Book Club

There’s a touch of Gothic excess about Liz Moore’s suspense novel The God of the Woods, beginning with the plot premise that not one, but two children from the wealthy Van Laar family disappear from the same camp in the Adirondacks some 14 years apart. Moore’s previous book, Long Bright River, was a superb novel about the opioid crisis in Philadelphia; The God of the Woods is something stranger and unforgettable.

Based on a celebrated 19th-century criminal trial in which the defendant was accused of impersonating a nobleman, Smith’s novel offers a vast, acute panoply of London and the English countryside, and successfully locates the social controversies of an era in a handful of characters. Chief among them are a widowed Scottish housekeeper who avidly follows the trial and a formerly enslaved Jamaican servant who testifies on behalf of the claimant. Smith is a talented critic as well as a novelist, and — by way of the housekeeper’s employer, a once popular writer and friendly rival of Dickens — she finds ample opportunity to send up the literary culture of the time while reflecting on whose stories are told and whose are overlooked. “As always, it is a pleasure to be in Zadie Smith’s mind, which, as time goes on, is becoming contiguous with London itself,” Karan Mahajan wrote in his review. “Dickens may be dead, but Smith, thankfully, is alive.”

In the spring of 2020, Lara’s three daughters return to the family’s orchard in Northern Michigan. While picking cherries, they beg their mother to tell them the story of Peter Duke, a famous actor with whom she shared both a stage and a romance years before at a theater company called Tom Lake. As Lara recalls the past, her daughters examine their own lives and relationship with their mother and are forced to reconsider the world and everything they thought they knew. Tom Lake is a meditation on youthful love, married love, and the lives parents have led before their children were born. Both hopeful and elegiac, it explores what it means to be happy even when the world is falling apart. As in all of her novels, Ann Patchett combines compelling narrative artistry with piercing insights into family dynamics. The result is a rich and luminous story, told with profound intelligence and emotional subtlety, that demonstrates once again why she is one of the most revered and acclaimed literary talents working today.

Part detective novel, part psychological thriller, Surfacing is the story of a talented woman artist who goes in search of her missing father on a remote island in northern Quebec. Setting out with her lover and another young couple, she soon finds herself captivated by the isolated setting, where a marriage begins to fall apart, violence and death lurk just beneath the surface, and sex becomes a catalyst for conflict and dangerous choices. Surfacing is a work permeated with an aura of suspense, complex with layered meanings, and written in brilliant, diamond-sharp prose. Here is a rich mine of ideas from an extraordinary writer about contemporary life and nature, families, and marriage, and about women fragmented…and becoming whole.

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.