second novel Wild Abandon (2011) set up camp in a hippy commune in which social conventions were quirkily upended. It was a happy setting for an author intrigued by the perpetual weirdness of human behaviour.

Usually extracts in newspapers should stimulate the appetite of the reader to get with it; this is a rare moment when the glimpses afforded to Afua Hirsch’s Brit(ish): On Race, Identity and Belonging have peculiarly maligned a complex and amply researched investigation into questions of race, identity, politics, geography and history.

Word wizard. Grammar bully. Sentence shark. AA Gill didn’t play fair by syntax: he pounced on it, surprising it into splendid shapes. And who cared when he wooed readers with anarchy and aplomb? Hardly uncontroversial, let alone inoffensive (he suggested Mary Beard should be kept away from TV cameras on account of her looks, and shot a baboon), he was consistently brilliant. Wherever he went, he brought his readers with him.

A year ago, Bob Dylan was awarded the Nobel Prize for Literature, his work commended by the committee "for having created new poetic expressions within the great American song tradition". The media response was like no other and we admirers felt vindicated. Still it was often necessary to explain why he deserved it and easy to fall back on the evidence of that mighty handful of great 1960s albums, plus Blood On the Tracks, Oh Mercy and Time Out of Mind.