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The little town of Sycamore, Arizona, the locale of Bryn Chancellor’s eponymous novel, is a place where the American Dream goes to die. Many of the denizens are there because of failure: the failures of marriages, families, relationships, careers they thought would be brilliant and have come to nothing. Ironically, they fetched up in Sycamore just to find versions of the same old failures and deferred dreams lying in wait for them. Children who are born there long to leave.

Few know this better than Jess Winters and her mother, Maud, who’ve fled to Sycamore to escape the fallout of a divorce that’s left them struggling both financially and emotionally. When the book opens, Jess is nearly 16 and already wants to be shut of the place where she’s lived for less than 24 hours. Restlessness plagues Jess even when she finds friends and boyfriends and discards them and makes that one last mistake. It’s not much of a spoiler to say that in the first chapter Jess is alive and by the second chapter, set some 18 years later, she’s not.

Much of the rest of the story of Sycamore is told by its women. In scenes that move between 1991 and 2009, we hear from tall, beautiful, fractious Jess; her first bestie, Angie Juarez, who’s blossoming lesbianism was too much for their friendship to bear; Jess’ next best friend, Dani, a brilliant girl whose ambitions are wrecked by betrayal; Esther, the high school teacher turned baker; and Rachel, Dani’s whirligig of a mother. The men around them strive to be decent; they often fail. In one case, the failure can’t be forgiven.

But Chancellor’s compassion for her characters balances their unwillingness to forgive (the event at the novel’s core wasn’t as bad as it could have been, after all) with imperfect impulses to connect and understand. Sycamore is a sad, knowing and timely book.

The little town of Sycamore, Arizona, the locale of Bryn Chancellor’s eponymous novel, is a place where the American Dream goes to die. Many of the denizens are there because of failure: the failures of marriages, families, relationships, careers they thought would be brilliant and have come to nothing. Ironically, they fetched up in Sycamore just to find versions of the same old failures and deferred dreams lying in wait for them. Children who are born there long to leave.

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When Stella Krakus, curator at a renowned Manhattan art museum, finds an unusual map among the possessions of a missing colleague, the strangest week of her life turns into an insatiable quest to discover the map’s origin. Through the smart, dazzling prose of a witty narrator, accomplished poet Lucy Ives creates a mysterious historical adventure sure to delight and inspire.

Thirty-something Stella is enduring almost more than she can handle. Complete with a fading workplace affair, annoying appearances by her almost-ex-husband, lunch with her glamorous and successful mother and a museum sponsor who wants to take over the world’s water supply, her week could not be more bizarre—until her coworker Paul is pronounced missing. As Stella begins to solve the mystery behind the map of a historical utopia, she is pulled into the museum’s origins and realizes there was much more to Paul and his work than she knew, with the potential to alter her life and her career as she knows it.

Impossible Views of the World is an original debut ringing with smart prose, engaging humor and cultivated taste. Similar to the brilliance on display in Donna Tartt’s The Goldfinch, Ives’ genius is apparent in the intricate way she weaves ironic confession, romantic comedy and artful treatise with explorations into the historic art world. The novel is best read thoughtfully to fully capture the details of Stella’s academic discoveries and the playful writing style incorporated into the banter between the lively characters. Readers are invited into Stella’s mind as she navigates the plethora of emotions that come with an early-30s crisis. Full of intelligence and imagination, this relatable literary mystery will charm even the most apprentice art devotee.

When Stella Krakus, curator at a renowned Manhattan art museum, finds an unusual map among the possessions of a missing colleague, the strangest week of her life turns into an insatiable quest to discover the map’s origin. Through the smart, dazzling prose of a witty narrator, accomplished poet Lucy Ives creates a mysterious historical adventure sure to delight and inspire.

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Combining elements of Bill Clegg’s Did You Ever Have a Family with Dennis Lehane’s contemporary classic Mystic River, Danya Kukafka’s debut novel is an intricate, seductive murder mystery, in which a single awful crime exposes conflicts and traumas in an entire community.

