Matthew Thomas is a New Jersey high school English teacher who has spent the past decade writing his first novel We Are Not Ourselves. A labor of love well worth the effort, his debut is being heralded as the next major American novel.
The story begins in the early 1950s with Eileen Tumulty, the American daughter of two Irish immigrants. Eileen’s hard-working, barroom-preaching father is trying his damnedest to provide while shunning racetrack bookies. Her mother, reeling from a miscarriage, spends her days drinking herself into a quiet stupor to quell the pain. Eileen is left without anything to call her own, and vows to become empowered and successful as she grows up. We Are Not Ourselves is Eileen’s story as she searches for the American Dream in New York City.
After college, Eileen takes a well-paying job in a city hospital and marries Ed Leary. Ed is a scientist and professor at a community college whose dedication to academic integrity keeps him in the classroom and out of the Dean's office, where Eileen wishes he would be. After months of failed conception, Eileen and Ed are graced with Connell, who grows up pudgy and struggles with body image issues amongst his classmates. Against Ed’s wishes, Eileen decides to move the family out of their comfortable apartment in Jackson Heights and into a large, dilapidated house in the upper-middle class suburbs. She hopes that tasking Connell and Ed with evening home improvements will help bring the family closer, but Connell is preoccupied with developing renown at his new school and Ed is seemingly inundated with his studies. While Eileen achieves her childhood goal of working domesticity, the Learys are not nearly as cohesive as she wishes. Her efforts to bring them together only cause more tension, which, when combined with the everyday tribulations they experience in their personal lives, stress everyone into a state of crisis.
Thomas asks in We Are Not Ourselves if it still counts as the American Dream when it comes with so many hitches and broken promises, and he does so through an incredibly well-developed cast of characters and with beautiful, insightful prose. Contemporary fiction enthusiasts and readers who enjoy deep characterization should not miss this wonderful debut.
Anthony Breznican, senior staff writer for Entertainment Weekly, is trying his hand at fiction writing with his debut novel Brutal Youth. This omniscient view of a parochial high school demonstrates how vicious adolescence can be, and what lengths people will go to hide their secrets.
In a parochial school where sins are so pervasive that they fill the halls, the students just try to make it through the day while administrators work to save the school for another year. On Davidek and Stein’s introductory visit to St. Michael's, the halls are so full of tension that a student snaps and begins throwing objects at other students while fortified on the roof. It’s Davidek and Stein’s quick thinking that allows them to save a fallen student and, due to their efforts, they’re bonded in friendship.
Despite their abysmal first impression of the school, both students find themselves enrolled for their freshman year. The novel follows their first year of high school from freshman hazing to dysfunctional families and even relationship woes. An omniscient narrator is able to show how anxieties trickle down in the school from administrative setbacks to pressure on teachers who let off steam by cracking down on students who then turn on the freshmen.
This bold debut takes an interesting look at a subject that’s all too relevant in today’s society where bullying runs rampant. The setting of a parochial school is a thought provoking choice as well because expectations are different for public school versus religious establishments. However, the reader will quickly discover there’s not a whole lot of difference other than the dress code and course offerings.
A devastating pandemic wipes out the human population in Emily St. John Mandel’s new novel Station Eleven. Kirsten Raymonde was just 8 years old when it happened, but she was one of the lucky ones. Now, she is a member of the Traveling Symphony, a band of artists and musicians that wander from town to town, keeping the works of Shakespeare alive. Her comfort lies in two issues of a gloriously detailed comic book and a glass paperweight that was given to her just before the pandemic began by fellow actor Arthur Leander who died on stage that night while performing King Lear. In a world torn apart by disease, the things that matter most are memories and people.
Station Eleven is a lyrical dystopian novel with compelling and complex characters. The plot transports the reader forward and backward in time, meaning you meet many of the characters at different times in their lives. The central characters connect in ways that become more apparent throughout the course of the novel, and each shines with their own intensity. These connections become more important as the characters face their own mortality and the mortality of those they care about. They hold on to memories of the past, clinging to the world that was as they are forced to face an uncertain future. Although this is dystopian literature, the prose is both graceful and thoughtful and will appeal to a much wider audience. The characters, themes and style would make this a good novel to discuss with book groups.
When Richard Simnel invents the locomotive, it's Steam Engine Time in Ankh-Morpork, the greatest city of the Discworld! With financial backing from Harry King, King of the Golden River and Moist von Lipwig, the Disc's wiliest civil servant, everyone and everything is on the move. A bid to get seafood that's still fresh spawns the tourist industry. But where there's change, there's people who don't want to change, and the budding rail has to fend off attacks of Deep Dwarves.
