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Is there any setting more exotic—or enticing—than 18th-century Russia, populated as it is by finicky empresses, brutish tsars and decorated soldiers of the royal court? Best-selling author Debra Dean, previously heralded for The Madonnas of Leningrad, imagines the life of Russia’s beloved “holy-fool” Xenia, breathing life into the now-revered woman who became the patron saint of St. Petersburg.

Narrated by Xenia’s devoted cousin Dasha, The Mirrored World follows the two girls beginning with their society debuts. Xenia—not known for following the rules—falls head over heels for an alluring singer in the Empress’ Imperial Choir, Colonel Andrei Petrov. Soon, though, Xenia’s devotion to her husband is taken over by an obsession to have a child. When her daughter passes away not one year into her life, Xenia, crushed by grief, slowly begins to remove herself from society. The Colonel responds by lavishing his attentions on the bottle rather than on his wife; Xenia cannot be comforted nor cajoled into making an appearance at the royal court. One evening, her second sight hints at her own death, but it is Colonel Petrov whose time is up, leaving Xenia widowed and childless at the age of 26.

Readers are left to debate whether it is madness stemming from grief or simple destiny that leads Xenia to wander the streets of St. Petersburg clothed in her husband’s tattered military uniform, doling out her worldly possessions. Surprisingly, amid all this drama it is the quiet portrait of Dasha that is the high point of The Mirrored World. While most will be drawn to the fictionalized account of one of Russia’s most holy saints, it is the all-too-human story about the woman behind the saint that truly captivates.

Is there any setting more exotic—or enticing—than 18th-century Russia, populated as it is by finicky empresses, brutish tsars and decorated soldiers of the royal court? Best-selling author Debra Dean, previously heralded for The Madonnas of Leningrad, imagines the life of Russia’s beloved “holy-fool” Xenia,…

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Lance Weller’s first novel, Wilderness, recounts the harsh world of the Civil War and its aftermath unflinchingly. At the same time, he redeems it with flashes of tenderness as bright and ephemeral as the shooting stars that fascinate his protagonist, Abel Truman.

Truman is an odd but interesting character to embody the era’s small glimmers of kindness. When we first meet him he’s a gruff, old, banged-up, frightful-looking Civil War veteran. He lives at the edge of the ocean in the Pacific Northwest with a dog who’s in only slightly better shape than he is. He can almost always be counted on doing and saying the wrong thing, sometimes to the point where he puts his own life in peril. Yet his compassion is unsullied, whether he’s easing a young soldier to his death, saving the life of a blind Chinese girl who still remembers him in her old age, or caring for his dog. In turn Abel is blessed, once in a blue moon, by the kindness of strangers.

Like so many Civil War tales, Wilderness is a story of journeys through a chaotic world. The war has destroyed the social order, and no one knows what will replace it. Even nature, described in Weller’s beautiful prose, has been unsettled, the trees blasted apart by cannonballs and meadows set on fire.

Trees, by the way, aren’t the only things blasted apart by cannonballs. Weller’s depictions of a battle Truman and his fellow soldiers find themselves in are as horrific as his descriptions of nature are gorgeous. The miracle is that Abel Truman keeps his gnarly humanity even after witnessing such things. With its acknowledgment of both horror and beauty, Wilderness is an impressive debut.

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Read Lance Weller's story of the inspiration for Wilderness.

Lance Weller’s first novel, Wilderness, recounts the harsh world of the Civil War and its aftermath unflinchingly. At the same time, he redeems it with flashes of tenderness as bright and ephemeral as the shooting stars that fascinate his protagonist, Abel Truman.

Truman is an odd…

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It is tempting, in light of Jennie Fields’ novelization of Edith Wharton’s affair with Morton Fullerton, to start a review that asks the reader to imagine Edith Wharton with no clothes on. For most of her fans this is a daunting task; the woman seemed to have been born wearing layers and layers of velvets, lace, buttons, corsets and ribbons.

