If perception is reality, the loss of perception is nothing short of an existential crisis. But it is inevitably more than that, it is an entirely new reality  of heightened sense, an uncovering what was so often overlooked or ignored.

So when an entire city in Portugal goes blind – an epidemic of sorts, the country fears – what is uncovered? What new city rests darkened underneath the lights of the old? Enter the world of José Saramago’s Blindness, a neutered apocalypse, a plague without name, as simple in its onset, as it is devastating and meticulous in its effect.

The novel, in which the blindness experienced by many is not the absence of light but an all shrouding whiteness,  feels like a sci fi tale reeling from a  paucity of fantasy —it is terrifyingly positioned squarely within the bounds of possible, but so far from everyday imagination that it tugs at the foundations of being.

The story starts out with a simple enough car accident and slowly beings to weave together a hodgepodge of characters— the ophthalmologist, the prostitute, the car thief, the dog of tears — around an connected fate.. And soon too, the blindness spreads to the reader.

There are no breaks or syntax unique  to each character’s speech in Saramago’s prose. Dialogue flows in and out of the runaway paragraphs with no discerning attributes to identify speakers other than its content—its sound. But reader makes do much easier than characters, for whom each cacophony is an expanding maze, to be painstakingly bartered inch by  inch.

The survival tale is raw, it is disturbing,  but you do not turn your head and look away, because you already know what comes next. Blindness contains no new insights about human nature, it just more clearly defines  the indelible contours of our limits, our strengths, our weaknesses. It works as a reminder that we still too intimately know the depths and heights of our most primordial instincts even if we do our best to mute them, to forget them.

Where Blindness’ allegorical brilliance succeeds, modern humanity and society spectacularly fail. And what is left, what is stripped away, is a sight to see.

Fifteen Dogs is a hard book to sell. In words, its premise sounds silly: a bunch of dogs are given human intelligence via a wager between two Greek Gods. The wager? If dogs have the same intellect as humans, would they live happier lives? Typically “what if dogs were as smart as humans” is a hypothetical scenario more fit for Disney than literary adult fiction. But Canadian author André Alexis takes a more philosophical approach, exploring morality, depression, and our perceived “places” in society. Oh yeah, and there’s lots of doggy deaths, too.

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The blurb for Lara Vapnyar’s upcoming novel Still Here says the book is about an app that will keep digital profiles alive after the owner has died. The app will do this by searching for patterns the original poster used and applying those patterns to the account after death.  Actually, that’s about as far as I got in the blurb before I knew I had to read this novel.

And yes, this story is about digital personas, how we craft our online identities, how we make our lives seem happier and fuller online, and how much our technology knows about us. And, yes, it’s about what happens to those personas when we die. But it’s also an unsentimental look at the relationships between exes and romantic near-misses.

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Many historical fiction novels that take place on the ill-fated maiden voyage of the R.M.S. Titanic try to re-create James Cameron’s 1997 blockbuster hit of the same name. There’s usually a love story between two young adults that often ends in tragedy, and lots of clichéd romance. After a while, these tired old conventions become boring for fans of historical fiction.

However, David Dyer’s novel The Midnight Watch abandons those conventions, and weaves a heartbreaking story about how more of the doomed passengers could have been saved.

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