As a story alone, this is solid material, but Terry Pratchett remains one of the greatest living satirists. (He's also better than quite a few who are dead.) With Raising Steam, he looks at societal change driven by technology bringing people together. At the same time, it's an homage to rail culture, engineers and all the people who make the transportation industry go. It's also a blistering indictment of people who try to burn the world down rather than letting their neighbors move on with the times. "Tak does not require that we think of him, but he does require that we think."
At the same time, Raising Steam is also clearly the book of a man struggling with Alzheimer's. It remains a wonder that Pratchett can still write at all, much less as well as this. His earlier books may have been stronger (a few plot threads appear and vanish in Steam, never to be seen again), but it's still a gem. Written with the understanding that any book he turns out could be his last, he gives us a chance to check in with old friends throughout. The Discworld may be a long-running series, but every book stands alone while providing bonuses for the fans who have read the books that came before.
Raising Steam is a reminder that big things often start with little things. Here they start with a load of octopus on a midsummer's day.
Great art "is capable of grabbing a person," explains one of the characters in Lisette's List, the equally enthralling new historical novel by bestselling author Susan Vreeland. Fans of Ms. Vreeland and her well regarded art-inspired fiction will not be disappointed with this story of a young woman's defining journey into the ordinary life of a rural French village and the power of art that beckons her amidst a world war. Recently, Susan Vreeland answered questions for Between the Covers about her latest effort.
Between the Covers: In Lisette’s List, you introduce readers to one of the most beautiful villages in France and to the organic nature of art in this sweeping story of self-discovery set around World War II. Unlike your previous art-related novels, this story explores more than one work of art. Can you tell us how you came up with the idea and the setting for this latest book?
Susan Vreeland: It began with a feeling that in terms of my development as a writer, I must not write another novel centered on one artist, bringing to literary life part of a biography, and expanding into the artist's friendships and associations. That approach has given me much joy for a decade, but recently I began to feel that it was too constraining. The new book came of a need to outgrow that mode and completely invent for myself, and to devote my imagination to creating characters who I wanted to embrace.
Enter a Provence-loving friend who insisted that I see the village of Roussillon in Provence on an upcoming trip across the south of France with my husband. I fell in love, recognizing this perch of harmonious houses high above ochre cliffs as a treasure of ultimate provincialism. I vowed to come again. And I did, with a novel swimming in my head.
BTC: Lisette tells her own story. What made you decide on a first-person narrator?
SV: First person was a natural choice. I wanted Lisette's realizations and discoveries to be revealed in her own voice. I thought that would lend an air of authenticity to the story if she would be the one to deliver it. Also, this point of view lent itself to her writing of her “List of Hungers and Vows.”
BTC: As a writer of historical fiction, how do you reconcile the facts of the time period with your characters’ development?
SV: One has to be careful with this. A writer of historical fiction cannot stray too far away from recorded fact. Integrating a fictional character is not hard when that character encounters events of history, as in this case, World War II. In fact, the wealth of information about that war helped me invent peripheral characters, like Bernard. An enigma for much of the novel, he ends up illustrating the conclusion that in war, particularly a long war, no one comes out unstained. That applies to Maxime as well.
BTC: Inspired to “do the important things first,” Lisette creates a list of vows to herself. Are you maker of lists yourself?
SV: I suppose I am: lists of ideas for novels and poems, lists of books to read, lists of things I want to learn, lists of places I want to go. However, I don't keep a superficial bucket list, as common parlance calls it, nor should we think of Lisette's list as a bucket list. I consider it to be deeper, at least most of the items on it. They are designed to show the inner Lisette to us.
BTC: At what moment did you realize the power of art could be conveyed through your stories?
SV: This happened very early on. Let's take my first art-related novel, Girl in Hyacinth Blue, and Lisette's List as examples. Both involve the Second World War, and large-scale pillage of art as well as small-scale theft. In writing the separate stories that comprise Girl, I realized that art could be coveted, that art could betray a secret, that art could exonerate bad behavior, that it could be seen as a commodity, that it could be loved by the unfortunate and uneducated as well as the fortunate and educated, and that it could be loved in a pure sense of awe at its beauty. If you reread Girl, you'll see that I have described each chapter this way.
Now, with Lisette's List, I move deeper in developing the theme of the power of art. While the uneducated (Pascal) also adores paintings, it is the educated (Maxime) who sees in them the scope of art history and for what they do for people. Great art, he says, “is capable of grabbing a person...and holding him in a trancelike state of union with the subject until he sees who he is or who we are as human beings more clearly...Being completely absorbed by a piece of art, he becomes minutely different than he was before, less limited to his previous, narrower self, and this equips him to live a better life and to avoid getting swallowed by the world's chaos.”
BTC: Of the works you have researched do you have any favorites?