Fields, however, has no problem imagining Wharton in the altogether. Still, The Age of Desire is about more than adulterous hijinks. Indeed, the book’s primary relationship isn’t between Wharton and Fullerton, but between Wharton and her now mostly forgotten governess and secretary, Anna Bahlmann. Called “Tonni” by her boss, she’s mousy, self-effacing and infinitely forbearing. She needs to be; the sometimes imperious Wharton switches between treating her like a beloved family member and a house elf. Still, this is rather better than Wharton treats her husband, Teddy, who spends much of the book not only being cuckolded, but suffering from what is now recognized as manic depression.

Fields makes us understand why Wharton would fall in love with a bounder like Fullerton. Wharton married the older Teddy because he was a gentleman of some means and it was the thing to do at the time. Their marriage is arid. Fullerton is beautiful, he’s as indifferent to public opinion as the rest of her friends, and he wants her, a plain woman in her mid-40s. All the while Tonni lurks in the background, watching and disapproving, yet ever steadfast.

Inspired by Wharton’s letters, The Age of Desire is by turns sensuous—Fields’ descriptions of Wharton’s homes and apartments are far more mouth-watering than her depictions of Edwardian rumpy-pumpy—and sweetly melancholy. It’s also a moving examination of a friendship between two women.

RELATED CONTENT: Watch a video with Jennie Fields on our YouTube channel.

It is tempting, in light of Jennie Fields’ novelization of Edith Wharton’s affair with Morton Fullerton, to start a review that asks the reader to imagine Edith Wharton with no clothes on. For most of her fans this is a daunting task; the woman seemed…

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Before she became a heroine of the Crimean War, and before he had written a word of Madame Bovary, Florence Nightingale and Gustave Flaubert each traveled to Egypt—and, reportedly, glimpsed each other on the Nile. Though the historical record suggests that they did not actually meet, in poet Enid Shomer’s rich and imaginative novel, The Twelve Rooms of the Nile, they do, igniting a passionate friendship that both inspired and repelled.

Though the enfant terrible of French letters and the Lady of the Lamp might not seem to have many similarities, in 1849 both were searching for a larger purpose to their lives. Nightingale had just turned down a marriage proposal and Flaubert had just dropped out of law school and was mourning the death of his sister. He had also written his first novel, deemed unpublishable by a group of close friends. Both suffered from maladies; Flaubert had recurring seizures, which were probably epilepsy, and Nightingale endured debilitating depression. A trip down the Nile was an opportunity to refresh their minds and stimulate their senses. Most importantly it was a chance to leave their families behind.

In The Twelve Rooms of the Nile, so called after the many rooms the sun god Ra was said to pass through on his sacred journey from sunset to sunrise, Flaubert and Nightingale are both traveling the river with arranged stops at archaeological sites such as Philae and Abu Simbel. Flaubert was traveling with his friend Max Du Camp, an amateur photographer and archaeologist; Nightingale was with family friends and a lady’s maid, Trout. Shomer suggests that the strange surroundings provided opportunities for Flaubert and Nightingale to confide their deepest wishes and fears to one another, and the intensity of the environment, with its extreme temperatures and strange fauna, encouraged their closeness.

The striking Egyptian ruins serve as a perfect backdrop for the intensity of the characters and the plot gets a comic, though not wholly successful, twist in an apparent desert kidnapping. But the novel shines brightly as a thoughtful study of these two singular geniuses, a story Shomer tells with a deep understanding of the poignancy of human connection.

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Read a Q&A with Enid Shomer for The Twelve Rooms of the Nile.

Before she became a heroine of the Crimean War, and before he had written a word of Madame Bovary, Florence Nightingale and Gustave Flaubert each traveled to Egypt—and, reportedly, glimpsed each other on the Nile. Though the historical record suggests that they did not actually…

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Stories enrich us in different ways. They entertain us and take us to faraway lands. They give insight into the lives of others, and aid us in our own introspection. For Raami, the child narrator of In the Shadow of the Banyan, stories bring salvation, giving her the strength to survive the Cambodian genocide. Raami contracted polio as an infant, and her father tells her stories from a young age, saying, “When I thought you couldn’t walk, I wanted to make sure you could fly . . . I told you stories to give you wings.” Raami holds these stories inside herself during impossible circumstances, maintaining the will to live.