“When they told him Lucinda Hayes was dead,” Girl in Snow begins, “Cameron thought of her shoulder blades and how they framed her naked spine, like a pair of static lungs.” Thus, Kukafka plunges us into the story: Lucinda is dead, though it turns out this high school beauty is not quite the angel everyone remembers her to be. Then there’s Cameron, the creepy kid next door, who peeked though Lucinda’s windows (and worse), making him a likely suspect in the crime. Told largely over the course of a few winter days following Lucinda’s murder, Girl in Snow unfolds through deftly alternating chapters, through the eyes of many different characters. There’s Jade, an angry misfit with an abusive mother who disliked Lucinda. And Russ, a police officer with secrets. And Lee, another cop and Cameron’s absentee father, accused of his own violent crime.

Digging deeply into each of these lives paints a vivid, compelling canvas. Kukafka makes it seem eminently plausible for several of these characters to have killed Lucinda. “Everyone’s looking for the truth,” Jade thinks at one point. “I’m so afraid I’ll have to pry open its grave.”

Girl in Snow may not quite be perfect. Some sections are a tad breathlessly overwritten, and one (or two) of the many secrets that spill out may stretch the bounds of credulity for some readers. But overall, Girl in Snow is not just an impressive debut but one of the best literary mysteries to come along in some time.

Combining elements of Bill Clegg’s Did You Ever Have a Family with Dennis Lehane’s contemporary classic Mystic River, Danya Kukafka’s debut novel is an intricate, seductive murder mystery, in which a single awful crime exposes conflicts and traumas in an entire community.

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When a book is billed as a historical epic set in ninth-century Norway, with the evocative title The Half-Drowned King, there are certain expectations. A book like that should deliver great deeds by hardened warriors, kings cloaked in furs, great feasts, harrowing sea voyages and brutal battles. With this novel, the first in a promised trilogy, Linnea Hartsuyker delivers all of those historical epic goods. Then, she digs deeper.

In the ninth century, Norway is still a fragmented land ruled by many kings, but a prophecy promises that one king will rise to rule the whole land. That king is Harald, an ambitious young warrior whose name rings through history and Hartsuyker’s narrative. Her heroes are two characters playing smaller roles in this saga of kinghood. Ragnvald, the titular half-drowned warrior, is a man driven by a quest to take back his lands from his domineering stepfather Olaf. Svanhild, his sister, longs for a life beyond Olaf’s farm, a life where she’s not promised to a man she doesn’t wish to marry. Everything changes for them when Ragnvald is nearly murdered in an attempt to wipe away his family’s claim to land and title. As Ragnvald fights for revenge, Svanhild fights for freedom, and both end up at the center of history.

Everything you want from a medieval saga set during this crucial period of Norwegian history is here, from massive battles to honor-fueled duels to rituals and supernatural visions. What sets The Half-Drowned King apart is the way Hartsuyker renders it all. Her tales of great Viking deeds are given all of the epic gravity they require, but the character drama is what makes this novel addictive. In Ragnvald we see the proud warrior beset by vulnerability, self-doubt and moral ambiguity, and in Svanhild we see a powerful spirit longing to break free, discovering her own cunning and intellectual ferocity in the process. As they trade off chapters and the story barrels toward clash after clash, the timelessness of the tale becomes clear. Hartsuyker has captured an era with precise, powerful prose imagery, but she’s also vividly envisioned two enduring characters.

The Half-Drowned King is an essential new novel for fans of the medieval novels of Bernard Cornwell, the character-driven Tudor novels of Hilary Mantel or the violent fury of “Game of Thrones.”

The Half-Drowned King is an essential new novel for fans of the medieval novels of Bernard Cornwell, the character-driven Tudor novels of Hilary Mantel or the violent fury of “Game of Thrones.”

Seventy-two-year-old Johnny Ribkins has a unique gift: He can create maps to places he’s never been and remember his way to other locations by simply referring to the “map” in his mind. If the premise sounds a bit unusual, wait until you meet the rest of the family. First-time novelist Ladee Hubbard has created a collection of misfits like no other in The Talented Ribkins.

