In an industry where novelists are increasingly encouraged to produce more of whatever proves successful, as often as possible, Michel Faber has made a virtue of unpredictability. His novels and story collections skip nimbly across genres and epochs, his imagination and storytelling gifts equally at home in a world of macabre sci-fi or lush Victorian sensationalism. It’s been 12 years since his ribald, Dickensian tale of romance and revenge, The Crimson Petal and the White, met with international acclaim. Aside from short stories, in the past decade he has produced only one longer work, The Fire Gospel, a retelling of the Prometheus story. Though that book was in part a satire on the state of publishing, it was also a meditation on the nature of religious faith, a theme that also dominates Faber’s latest novel, The Book of Strange New Things...