The Château de Chavaniac, a beautiful stone castle in the remote reaches of the mountains of Auvergne, is the birthplace of the Marquis de Lafayette, a man who played an integral role in the French Revolution and who famously helped the American colonies win their independence from British rule. In The Women of Chateau Lafayette, the marquis is a mere supporting figure as author Stephanie Dray’s novel instead follows three women over three eras of the château’s history.

First there’s Adrienne Lafayette, the marquis’ wife. History has all but forgotten her role as adviser and strategist to her husband, but she put her life and family at risk in pursuit of liberty for all of France. Then during World War I, Beatrice Astor Chanler, a millionaire’s wife and former actor, uses the family fortune to restore the crumbling château, transforming it into a sanctuary for sick and orphaned children. Finally there’s Marthe Simone, one of those orphans, who grows up at the château and works there as a teacher as the Nazis occupy France. Marthe uses her gift as a talented artist to falsify paperwork and protect Jewish children at the manor.

Dray is a bestselling historical novelist who has previously written about Eliza Hamilton and Patsy Randolph, Thomas Jefferson’s daughter. Her ability to create engaging narratives from history, incorporating rich details and fully drawn characters, is downright magical. Adrienne and Beatrice are both based on real women whose stories come vividly to life here, while Marthe is a composite character inspired by the manor’s female resistance fighters, an artist-in-residence and other figures from the château’s history.

In The Women of Chateau Lafayette, we move among the extravagance of Marie Antoinette’s royal court, the brutality of trench warfare in World War I and the misery of a French countryside slowly starving under Nazi rule. It’s an epic, gripping novel, a powerful depiction of the way brutal conflicts based on prejudice and greed tend to repeat time and again. And through it all, Dray poignantly reminds us of the undervalued contributions of women throughout history.

“I had freed my family by force of will,” says Adrienne. “Not only my family, but those who had been arrested for our sake. I had done it without sacrificing any principle or doing violence. It was not the sort of victory for which people built stone monuments, but I hoped it might still, someday, be remembered.”

When an author threads a story with multiple perspectives that span years, they run the risk that readers will prefer one character’s voice over another, creating a divide in investment that’s difficult to bridge. With The Lost Apothecary, first-time novelist Sarah Penner takes that risk, weaving together the tales of three women separated by more than two centuries but united through pain, fear and hope. In Penner’s case, the risk pays off in a spellbinding way.

In 1791 London, Nella works in her apothecary shop with a very specific purpose: making discreet poisons to help women rid themselves of the dangerous men in their lives. Nella’s work is solitary for good reason, until she meets Eliza, a 12-year-old whose curiosity transforms her from unlikely client to unlikely friend. 

Meanwhile in the present, Caroline is making a solo journey to London in the wake of her husband’s infidelity. As she wanders the city, a chance discovery reawakens her long-buried passion for history, and as she seeks her new purpose in life, she just might find it in the story of Nella and Eliza.

What’s most striking about The Lost Apothecary is not how expertly Penner braids the three strands of her story together, though the structure and pacing are certainly well done. What is most admirable is that, as she leaps between first-person perspectives—including two women who are often reflecting on the exact same events—the sense of character never once falters. Their presences and voices are distinct, even as they’re bound by an emotional link that is clear to the reader (though not always clear to the characters). There’s a powerful unity to this story, making it nimble yet sturdy, light yet satiating.

Like in a well-brewed potion, all the ingredients have been given exactly the right level of care and time, and the result is a novel that simply overwhelms with its delicate spell.

“I sometimes wondered what it would have been like to be raised a normal girl,” says the narrator of Carol Edgarian’s novel Vera. “But that was not my story.”

It is 1906, and Vera Johnson is being raised in a “respectable” household by a widowed Swedish woman pretending to be her mother. Vera’s real mother, however, is Rose, the madam of San Francisco's most infamous brothel. Rose has kept Vera a secret for nearly 15 years while continuing to provide for her financially. Then the destructive San Francisco earthquake happens, shaking more than the ground beneath their feet.

Readers may come to Vera for a tale about the San Francisco earthquake, or for a juicy novel about the women who populate society’s underbelly. But the novel is actually about motherhood and Vera’s struggle to be cared for as she needs to be. Vera yearns for her mother’s love and respect, and she doesn’t care about how Rose’s disreputable place in society could impact her own life.

The many memorable characters populating Vera may provide interesting fodder for book club conversations. Vera is feisty and chafes at the confines of life in this era; her refusal to conform brings to mind a more street-savvy Scout Finch from To Kill a Mockingbird. She is forced to be stronger than any 15-year-old should have to be. And Rose intriguingly demonstrates the tough choices a woman of her time must make in order to be truly free.