Each member of this black family is imbued with their own special ability, whether it’s being able to climb walls, catch any object hurled at them or spit fire. Not exactly Avengers or X-Men material, mind you, but fascinating nevertheless. For a while, Johnny and his extended family attempted to make good with their abilities by forming the Justice Committee, in which they fought for civil rights in the late 1960s. But their lofty ambitions and less-than-impressive powers proved to be an imperfect and rather ineffective combination.

When the novel opens, the Justice Committee is a long-forgotten dream, and Johnny is a simple antiques dealer, albeit one with an outstanding debt to an old mob boss. Facing a looming deadline to pay up or else, Johnny embarks on a haphazard trip across Florida to locate and retrieve the loot he and his brother Franklin stole and hid in the wake of their failed super group. The journey takes Johnny back to his old stomping grounds and to fresh encounters with forgotten relatives, as well as relatives he’s never met, such as his teenage niece Eloise, who joins him in his misadventures. Eloise, in turn, discovers her place in this bizarre world with each new hole, each new memory that Johnny digs up.

Hubbard’s tale ultimately transcends race, class and time itself as the pair discovers the heart of who they are.

Seventy-two-year-old Johnny Ribkins has a unique gift: He can create maps to places he’s never been and remember his way to other locations by simply referring to the “map” in his mind. If the premise sounds a bit unusual, wait until you meet the rest of the family.

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Australian author Sarah Schmidt plunges readers into one of America’s most notorious true crime stories with her fiction debut, See What I Have Done. In August 1892, Andrew and Abby Borden were found bludgeoned to death by axe in their home in Fall River, Massachusetts. Who killed the Bordens, and why? Evidence pointed to Andrew’s adult daughter, Lizzie, but she was acquitted. Popular myth never let her quite off the hook (you’ve heard that eerie nursery rhyme). But was she really guilty?

See What I Have Done is interested in this question, but perhaps not as much as some readers might be. Schmidt eschews the “whodunit” format to focus on the warped relationships and deep resentments that hover over the house in Fall River. Told in the voices of Lizzie; her older sister, Emma; the family maid, Bridget; and a mysterious stranger named Benjamin, who comes to town with LIzzie’s sinister Uncle John, the novel turns that August afternoon around and around, examining it in microscopic detail from these four separate angles like a jeweler making an appraisal of a singularly dark gem. Lizzie and Emma have a codependent yet contentious relationship, and neither can stand their stepmother. Bridget can’t get over Mrs. Borden’s refusal to let her go home to Ireland. And Uncle John is holding a grudge against his brother, Andrew.

Schmidt sketches the motivations of her characters with subtle strokes, allowing readers to fill in some notable blanks—what is Uncle John’s deal, anyway?—but she leaves little to the imagination when it comes to their physical bodies. The damage done to the Borden parents is described with visceral relish; the scents of vomit, sweat and blood are almost palpable. Like her fellow Australian Hannah Kent, whose debut novel, Burial Rites, also centered on a real-life 19th-century crime, Schmidt conjures the explosive mix of claustrophobia and frustration that life in a small community with a rigid social structure can engender. See What I Have Done is a chilling summer read.

Australian author Sarah Schmidt plunges readers into one of America’s most notorious true crime stories with her fiction debut, See What I Have Done.

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The lives of four women are at the center of Molly Patterson’s super debut, Rebellion. Although the action covers multiple continents and centuries, Patterson’s tight focus on her characters offer revolutions more personal than political. Each of the main characters reject the expectations of family or society—whether it’s leaving familiar surroundings, embarking on an illicit relationship or simply confiscating a second pair of car keys after being forbidden to drive.

The novel opens in 1999, when Hazel moves into a nursing home and her daughter arrives to close up the family farmhouse in southern Illinois. The novel then shifts back to the 1890s, after Hazel’s mother, Louisa, has left her comfortable family home in Ohio to follow her husband to their new farm. Her sister, Addie, also left home, traveling to China as a missionary’s wife in the years just before the Boxer Rebellion. Fast-forward to the 20th century, and Hazel, newly widowed, is left with the farm while halfway around the world, Juanlan, a young Chinese woman, gives up her career to help care for her father and work in her family’s hotel in a provincial area of China.

