Prophet Song focuses on Eilish, a microbiologist and mother of four (ranging in age from a baby to a seventeen year old) living in Dublin. In the background is the looming threat posed by a new authoritarian government in Ireland. Her husband Larry is an official in the Teachers’ Union, at the start of the novel still absorbed in his work and organising protests against the new government, believing the protections he has been used to in a democratic society still apply. Relatively rapidly, though, we learn that this is a new and significantly darker world, in which protests are violently suppressed and Larry himself is taken in for questioning by the stasi-esque Garda National Services Bureau (GNSB). Within days, he has disappeared, along with many other men in Eilish’s immediate circle.

Klara and the Sun is Ishiguro’s eighth novel, released to much anticipation last year at the height of the Covid Pandemic. It’s told from the perspective of an AF (Artificial Friend), a robotic life-form created to help provide company for children in a world in which they are no longer able to (for reasons not initially stated) socialise in school-like settings. As in Never Let Me Go, many key details are withheld. We come to understand via Klara’s limited but perceptive observations that this world is different to our own in ways we don’t quite understand (beyond just the existence of sentient AI-based lifeforms, of course.)

The Testaments revisits Gilead (the setting of The Handmaid’s Tale) via a number of new perspectives, each shedding new light on the dystopian world Atwood created some three and half decades previously. The first is a covert diary written to a future audience by The Handmaid’s Tale’s fearsome Aunt Lydia, describing how she became a part of the regime as well as how she comes to subtly undermine it from inside; the second a testimony from Agnes, a girl who has grown up knowing nothing other than the Gilead regime; and the third from Daisy, a teenager in Toronto who has viewed Gilead from the outside, but will have to face its realities first hand (for various spoilerish reasons.)

The Handmaid’s Tale, for anyone who’s been living under a rock and is somehow not familiar with its plot, is essentially the tale of a dystopian, totalitarian version of America, known as Gilead, seen through the eyes of one of its presumably millions of ordinary female victims - Offred - who, as one of the diminishing number of fertile women in an aggressively patriarchal society, is assigned to the role of “handmaid”, essentially a house-slave of her “commander” whose sole purpose is to bear him and his wife a child.