Book Club

June 1960. Rough weather at sea leaves a group of strangers stranded on the idyllic Greek island of Utakos, all guests of the only local hotel. Nothing could prepare them for what happens next: Edith Mander, a quiet British tourist, is found dead inside a beach cabana. What appears at first glance to be a clear suicide reveals possible signs of foul play to Ormond Basil, an out-of-work but still well-known actor who in his glory days portrayed the most celebrated detective of all time. Accustomed to seeing him display Sherlock Holmes’ amazing powers of deduction on the big screen, the other guests believe that the actor is the best equipped to uncover the truth.

But when a second body is discovered, there is not a doubt in Basil’s mind: a murderer walks among them. What’s more, the killer is staging each crime as a performance, leaving complex clues that bear an eerie resemblance to those found in the pages of Conan Doyle stories. This is a criminal who knows every trick in the book and is playing a deadly literary game. As the storm rages, Basil must become the genius detective he has only pretended to be.

This clever, whip-smart, locked-room mystery from internationally bestselling author Arturo Pérez-Reverte is a love letter to golden-age detective novels. The Final Problem delights in exploring the tension between an investigator and his suspects, as well as a writer and his reader, delivering a revelatory twist that will shock even the sharpest of mystery fans.

How nerve-racking to be G.W. Pabst, the 20th-century Austrian filmmaker at the center of Kehlmann’s wondrous novel. He’s an auteur stuck in Europe under Nazi rule, forced to make propaganda and benign duds for the Reich while compromising every creative principle he once stood for. “The important thing is to make art under the circumstances one finds oneself in,” Pabst murmurs at one point, winning over exactly no one. Still, Kehlmann’s complex portrait, brightened by caustic humor and memorable historical cameos (and fluidly translated from the German by Ross Benjamin), presents an intriguing test of integrity in a fracturing world. The timing couldn’t have been better. 

The Last Flight is thoroughly absorbing – not only because of its tantalizing plot and deft pacing, but also because of its unexpected poignancy and its satisfying, if bittersweet, resolution. The characters get under your skin. Two women. Two flights. One last chance to disappear. Claire Cook has a perfect life. Married to the scion of a political dynasty, with a Manhattan townhouse and a staff of 10, her surroundings are elegant, her days flawlessly choreographed, and her future auspicious. But behind closed doors, nothing is quite as it seems. That perfect husband has a temper that burns as bright as his promising political career, and he’s not above using his staff to track Claire’s every move, making sure she’s living up to his impossible standards. But what he doesn’t know is that Claire has worked for months on a plan to vanish. A chance meeting in an airport bar brings her together with a woman whose circumstances seem equally dire. Together they make a last-minute decision to switch tickets – Claire taking Eva’s flight to Oakland, and Eva traveling to Puerto Rico as Claire. They believe the swap will give each of them the head start they need to begin again somewhere far away. But when the flight to Puerto Rico goes down, Claire realizes it’s no longer a head start but a new life. Cut off, out of options, with the news of her death about to explode in the media, Claire will assume Eva’s identity, and along with it, the secrets Eva fought so hard to keep hidden. For fans of Lisa Jewell and Liv Constantine, The Last Flight is the story of two women – both alone, both scared – and one agonizing decision that will change the trajectory of both of their lives.

Maine,1789: When the Kennebec River freezes, entombing a man in the ice, Martha Ballard is summoned to examine the body and determine cause of death. As a midwife and healer, she is privy to much of what goes on behind closed doors in Hallowell. Her diary is a record of every birth and death, crime and debacle that unfolds in the close-knit community. Months earlier, Martha documented the details of an alleged rape committed by two of the town’s most respected gentlemen—one of whom has now been found dead in the ice. But when a local physician undermines her conclusion, declaring the death to be an accident, Martha is forced to investigate the shocking murder on her own. Over the course of one winter, as the trial nears, and whispers and prejudices mount, Martha doggedly pursues the truth. Her diary soon lands at the center of the scandal, implicating those she loves, and compelling Martha to decide where her own loyalties lie.

Jean Strouse’s Family Romance: John Singer Sargent and the Wertheimers looks at twelve portraits of one English family painted by the expatriate American artist at the height of his career―and at the intersections of all these lives with the sparkle and strife of the Edwardian age. In commissioning this grand series of paintings, Asher Wertheimer, an eminent London art dealer of German-Jewish descent, became Sargent’s greatest private patron and close friend. The Wertheimers worked with Rothschilds and royals, plutocrats, and dukes―as did Sargent. Asher left most of his Sargent portraits to the National Gallery in London, a gift that elicited censure as well as praise: it was a new thing for a family of Jews to appear alongside the Anglo-Saxon aristocrats and dignitaries painted by earlier masters.Strouse’s account, set primarily in England around the turn of the twentieth century, takes in the declining fortunes of the British aristocracy and the dramatic rise of new power and wealth on both sides of the Atlantic. It travels back through hundreds of years to the Habsburg court in Vienna and forward to fascist Italy in the 1930s. Its depictions of Sargent, his sitters, their friendships and circles, and the portraits themselves light up a period that saw tumultuous social change and the birth of the modern art market.

In this novel of the glittering and gritty Jazz Age, a young aspiring photographer named Dorothea Lange arrives in San Francisco in 1918. As a newcomer—and naïve one at that—Dorothea is grateful for the fast friendship of Caroline Lee, a vivacious, straight-talking Chinese American with a complicated past, who introduces Dorothea to Monkey Block, an artists’ colony and the bohemian heart of the city. Dazzled by Caroline and her friends, Dorothea is catapulted into a heady new world of freedom, art, and politics. She also finds herself falling in love with the brilliant but troubled painter Maynard Dixon. As Dorothea sheds her innocence, her purpose is awakened and she grows into the artist whose iconic Depression-era “Migrant Mother” photograph broke the hearts and opened the eyes of a nation. A vivid and absorbing portrait of the past, The Bohemians captures a cast of unforgettable characters, including Frida Kahlo, Ansel Adams, and D. H. Lawrence. But moreover, it shows how the gift of friendship and the possibility of self-invention persist against the ferocious pull of history.

Ning is a retired boxer, but to the customers who visit her nail salon, she is just another worker named Susan. On this summer’s day, much like any other, the Susans buff, clip, and polish and tweeze. They listen and smile and nod. But beneath this superficial veneer, Ning is a woman of rigorous intellect and profound complexity. A woman enthralled by the intricacy and rhythms of her work but also haunted by memories of paths not taken and opportunities lost. A woman navigating the complex power dynamics among her fellow Susans, whose greatest fears and desires lie just behind the gossip they exchange. As the day’s work grinds on, the friction between Ning’s two identities—as anonymous manicurist and brilliant observer of her own circumstances—will gather electric and crackling force, and at last demand a reckoning with the way the world of privilege looks at a woman like Ning.