Though ties of blood bind most of the women, the thematic connections are even more significant: filial duty, the lure of forbidden love and the changes wrought to the rural landscape by urban development. Hazel, Addie and Juanlan are also drawn into sexual relationships that in turn deepen friendships they have with other women.

The four strands of this novel never really come together, and despite political upheaval, what rises to the surface are the smaller moments that occur between family, lovers and friends. Yet the lack of a tidy ending is actually one of the novel’s strengths. Patterson creates intimate moments that are moving but not manipulative. By not connecting all the dots, she allows her readers to bond more deeply with her characters in this refreshingly unsentimental historical novel.

The lives of four women are at the center of Molly Patterson’s super debut, Rebellion. Although the action covers multiple continents and centuries, Patterson’s tight focus on her characters offer revolutions more personal than political.

For fans of speculative fiction looking for a book that can go toe-to-toe with The Handmaid’s Tale, Margaret Atwood’s classic about female oppression and rebellion, look no further: Jennie Melamed’s chilling debut, Gather the Daughters, is the dazzling dystopian narrative you seek.

Spanning a year in the lives of four girls, Gather the Daughters hurls readers deep into the heart of a fringe island community that was founded when modern civilization collapsed and the mainland devolved into a burning wasteland. Theirs is a deeply patriarchal society, where the birth of a daughter is met with tears and girls are taught at a very young age to obey and serve their fathers in preparation for their summer of “fruition,” when they are married off and begin producing children. On the brink of womanhood, our four female protagonists are loath to accept their fate. When one of the girls witnesses an act so horrific it defies comprehension, they decide to challenge the dogma that has ruled for decades. Determined and courageous, the girls begin to question what they have been told, demanding answers and explanations, even if it means ripping asunder the very fabric of their community in the process.

Brutal and bold, Gather the Daughters is beguiling but not for the tenderhearted; its vision of the future is grim, and the realities daughters and wives face are undeniably harsh. For a first-time novelist, Melamed displays remarkable restraint and confidence, masterfully drawing out the mysteries of the island so that the girls’ sense of unease and confusion is perfectly mirrored by readers. The gradual reveal about what is really going is suspenseful and satisfying, and Melamed narrates the tale in dreamy, lyrical prose that provides a heightened contrast to the nightmarish aspects of the girls’ reality. Chilling in tone and fearless in its storytelling, Gather the Daughters is a fierce, feminist battle cry.

For fans of speculative fiction looking for a book that can go toe-to-toe with The Handmaid’s Tale, Margaret Atwood’s classic about female oppression and rebellion, look no further: Jennie Melamed’s chilling debut, Gather the Daughters, is the dazzling dystopian narrative you seek.

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Reviews and synopses won’t prepare you for the experience of reading this book. That’s what it is—an experience of the exploration of grief and readjustment after loss. Delicate but not frail, analytical yet not over-thought, Zinzi Clemmons’ debut novel is a great success. It’s a multidimensional study of life pre-and post-bereavement executed in an incredibly creative manner.

Thandi is an African-American woman raised in Philadelphia, born to a South African mother and an American father. Her identity is split between the two countries, and she explores the significance of race and wealth presented by each through intelligent and strategic storytelling. She reveals her personality through nonlinear vignettes, which are often only a half-page or even a sentence long, but her prose is so powerful that the story lacks nothing. Thandi’s mother is diagnosed with cancer and ultimately succumbs to the disease, which sends Thandi and her father spiraling on separate tangents of grief. Thandi struggles to understand her emotions in a way that is sometimes starkly logical as she draws charts and graphs to explain them. Some days she doesn’t try to understand; she just retreats to public places to avoid her thoughts. In an intermingling storyline that takes place following her mother’s death, she becomes a mother herself, which challenges her every pre-existing belief about motherhood. She attempts to accept other forms of loss such as identity, connection to the past and romantic relationships.

