“Anna was a good wife, mostly.” So opens Jill Alexander Essbaum’s remarkable debut novel, the mesmerizing story of Anna Benz, an American expatriate who has lived in Zurich for nine years with her husband, Bruno—a Swiss banker—and their three children.
Kelly Link tends to inspire a range of comparisons to other authors—usually, some blend of Angela Carter and Haruki Murakami—but, in fact, nobody writes stories like hers. Link’s fantastical worlds feel utterly real, partly because they’re intensely matter-of-fact. Her characters are sassy, moody and cool, and they never, ever make any big deal out of the fact that there are monsters, aliens, vampires or ghosts hanging around, or that they might stumble into a pocket universe or some alternate dimension. Mostly they’re concerned with cute guys and flirting and drinks, plus occasionally needing to save the world.
O. Henry Prize winner Jan Ellison’s debut novel is a puzzle with the outside pieces finished. Reading it is like compulsively fitting all those revealing middle pieces together. Annie Black, a happily married 40-something San Francisco businesswoman, delves into her careless youth after her 21-year-old son is injured in a car accident. Spinning a tale of the three drunken months she spent in Europe in 1989, she demonstrates how the past can shape the future.
“There are often two conversations going on in a marriage,” short-story writer Robin Black claims in her debut novel, Life Drawing. “The one that you’re having and the one that you’re not. Sometimes you don’t even know when that second, silent one has begun.” One could suggest that there are two conversations going on in this quiet, yet exquisitely crafted novel: the conversation between Augusta (Gus) and her husband Owen, and the conversation they’re not having, about Gus having cheated on him.
Warning to the reader: It is impossible for this review to proceed without a number of spoilers. In case anyone still holds the charming belief (as I do) that the mechanics of plot have a bearing on our enjoyment of a novel, the reviewer feels obliged to perform his task up front. I shall do it The Quick (pardon the pun) way: If you are a fan of literary Gothic—think Susanna Clarke or John Harwood—buy this book. You won’t regret it.
With his new historical spy novel Midnight in Europe, celebrated author Alan Furst brilliantly illuminates an era on edge, during the troubled time preceding World War II, when a dark cloud of civil unrest and war slowly begins to envelop Europe.
Chinese-American author Lisa See has made her mark in the realm of historical fiction by melding her well-researched historical sagas with strong female characters linked either by birth, as in Shanghai Girls (2009) and Dreams of Joy (2011), or by lifelong friendship, as in her breakout book Snow Flower and the Secret Fan (2005).
Every now and then, a reader stumbles across a debut novelist and thinks to herself: What took you so long? Bret Anthony Johnston—current Director of Creative Writing at Harvard University and named one of the National Book Foundation’s 5 under 35 following the publication of his 2004 short story collection—is such an author. His first novel is so spellbinding, so moving, that one’s only complaint is that we had to wait 10 years to read it.
The death that launches Yiyun Li’s second novel, Kinder Than Solitude, has been a long time coming. Twenty years before, Shaoai was mysteriously poisoned by someone close to her, leaving her crippled and diminished. Her death comes as a great relief for the novel’s three main characters, Moran, Ruyu and Boyang—once childhood friends in China, but now estranged. But with that sigh of relief comes the truth.
As World War II is to the United States, a conflict endlessly memorialized, representing the nation's crowning achievement before its inevitable decline, so World War I is to Great Britain. Little surprise, then, that on the latter war's centennial, another novel that centers on it should appear: Wake, by British author Anna Hope. As the homonym title suggests, however, Wake is less about the war than its aftermath. It's also less about men than women.