That said, the plot of Vera is overly complicated and features a bloated cast of characters. Rose’s employees and neighbors, as well as the city’s politicians, all have subplots to which Vera is only loosely connected. As a result, much of the novel feels like it’s scrambling to tie up loose ends rather than foregrounding the narrator’s own story.

Vera is an engaging novel that could have been executed more succinctly.

Grab a cup of tea and a scone, and curl up with The Kitchen Front, Jennifer Ryan’s positively delicious novel about four British women competing in a cooking contest during World War II. The winner will become the first female host of a BBC radio show called “The Kitchen Front,” which guides listeners in creative ways to use food rations. Ryan, author of The Chilbury Ladies’ Choir and The Spies of Shilling Lane, continues to excel at creating warmhearted, intriguing homefront drama.

Both the book and the contest are divided into three rounds, in which each contestant must cook a starter, main course and dessert. The stakes are high for the competitors, each of whom yearns for the career-boosting prize. There’s Audrey, the anchor of the book, a struggling war widow with three sons, as well as her estranged, wealthy sister, Lady Gwendoline, who’s trapped in a loveless relationship with her abusive husband. Lady G’s shy young kitchen maid, Nell, is also competing, as well as a professional cook from France named Zelda, a single woman who’s trying to hide an unplanned pregnancy.

Ryan uses alternating chapters to explore each woman’s personality, moving the drama steadily along with brisk dialogue and action. This is very much a book about women’s rights, strengths and abilities, and the class differences among characters add drama and a dash of complexity.

ALSO IN BOOKPAGE: Jennifer Ryan marvels at the upbeat attitudes of the homefront cooks who inspired The Kitchen Front.

Recipes are included for each round, some adapted from wartime leaflets. They’re fun to read, and each is well integrated into the unfolding drama. Readers are likely to be more inclined to try some (vegetarian Lord Woolton pie or Audrey’s fruit scones) than others (Lady Gwendoline’s sardine rolls). Historical details sprinkled throughout are equally fascinating, such as the fact that during the war, the moat around the Tower of London was drained to grow cabbages and potatoes that fed struggling Londoners in the East End.

Though the four contestants each face personal difficulties, endure shortages and fear bombing raids, their village of Fenley feels removed from the raging horrors of World War II. Ryan injects humor into their sorrow—as well as empowerment—as the group gradually learns to band together and pool their talents instead of facing off as kitchen opponents.

While The Kitchen Front goes down like a spoonful of sugar, Ryan manages to instill substance and plenty of food for thought in its creative and ultimately uplifting story.

One might wonder if anything new can be written about Paris, but Janet Skeslien Charles reminds us of the city’s evergreen appeal and unbounded potential for stories with The Paris Library, which tells of the very real, very beloved American Library in Paris and the role it played during World War II.

The year is 1939, and Odile Souchet is nervously reciting the Dewey Decimal System as she prepares for a job interview at the American Library. It’s not common for young ladies of her class to get jobs, but Odile is in love with books as if they were walking, breathing bodies, and she wants nothing more than to be a librarian at a place she has loved since her childhood. It’s no surprise to the reader when she lands the job.

The comfort and whimsy that young Odile once experienced at the American Library are still very much alive. However, everything changes when the Germans occupy Paris and threaten to destroy everything she holds dear. Together with the rest of the staff, Odile joins the resistance, delivering books to Jewish readers banned from entering the library. When the war eventually ends, instead of rejoicing, Odile learns of betrayals that make it impossible for her to remain in the city she loves or to work in a place she had come to know as her sanctuary.

The book skips ahead to 1983 Montana, where we find Odile living alone. In all these years of calling a small American town her home, she hasn’t managed to shake off the mystery surrounding her. When a school assignment connects a lonely and curious teenage girl named Lily with Odile, a friendship is forged, and the two slowly confront the consequences of present and past choices.

What makes The Paris Library such a tender read is Charles’ firsthand experience at the American Library, where she was the programs manager. This is where she first discovered the stories of the brave librarians who fought the Germans with nothing more than books. Her meticulous research brings these figures to life with Odile as their narrator. Furthermore, Charles’ Montana roots help shine light on the small-town life that Lily can’t wait to escape. Together the two storylines provide wonderful insight into relationships and friendships that transcend time and place.

Like a wise and imaginative teacher, Kristin Hannah imbues past events with relevance and significance in her novel The Four Winds.