What We Lose contains photographs of various supporting, nonfictional world events that inform Thandi’s character and the roundabout way she expands her story. This novel is not only a journey with Thandi in life after loss, but a true exploration of the complexities of identity and womanhood.

 

ALSO IN BOOKPAGE: Zinzi Clemmons takes us Behind the Book

Reviews and synopses won’t prepare you for the experience of reading this book. That’s what it is—an experience of the exploration of grief and readjustment after loss. Delicate but not frail, analytical yet not over-thought, Zinzi Clemmons’ debut novel is a great success. It’s a multidimensional study of life pre-and post-bereavement executed in an incredibly creative manner.

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Margery Williams Bianco is best known as the author of the beloved children’s classic The Velveteen Rabbit. Few are likely to know that in her personal life, Margery was a mother to a rather prodigious daughter, Pamela, who at the tender age of 4 had already captivated the art scene in Europe.

While the Bianco women shared a natural creativity and both achieved much success in their respective endeavors, the similarities end at their personal dispositions. While Margery was upbeat, social and sure of herself, Pamela, perhaps due to early success facilitated by an overbearing father, spent most of her life doubting her craft and not knowing exactly where she fit in this world.

Debut author Laurel Davis Huber chronicles this mother-daughter relationship of almost 45 years and sheds light on an artist whom history seems to have mostly forgotten in the aptly titled, fascinating The Velveteen Daughter.

Based in extensive fact and research, the story takes us from Italy to New York, covering the lively art scene of the early 20th century. Many of the supporting characters include other famous celebrities of the time like Pablo Picasso, Richard Hughes and Gertrude Vanderbilt Whitney, who is personally credited for introducing the Bianco family to America.

Huber honors all aspects of Pamela’s life, as we learn not just about her artistic achievements and her family life, but also her debilitating, obsessive relationships and two peculiar marriages.

Pamela outlived both her parents and continued to live in New York until her own passing in 1994, which by all accounts seems like recent history. With a wonderful touch, Huber makes a lost artist come alive in vibrant yet melancholic colors.

Margery Williams Bianco is best known as the author of the beloved children’s classic The Velveteen Rabbit. Few are likely to know that in her personal life, Margery was a mother to a rather prodigious daughter, Pamela, who at the tender age of 4 had already captivated the art scene in Europe.

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A slim but powerful volume, Goodbye, Vitamin is written in journal-like dispatches as Ruth watches her father, Howard, slide down the tunnel of Alzheimer’s disease. Ruth, a 30-year-old sonographer whose own path was derailed by an unexpected breakup, moves home for a year to help care for Howard.

A recovering alcoholic, occasional philanderer and well-loved professor, Howard is a complicated father figure. He kept mustard packets in his glove compartment to disguise alcohol breath, but also kept in that same glove compartment a photo from an old family vacation to Washington, D.C. He is also somewhat of an idol for Ruth, who left for college before his father’s behavior really escalated.

“Okay, but listen: this is why I so seldom visited,” Ruth explains. “I wanted to preserve my memory of my perfect father. I didn’t want to know the many ways he’d hurt my mother. I didn’t want to have to pick sides.”

Ruth drifts through the first weeks at home, but is then approached by Howard’s teaching assistant, who proposes setting up a fake class for the languishing Howard to teach. The class is populated with graduate students who know Howard, including, Ruth realizes, one woman who recently had a dalliance with him. As Ruth comes to grips with the messy reality of her family, she strengthens her ties with her long-suffering mom and younger brother.

Rachel Khong’s first novel (she also authored the wonderfully titled All About Eggs: Everything We Know About the World’s Most Important Food) offers the fresh, quirky voice of a young woman who is straddling wide-eyed youth and world-weariness. She’s given to random ruminations, such as, “Something else I appreciate about hangovers: You are given the chance to value your regular things. Water, for instance, becomes so delicious and appealing.” Goodbye, Vitamin is a funny and beautiful meditation on family bonds and finding one’s place in an ever-changing world.

 

ALSO IN BOOKPAGE: Read a Q&A with Rachel Khong for Goodbye, Vitamin.