SV: As difficult a question as choosing which of one's children one loves most. Certainly Renoir's Luncheon of the Boating Party comes to mind, for the joie de vivre of 14 of Renoir's friends enjoying an afternoon on a terrace overlooking the Seine, and so openly allowing me to tell their stories. From Lisette's List, I favor Chagall's exultant Promenade with Marc holding up Bella on one hand as she flutters sideways in the sky, too exuberant after the October Revolution in Russia to remain on the earth. And from The Forest Lover, Emily Carr's monumental painting of a Red Cedar, “…more than a tree, however noble. It was the manifestation of the attitude that brought her this far: reaching.”
BTC: Libraries have played a significant role in your growth as a writer and researcher. Can you share a favorite memory?
SV: Ah, libraries, my second homes from grade school to adulthood, and the groundwork of my fiction. It was a librarian who found for me a dissertation from the Sorbonne on 19th century boating on the Seine which authenticated scenes in my novel Luncheon of the Boating Party.
And it was a librarian who located for me Chagall's historic "Letter to the Paris Artists, 1944," a thrilling discovery. Reading this important letter led me to see that the novel I was writing, Lisette's List, was more than a narrow story of a woman retrieving her family's seven paintings, hidden and lost during the Occupation. Her experience was a microcosm of the vast and systematic seizure of Europe's art by what Chagall called "satanic enemies who wanted to annihilate not just the body but also the soul — the soul, without which there is no life, no artistic creativity." By focusing on one character's loss, I could represent the larger issue of vast art theft, hidden hoarding and threats to national patrimony which are still concerns today.
Books give birth to books, you see, and librarians are vital to that creativity. We don't know what important research is being done today, what projects are underway in our cities — in the arts, the humanities, the sciences — but librarians get glimpses, and that's what must make them so dedicated to helping their researching patrons.
Author Sophie Hannah, with full permission from Agatha Christie’s family, has sharpened her little grey cells and put pen to paper to create a brand new mystery featuring Hercule Poirot, one of Agatha Christie’s best-loved sleuths. The Monogram Murders begins in 1920 as Poirot escapes the bustle of the city by enjoying a cup of coffee in a small coffee house. There, he meets the distraught Jennie who is in fear for her life and spinning a tale of murder and justice. Before he can discover the full story, Jennie flees the coffee shop and is nowhere to be found. Three dead bodies are soon discovered in a nearby hotel, each with a cufflink stuffed into its mouth. Poirot senses a connection. Can the little Belgian detective solve the murder and find Jennie before it is too late?
Agatha Christie fans will rejoice that Sophie Hannah is able to continue the adventures of their beloved obsessive detective. Agatha Christie featured Poirot in 33 novels and 50 short stories, including Cards on the Table, where a game of bridge turns deadly, and Death on the Nile, where a honeymoon vacation abruptly comes to a halt. Every one of the stories and novels were filmed by the BBC and feature actor David Suchet. The final films can be seen in Poirot: Series 13, a collection of five films, including Elephants Can Remember and Dead Man’s Folly.
With over four billion novels sold, Agatha Christie has become the best-selling novelist of all time, and it is only natural for fans to want more. Sophie Hannah, already a successful crime writer, tackles the challenge with panache, and captures Poirot’s voice and mannerisms perfectly. The novel has colorful suspects, devious twists and turns, and the introduction of a new young detective named Edward Catchpool who is ready to assist Poirot in his efforts to solve the crime. The Monogram Murders will appeal to anyone familiar with Christie, but will also serve as a good introduction to new readers who can then delve in to the works of the true queen of crime.
How are houseguests like fish? They both start to stink after three days, or so the joke goes. The Paying Guests by Sarah Waters and The Quick by Laura Owen, both set in London, are stories involving some houseguests that have truly gone bad.
In The Paying Guests, Francis Wray and her mother live alone in their upper crust dignified home, struggling to keep up appearances. Francis’ father died and her brothers were killed in the War, leaving mother and daughter penniless. To make ends meet, they decide to take in lodgers, euphemistically known as “paying guests.” Young newlyweds Lilian and Leonard Barber make the not-yet-30-year-old Francis feel like life has passed her by, until she begins a surreptitious love affair with one of the Barbers, which ends in tragedy and the courtroom. Waters, a frequent flyer on British writing prize lists, pens a literary thriller that examines the consequences of the societal and moral strictures placed on women in early 20th century England.
Author Owen’s debut novel The Quick opens with motherless siblings Charlotte and James exploring their moldering country estate home. As they grow, James heads off to boarding school and then to Victorian London, leaving Charlotte to a quiet country life with an elderly aunt. James becomes a paying guest at the home of a city widow, sharing lodgings and passion with a former schoolmate. What starts as dreamy period piece takes a sharp turn when James and his lover are attacked by a supernatural being and Charlotte leaves her narrow settled existence to become a vampire hunter. From the elite members-only Aegolius club to the Dickensian working poor, Owen’s vampire world is richly and eerily imagined. Fans of Erin Morgenstern’s The Night Circus or John Harwood’s The Asylum should give The Quick a try.