In 1921, as a sickly, homebound teen, Elsa dreams big. One night she sneaks away from the protective eyes of her family and thrills at the attention paid to her by Rafe Martinelli, a dashing Italian immigrant. When she becomes pregnant by Rafe, Elsa is disowned by her parents, and Rafe’s family takes in the young couple. Soon Elsa becomes an indispensable member of the Martinelli farm. But when Rafe abandons his family and dust storms begin to ravage the land, Elsa and her children journey to California in search of a better life. What they find is devastation, not of the landscape but of human souls, ground down by mistreatment. Elsa finally realizes her big dream, becoming a warrior matriarch who fights for justice.

The story builds to epic proportions over its four distinct parts. The spare writing in the 1921-set first section imparts the starkness of Elsa’s childhood and the barrenness of the landscape, like a Dorothea Lange photograph come alive. The second part, set in 1934, depicts family tensions as Elsa’s rootedness chafes against Rafe’s desire to leave the floundering farm. Their daughter, Loreda, exacerbates their differences through her tenacious yet rebellious spirit. In the third part, set in 1935, the drama of deprivation gives way to the thrill of the open road on the way to California. Mother-daughter sparring allows their relationship to grow, and they’re supported by fellow women in the migrant camp.

But the greatest adventure awaits in the final part, amid violent protests against cotton growers in 1936. Anger over failed crops, failed marriages and failed dreams finds a worthy outlet in the migrant workers’ collective resistance against injustice. At a migrant worker school in California, feisty and eager 13-year-old Loreda is too preoccupied with the troubles of the present to endure boring history lessons, and it’s not long before she becomes an activist for change, following in her mother’s footsteps.

With biting dialogue that holds nothing back, The Four Winds is classic in its artistry. Overtones of America’s present political struggles echo throughout the novel’s events. These indomitable female characters foreshadow the nation’s sweeping change through their fierce commitment to each other and to a common, timeless goal.

ALSO IN BOOKPAGE: Kristin Hannah shares a look at her book-loving life.

In the era of the belated (and semi-involuntary) retirement of the likes of Uncle Ben, Aunt Jemima and Mrs. Butterworth, The Rib King could hardly be more prescient, as it centers on a Black man who is the face of a food brand.

The novel’s first half takes place near the beginning of World War I, a time when the Civil War was no further removed from memory than the Vietnam War is from our minds today. And while the formerly well-to-do white Barclay family is inclined to behave less spitefully toward people of different races, they are by no means paragons of enlightenment. Much as in the Depression-era classic My Man Godfrey, it turns out that the key to solving the family’s financial ills may be held by the overlooked butler, in this case August Sitwell. He agrees to deliver a recipe for—and to be the public image of—a meat sauce that establishes him nationwide as the Rib King.

Fast forward a decade, and one of his former co-workers, Jennie Williams, has a product of her own to sell, which sweeps her unwillingly back into the Rib King’s orbit. In this half of the book, Ladee Hubbard’s talent really shines as Jennie navigates a maze of intrigue involving revenge, betrayal, economic exploitation, racial conflict and the often brutal exercise of power.

Hubbard’s depiction of a shadow economy bracketed by race is compelling and insightful, reminiscent of playwright August Wilson’s finest work. Woven into this narrative is a captivating depiction of Black feminist agency at a time not long after white women had gained the right to vote. It’s little wonder that Hubbard won the Hurston/Wright Legacy Award for debut fiction in 2018.

Ultimately the reason to read The Rib King is not its timeliness or its insight into politics or Black culture, but because it accomplishes what the best fiction sets out to do: It drops you into a world you could not otherwise visit and makes you care deeply about what happens there.

The displacement of children is a vexing problem in international and national politics. Italian author Viola Ardone’s novel explores issues surrounding children who are separated from their parents, but in this case, the families willingly send their youngsters away to live in the care of strangers.

The Children’s Train is the story of 7-year-old Amerigo Speranza, who lives with his mother in Naples after World War II, when the Germans occupied the city and the Allies bombed it to pieces. Food and new shoes became scarce, and Amerigo had to drop out of school. Then Italy’s Communist Party approached struggling Neapolitan families with an offer: Their children would be sent to Northern Italy to be cared for by wealthier families throughout the winter.

Amerigo joins the train of children, and he is placed with a single woman in the Communist Party. His new life includes school, violin lessons and plenty of food. His life is undoubtedly better in the north, but the children of the “Mezzogiorno” aren’t meant to leave their parents permanently. The novel’s most heartfelt conflict involves Amerigo’s feelings about returning home to his life of poverty. A new world has opened for him; not so for his mother and their neighbors.