This haunting debut novel is based on the amazing life story of author Vaddey Ratner, who was five when the Khmer Rouge came to power in the 1970s. Like Raami, she was born as minor royalty, forced out of her home in Phnom Penh, separated from family members and forced to perform hard labor until she nearly starved. In an author’s note, Ratner explains that she wrote a novel instead of a memoir because she wanted to reinvent and reimagine her experiences where “memory alone is inadequate.” Although the fictionalized story of Raami—who is seven when the story begins—stands on its own, the reader’s knowledge of Ratner’s close personal connection to the material makes the novel feel even more intimate and devastating.

Remarkably, In the Shadow of the Banyan is an uplifting story, as Raami’s humanity—her fierce choice of life—is juxtaposed with the cruelty around her. Ratner’s lyrical prose and graceful descriptions serve as a lovely counterpart to bleak situations, reminding us of literature’s ability to transcend. Her novel will no doubt inspire readers to learn more about this painful chapter in world history.

Stories enrich us in different ways. They entertain us and take us to faraway lands. They give insight into the lives of others, and aid us in our own introspection. For Raami, the child narrator of In the Shadow of the Banyan, stories bring salvation,…

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David R. Gillham is making quite the splash with his gripping portrait of an ordinary World War II hausfrau in extraordinary circumstances: Praise has been lavished on City of Women by historical fiction brethren Alan Furst, Margaret Leroy and Paula McLain, and rights have been sold in multiple countries. Not too shabby for a first-time novelist. And also not surprising. Full of sharp twists, sex, muddy morals and a Berlin that breathes, Gillham’s thriller delivers.

Beautiful, dutiful Sigrid Schröder is an apparently perfect German wife—other than the fact that she’s borne no children for the Fatherland—but she has a secret. Instead of thinking of her husband freezing on the Russian front line while she peels rotting potatoes and puts up with her razor-tongued Party member mother-in-law, she recalls the heat of the lover who recently swept in and out of her life. He was mysterious, but this much she knows: He was a Jew, and she desperately wants him back. Even so, she largely turns a blind eye to the Reich’s cruelties, feeling powerless against its might. But when her rebellious, secretive young neighbor confronts her with a stark choice, Sigrid must decide whether she is brave enough to save the lives of complete strangers.

Gillham has studied the Second World War and women’s roles in it for more than two decades, and it shows. Berlin’s streets circa 1943 come to life—not just the sights, sounds and smells, but also the tension in the air. Who can be trusted?

The author ably depicts the strengths, desires and fears of women in a city both nearly emptied of its men and permeated with betrayal. His vivid characters keep the pages turning while the historical details enlighten and deftly underpin his complex plot. Readers who like their intrigue charged with big issues and warmed by very human needs will enjoy their hours in Sigrid’s shoes.

Read an interview about City of Women.

A thriller full of twists, sex, muddy morals and a Berlin that breathes.
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Thrillers centered on the search for some ancient artifact have been popping up with dizzying regularity ever since Dan Brown made his name (and millions) with them. Seattle author Kim Fay’s first novel is certainly the tale of a daring search: a search for a valuable artifact, yes, but also one for self-worth, redemption and understanding.

Irene Blum arrives in 1925 Shanghai on a mission to recover a set of priceless copper scrolls detailing the history of Cambodia’s ancient Khmer civilization, which have long been believed to be lost. She seeks the help of Khmer expert and temple robber Simone Merlin. But the journey isn’t an easy one. Simone’s domineering husband is in the way of their mission, a dangerous jungle awaits and the world of French-colonized Cambodia is full of hidden agendas and very little trust.

Fay has already made a name for herself with award-winning Asian travel writing, and her first foray into fiction is proof both of her expertise in and love for the region. The prose of The Map of Lost Memories is full of lush details, from the elegance of Shanghai to the musty damp of the Cambodian jungle—but more importantly, it’s packed with the kind of drama that many other novels of its kind lack. Thrilling and ambitious, this is a book to get lost in, a book that homes in on the human drama of the quest and never lets go.

The Map of Lost Memories is a rich debut—perfect not just for lovers of historical fiction, but for lovers of unusual journeys filled with powerful revelations.