Martin sits in a doctor’s office.
He experiences disquiet bordering on irritation as the doctor laboriously details the characteristics of his diagnosis. Later, his mind drifts and he is relieved from the intolerable present by the welcome intrusion of a memory. That picnic from a summer’s day so long ago; the hum of the bees, the drone of his parents’ languid conversation; the soft edges of a single cotton ball cloud scudding overhead. It is a memory worth keeping, even if it never happened.
He sighs. It’s been getting more difficult to know the difference these days….
Martin’s recollection of the past is changing. Increasingly, confabulations are taking the place of his real memories, and he knows it won’t be long before the truth of what happened in the distant past is lost. But what is truth and what is illusion? What happens when the line separating the two becomes permeable? In The Confabulist, Steven Galloway plays with these questions as he explores the fateful connection between the humble Martin Strauss and Harry Houdini, the greatest illusionist who ever lived.
Like so many illusions up the magician’s sleeve, The Confabulist is replete with misdirection and second guesses. From the first pages, Galloway puts us on notice that the narrator cannot be implicitly trusted. The story that follows is therefore as much a game of detective work for the reader as it is a work of historical fiction. Galloway’s skillful interplay between past and present, confabulation and real memory, will keep the reader speculating throughout the intertwining tales.
Readers who enjoy Galloway’s treatment of the themes of memory and Victorian spiritualism may also enjoy Emma Healy’s debut novel Elizabeth is Missing.
Did you know that August is Read-a-Romance month? Throughout the month of August, 93 of today’s most popular authors will be sharing their love of the genre with new essays about this year’s theme — Celebrate Romance! Read new essays each day by visiting the official Read-a-Romance month website, and take some time to enjoy one of these fast-paced, funny romances.
When the sister of the bride meets the brother of the groom, sparks fly in It Happened One Wedding by Julie James. While Sidney helps her sister through a whirlwind of wedding planning, she can’t help but cross paths with Vaughn, who is exactly the kind of man she doesn’t want to date. James is one of the most talented writers in contemporary romance today, and her writing sparkles as these two verbally spar like Hepburn and Tracy.
Author Kristen Ashley has built a huge readership over the past two years. Fans know that her novels will have plenty of steamy romance, hilarious hijinks and tough alpha heroes. In Rock Chick, Indy Savage finds herself in some trouble when someone shoots at her and one of her employees. She needs a place to lay low for a while, so she crashes at her best friend’s brother’s apartment. When Lee comes home early, he assesses the situation and decides to mobilize the guys from his private investigation firm to get Indy out of trouble. Indy has been in love with Lee Nightingale since he held her hand at her mother’s memorial service when she was five years old, and she’s shocked when he suddenly makes it clear that he wants them to be together. Rock Chick is the first in Ashley’s enormously popular Rock Chick series, originally published in e-book form. Fans of Janet Evanovich’s Stephanie Plum series will fall in love with Ashley’s Rock Chicks!
Travel to the spectacular coast of England this summer in two novels that capture its beauty and serenity. Marcia Willett’s The Sea Garden and Gil McNeil’s A Good Year for the Roses are stories of friendship, family and love that share a picture perfect setting.
In The Sea Garden, Willett introduces us to Jess, fresh from university, and on her way to Devon to receive the prestigious David Porteous painting award. Jess accepts the invitation of Kate, Porteous’ widow, to stay with her in her Cornwall cottage. Jess’ own family fractured with the death of her father several years earlier so she embraces Kate’s friendly overtures and is delighted to become part of her circle of family and friends. Her stay in Cornwall turns into more than a romp on the beach as long-buried secrets from the past come to light. This multigenerational novel is a finely constructed story which weaves together a net of confidences, infidelities and lies. Readers will enjoy the memorable cast of characters in this emotionally charged story which underscores the power of the past.
Molly, recently divorced from a boorish and boring husband, is in need of a new home for herself and her three sons in McNeil’s A Good Year for the Roses. Fate intervenes when she inherits her aunt’s manor house on the coast of Devon. The estate comes complete with her eccentric Uncle Bertie, a foul mouthed parrot and a semi-functioning bed and breakfast named Harrington Hall. Molly’s overbearing father and conniving brother are enraged at her fortune and try everything to convince Molly to add the B&B to the family’s hotel business holdings. As her boys adjust to rural life, Molly reconnects with old friends and finds contentment in her aunt’s beloved rose garden. The luscious locale sparkles in this gem with delightfully quirky characters and an appealing heroine.