A slim but powerful volume, Goodbye, Vitamin is written in journal-like dispatches as Ruth watches her father, Howard, slide down the tunnel of Alzheimer’s disease. Ruth, a 30-year-old sonographer whose own path was derailed by an unexpected breakup, moves home for a year to help care for Howard.

A long-simmering feud between brothers boils over with the death of one brother at the other’s hand, prompting the wife of the deceased to hunt his killer and seek revenge. If it sounds like the plot of an Old West showdown, you wouldn’t be far off—except this adventure takes place in modern-day California.

So begins a contemporary Western tale of sibling rivalry, vengeance and family loyalty by debut novelist Ian Stansel in The Last Cowboys of San Geronimo. A finalist for the PEN/Bingham Prize for his short fiction collection, Everybody’s Irish, Stansel updates the age-old family feud in a surprisingly poignant way.

While the brothers—Silas and Frank Van Loy—and their decades-long jealousies provide the impetus of the story, Frank’s wife, Lena, proves to be one of the book’s most fascinating characters. Lena endures years of bickering between the two over the operation of their respective horse training operations, but through it all remains steadfastly loyal to her husband. As she pursues Silas in a cross-country horse race through largely untouched Northern California wilderness, Lena ponders why the two behave the way they do and ultimately comes to understand the answer is as simple as blood: “Because we’re brothers.”

Stansel’s powerful narrative alternates between Lena and Silas, allowing readers to glimpse and sympathize with each perspective. In a blood feud, there is no right or wrong, no black and white, good and bad. Each side stubbornly clings to their own beliefs, faults and assumptions. As such, the novel deviates from the straightforward revenge storyline to explore the deeper relationships between brothers and the women in their lives.

The Last Cowboys of San Geronimo is a fast-paced, moving narrative in which family loyalty is tested, broken and redeemed in unexpected ways.

A long-simmering feud between brothers boils over with the death of one brother at the other’s hand, prompting the wife of the deceased to hunt his killer and seek revenge. If it sounds like the plot of an Old West showdown, you wouldn’t be far off—except this adventure takes place in modern-day California.

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Two wealthy families, the Hillsingers and the Quicks, have shared the remote Maine island of Seven for generations. Though Jim Hillsinger and Billy Quick are married to sisters, the families aren’t close; in fact, each family views the other as an interloper. But events conspire to draw the families together over the course of three summer days in We Shall Not All Sleep, an unusual and ambitious debut by playwright Estep Nagy.

The date is 1964, and the occasion is “the Migration,” a celebration of the annual departure of the sheep of Seven to a neighboring island. The Hillsingers and the Quicks are there for the summer with their extended families and friends; the young cousins are running wild and the servants are busy preparing for the festivities. Jim has just been ousted by the CIA for reasons that have something to do with the untimely death of Billy’s wife, Hannah, and a financial connection both families had with a mysterious Soviet agent. Grieving her sister’s death, Jim’s wife, Lila, has been spending more time with the Quicks, leading to an intimacy with Billy and a newfound closeness with her nieces. With the adults thus occupied, the Hillsinger’s older son, James, is free to lead his cousins in a series of grotesquely violent games. Most disturbingly, the youngest Hillsinger son, 12-year-old Catta, is banished overnight to the wild, uninhabited island of Baffin in Grandfather Hillsinger’s attempt to, in his words, make a man of him.

It is Catta’s story that makes this difficult novel—with its echoes of Graham Greene and Lord of the Flies—worth reading. The brutal rite of passage undertaken by the young boy is powerfully written; the clarity of his fight against the elements at odds with the complex and often puzzling Cold War politics and the unsavory exploits of the adults. It is Catta’s bravery, resourcefulness and sense of betrayal that the reader will recall long after this portrait of a dissolving privileged class has faded.

Two wealthy families, the Hillsingers and the Quicks, have shared the remote Maine island of Seven for generations. Though Jim Hillsinger and Billy Quick are married to sisters, the families aren’t close; in fact, each family views the other as an interloper. But events conspire to draw the families together over the course of three summer days in We Shall Not All Sleep, an unusual and ambitious debut by playwright Estep Nagy.

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