Thrillers centered on the search for some ancient artifact have been popping up with dizzying regularity ever since Dan Brown made his name (and millions) with them. Seattle author Kim Fay’s first novel is certainly the tale of a daring search: a search for a…

From the dusty and dangerous roads of China’s ancient city of Kashgar, circa 1923, to the immigrant underground in present-day London, Suzanne Joinson beckons readers with lush, evocative prose, yet never lets her gift for poetry interfere with a good story—or, to be more precise, two good stories. While eight decades divide the dual narratives of A Lady Cyclist’s Guide to Kashgar, heroines Eva and Frieda are tethered by the timeless themes of love, loss and redemption.

The novel opens as Evangeline “Eva” English and her younger sister Lizzie arrive in Kashgar, where they have been dispatched as missionaries. The fragile Lizzie is driven by her religious fervor, but Eva is merely going along for the ride—literally. She hopes to channel her wanderlust and fledgling literary skills into a travel book titled, of course, A Lady Cyclist’s Guide to Kashgar, offering up tips for bicycle riding which also serve as eloquent metaphors for life lessons.

Like the best bicycle rides, Joinson's literary debut is an invigorating delight.

Joinson brings us an equally enigmatic but distinctly different heroine in Frieda. The modern-day single woman is juggling an unsatisfying career, a toxic affair with a loutish married man and a budding friendship with Tayeb, a sensitive artist who also happens to be a homeless illegal immigrant on the lam.

Readers of A Lady Cyclist’s Guide to Kashgar are certain to enjoy a literary journey that is not unlike the best bicycle ride—invigorating and challenging, with plenty of hills, vales and scenic views to keep one’s blood pumping and spirits soaring.

From the dusty and dangerous roads of China’s ancient city of Kashgar, circa 1923, to the immigrant underground in present-day London, Suzanne Joinson beckons readers with lush, evocative prose, yet never lets her gift for poetry interfere with a good story—or, to be more precise,…

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It’s hard, nowadays, to think of Iceland without thinking of a tiny island that tried—and failed—to be the financial hub of the whole world. But long before, this catastrophe Iceland was the origin of the eddas—epic poems of gods and goddesses, heroes and heroines that make the Arthurian legends pale. The landscape of restless volcanoes, hot springs and lava fields speaks of deep passions. Tobin uses those old Norse tales, Iceland’s history and even her geography to tell a gripping story of destiny and free will in Ice Land.

The story takes place around 1000 A.D., through the eyes of Freya, a beautiful aristocrat with interesting powers—more on them later—and Fulla, an orphan who’s been raised by her stern but loving grandfather. Eventually their lives entwine and their brief association forces both women to make crucial choices about their futures.

Tobin calls her book a “love letter to Iceland” and she shows it in often uncommonly beautiful writing, as in this passage describing a volcanic eruption: “The lava overflows in a myriad of hot red fingers down the sides of Hekla’s flank, forming a web of bloody rivers against the blackened rock.” The volcano did indeed erupt around the time of the novel, and Tobin is adept at weaving the mythical and quotidian together. Freya, for example, is not only a human woman but the chief Norse goddess. She retains her falcon feather cloak, which enables her to fly, the Brisingamen, an impossibly beautiful necklace, and her cats, even though they’re not seen pulling a chariot. Her kinfolk, the Aesir, don’t live across a rainbow bridge, but on farmsteads in Iceland’s unforgiving interior. Dwarves live underground and belligerent giants live in Jotunheim, but they’re regular humans who are shorter or taller than average. Tobin also has a waspish sense of humor. Describing one of her lovers, who could transform into a boar, Freya recalls him as “exceptionally handsome, when not rooting about in the earth.”

Tobin’s characters—tough, vulnerable, foolish and wise as they are—make Ice Land a joy to read. And who knows? Maybe Iceland will take over the world economy one day.

Arlene McKanic writes from South Carolina.
 

It’s hard, nowadays, to think of Iceland without thinking of a tiny island that tried—and failed—to be the financial hub of the whole world. But long before, this catastrophe Iceland was the origin of the eddas—epic poems of gods and goddesses, heroes and heroines that…

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Jeanne Kalogridis, author of The Borgia Bride and I, Mona Lisa, has again taken a famous historical woman and breathed life into her. This time it is Catherine de Medici of the powerhouse D’Medici family of Florence, Italy. Her story spans generations, and takes us from her earliest memories to elderly widowhood.