The novel jumps forward in time to Amerigo’s adulthood, which is when the novel shines. (Ardone writes adult Amerigo more convincingly than the 7-year-old boy.) Amerigo was privileged to have the opportunity to leave Naples and its poverty behind, but it came at what cost to his mother, his community and, ultimately, himself? Did taking that opportunity actually better his life, or did it drive a wedge between him and everyone he loves?

Translated from the Italian by Clarissa Botsford, The Children’s Train explores difficult decisions made by people living extremely hard lives. There are no easy answers and no heroes or villains. Ardone’s novel will appeal to fans of Elena Ferrante, but it stands on its own as a fictionalized account of an exceptional—and exceptionally complicated—social experiment.

Slash and Burn is an ember of a novel. Originally published in Spanish, this restrained narrative about a mother’s sacrifice surges with hot undercurrents of danger and memory.

Set in an unspecified Latin American country that resembles author Claudia Hernández’s native El Salvador, the story spans its unnamed protagonist’s childhood, motherhood and grandmotherhood. As a young girl, she realizes that threats to women in the village are no more dangerous than those faced by the guerrilla fighters in the mountains, so she decides to join her father and brothers fighting the military-led junta. During her time as a combatant, she has a number of romantic trysts, resulting in the birth of her daughters. Despite her commitment to the guerrilla cause, one of her daughters is stolen from her as punishment for getting pregnant.

Years later, the woman, now an ex-combatant, risks everything to find her long-lost daughter in Paris. Meanwhile, her other daughters are left to contend with the omnipresent threats of poverty, rape and postwar pillaging. The tension between independence and family responsibilities permeates this stark narrative.

A notable feature of this novel is its dearth of proper nouns. While ex-combatants use a combination of war aliases, given names and chosen names to increase their odds of subsisting, readers never learn what those names are. In this way, Hernández extends the book’s theme of secret-keeping. Just as former guerrilla fighters conceal the profane truths of wartime, Hernández withholds names to remind readers that in this shifting landscape, privacy means everything. During the national struggle over land and inheritance, identity is built on shifting sands.

Despite ongoing political instability, Hernández’s levelheaded women and girls outwit (and outlive) countless men on all sides of the struggle. There is little glory for these women, but there is much honor, and the quest for education, security and—above all—togetherness in war-torn El Salvador establishes this novel as a new kind of hero’s journey.

Ultimately, Slash and Burn is an unflinching meditation on girlhood and womanhood. The compañeras-in-arms within its pages ask few favors, preferring to toil with honor rather than fall prey to the disappointment of broken promises. In this slow burn, Hernández ferries her characters across oceans for the common purpose of finding home—an as-yet-unnamed possibility.

Back in the 1930s, Dr. Howard Stovall Bennett III, then known as “Ward,” was the handsome hired hand at a Reno ranch that helped women establish Nevada state citizenship to get quickie divorces. A Yale dropout, Ward got the job after his wealthy Southern family lost everything in the Great Depression. In the wonderful, sweet Better Luck Next Time, a much older Ward recounts his time at the Flying Leap Dude Ranch to an unknown listener, whose identity is revealed at the end of the book.

Ward’s job is equal parts ranch hand, driver, waiter and listening ear to women biding their time until a judge will grant them a divorce. He spends hours sitting outside attorneys’ offices, listening to the women tell their stories. “It was like listening to a celestial radio that only picked up the saddest soap operas,” he says, “its dial twisted slowly by the universe across the whole unhappy bandwidth without settling anywhere for long.”

ALSO IN BOOKPAGE: Better Luck Next Time is great on audiobook.

The trouble starts when Nina comes to the Flying Leap. A wealthy heiress heading for her third divorce, Nina takes the heartbroken Emily, who has fled a serial cheater in San Francisco, under her wing. Soon Nina and Emily are embarking on all sorts of liquor- and grief-fueled adventures and roping Ward in to their fun. When Ward realizes he’s falling in love with Emily, he assumes his days at the Flying Leap are numbered.

A longtime magazine writer, Julia Claiborne Johnson follows up her hilarious first book, Be Frank With Me, with this more serious—but still witty and charming—offering. She paints a vivid picture of a hot, dry Reno summer during which women wait to see whether their luck has run out or is just beginning. Ward is a thoughtful narrator, telling his story with the mix of joy and melancholy that comes with being elderly. “When you get to be my age,” he muses, “things that happened fifty years ago start seeming more real to you than what happened yesterday.” Indeed, this is a story that will stay with you for a long time.