Catherine de Medici was Duchess of Urbino, heir to the rule of Florence. When her family fell from power, she was imprisoned as a child and held for three years by Republican factions. Catherine was valuable as niece to the Pope, and was married off to the young French prince. She became queen and eventually gave birth to kings.

Meanwhile, though, her dreams are disturbed by visions of tides of blood and those whom she loves calling for help. She does not know what to do, so calls on astrology to guide her, as she had done when she was young. Historically, she was well known for her reliance and knowledge of the “black arts”—astrology and talismans. Among many highlights, The Devil’s Queen portrays a meeting with the famed prophet Nostradamus.

Catherine is regarded as one of the most gifted rulers in France’s history, even though she never officially ruled as Queen, but as regent for her young sons. Her story is one of passion, intrigue and history by inches. And Kalogridis tells it with gripping detail, from the passionate love scenes to the gory executions. We come to know Catherine and journey with her through the twists and turns of royal life.

The narrative pulls readers along as quickly as the years go by—Kalogridis is skillful at weaving complicated political treachery into the personal story of a deeply committed mother. Rounded out with epic battles, affairs and glorious descriptions of royal fashions, this transporting tale may keep readers up late into the night.

Linda White is a writer and publicist living in St. Paul, Minnesota.
 

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Page through the "Grimoire" of Catherine de Medici, a companion work to The Devil’s Queen.
 

Jeanne Kalogridis, author of The Borgia Bride and I, Mona Lisa, has again taken a famous historical woman and breathed life into her. This time it is Catherine de Medici of the powerhouse D’Medici family of Florence, Italy. Her story spans generations, and takes us…

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Hitler has begun his march across Europe, and the United States and England are locked in denial. It’s 1939, just at the dawn of the intelligence era in U.S. politics. A 22-year-old Jack Kennedy, restless and very ill, is preparing to travel through Europe gathering research for his senior thesis. President Franklin D. Roosevelt, one of a minority of politicians who see the deadly war with Germany looming, enlists the young traveler to keep his eyes and ears open to discover the source of a fund of German money that’s entering the United States; Hitler’s trying to buy the American election, defeat FDR and seat an isolationist in the White House.

Like where this is going so far? That’s just the tip of the iceberg in the riveting Jack 1939, Francine Mathews’s latest spy thriller. Mathews, who’s had spy training and investigative experience as a CIA intelligence analyst, has effectively combined her knowledge of the politics and personalities of that era with a slam-bang plot of espionage and drama.

Francine Mathews has effectively combined her knowledge of the politics and personalities of 1939 with a slam-bang plot of espionage and drama.

The author creates a dramatic, unusual picture of young Jack, ill to near death with an as-yet unnamed disease that sends him to the Mayo Clinic and through the care of countless medicos. He’s intelligent, curious, irresistible to women, volatile and desperate—with “the fog called boredom or death hovering just over his left shoulder.” Riding on the Kennedy family reputation as pleasure-seeking social climbers, he’s able to close in on the seats of Nazi power without initially being counted a threat.

Filled with memorable characters both fictional and historical, Mathews provides an edge-of-the-seat journey, filled with haunting images that readers won’t soon forget. On the one hand, Jack must deal with his own father, Joseph P. Kennedy, Sr., Ambassador to England and an ardent isolationist with tunnel vision. On the other, he must deal with “the Spider,” a Nazi thug intent on seeing Jack permanently among the missing. Mathews presents a rogue’s gallery of real historical figures, drawn with color and imagination, including the canny Roosevelt, a turtle-backed J. Edgar Hoover and the hard-drinking Winston Churchill, all poised at the brink of devastating war. The author draws on her knowledge of the Kennedys for an astonishing take on private scenes she imagines among them.

Aficionados of espionage fiction, history, the Kennedy family, World War II and seat-of-the-pants excitement will devour this book, a must-read story that stands out from the pack. It’ll make you want to turn back to your history books once again.

Hitler has begun his march across Europe, and the United States and England are locked in denial. It’s 1939, just at the dawn of the intelligence era in U.S. politics. A 22-year-old Jack Kennedy, restless and very ill, is preparing to travel through Europe gathering…

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Not since Aleksandr Solzhenitsyn’s One Day in the Life of Ivan Denisovich has an author captured the crushing sense of foreboding that hung over Uncle Joe’s Soviet state with the clear-eyed acuity that imbues every page of Robert Littell’s The Stalin Epigram. It’s almost like being dropped onto the surface of an alien planet, this strange world of pre-war Stalinist Russia, where poets’ words are read not only by the masses but also by the nation’s leaders, where a cutting couplet can draw real blood.

Littell, best known for Cold War thrillers such as The Company and The Sisters, proves himself to be both a gentleman and a scholar in his latest novel, a spellbinding and painstakingly researched account of poet Osip Mandelstam’s most famous work, "The Stalin Epigram," often referred to as his "sixteen-line death sentence."

Spun out in an interlocking web of narratives, including those of the poet, his wife, Stalin’s bodyguard, an Olympic weightlifter and others, the book paints a vivid, three-dimensional portrait of the emotional, political and physical carnage wrought by Mandelstam’s literary Molotov cocktail. And yet, The Stalin Epigram is also a love story, set against a richly nuanced historical backdrop in the grand tradition of Doctor Zhivago (written by Mandelstam’s friend Boris Pasternak, who plays a recurring role in this novel). But it’s a quintessentially Russian love story, which virtually guarantees that the rose’s thorn will outlive its petals.

In the words of Mandelstam’s wife, Nadezhda, "What I am recounting does not originate in the lobe of the brain where memory resides. It comes directly from the mind’s eye. . . . When, on occasion, I recall these awful events, they have the odor of earth at a freshly dug grave."

But even in the horrors of the Gulag, the rockiest of soils and the harshest of environments, the triumphant spirit of the poet’s tenderness can not, will not, be eradicated: "I kiss your eyes, I kiss the tears that spill from them should this letter by some miracle reach you. Still dancing." Bravo, comrade.

Thane Tierney, a longtime fan of the Dynamo Moscow hockey team, lives in Los Angeles.

Not since Aleksandr Solzhenitsyn's One Day in the Life of Ivan Denisovich has an author captured the crushing sense of foreboding that hung over Uncle Joe's Soviet state with the clear-eyed acuity that imbues every page of Robert Littell's The Stalin Epigram. It's almost like…

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In The Red Chamber, a vivid, lively reimagining of the lengthy Chinese classic Dream of the Red Chamber, Pauline A. Chen brings to life three unforgettable women trapped by class, time and circumstance.

Set in Beijing at the end of the 18th century—which is when all 2,500 pages of the original were written—the novel is the story of Daiyu, her cousin Baochai and her uncle’s wife, Xifeng.

Daiyu, raised in simple circumstances in the country, is sent to her uncle Jia Zheng’s mansion after her mother dies of consumption. Baochai and her mother and brother already live on the Jia estate, which for all intents and purposes is run by their tight-fisted, capable aunt Xifeng, who handles the money and is in charge of the servants. Picture Downton Abbey in early modern China, and you won’t be too far off the mark. It’s a way of life that has gone on for centuries, but political intrigue, combined with the Jias’ personal conflicts, threatens to bring the entire household to its knees.

The aging emperor is growing feeble, and whether or not the Jias will continue to bask in imperial favor depends upon his choice of successor. Inside the Jia home, the turmoil is just as great. Childless after several years of marriage, Xifeng learns that her husband is going to take another wife. Despising her helplessness within the concubine system, she grows bitter in her need for money and reckless in her search for affection. In the meantime, the close friendship formed by Baochai and Daiyu begins to erode as they both fall for Baoyu, the pampered heir of Jia Zheng.

Chen, who holds degrees from three Ivy League schools, is the author of the well-received children’s novel Peiling and the Chicken-Fried Christmas. Her first novel for adults is skillfully written. Despite their Eastern origins, Chen’s enaging heroines seem like direct descendants of the doomed, repressed women of classic Western literature.

In The Red Chamber, a vivid, lively reimagining of the lengthy Chinese classic Dream of the Red Chamber, Pauline A. Chen brings to life three unforgettable women trapped by class, time and circumstance.

Set in Beijing at the end of the 18th century—which is when all…

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