Eowyn Ivey's last novel, The Snow Child, was an Alaska-set retelling of a magical fairy tale in which love proved strong.
The same can be said of her latest novel, Black Woods, Blue Sky, which published today.
Birdie has been a free spirit who loves her six-year-old daughter, Emaleen. She tries not to feel tied down being a single mother, and usually succeeds. Arthur is the strangely quiet young man who seems to live up in the mountains on the other side of the river. But sometimes he comes to town.
He has started coming into the lodge restaurant where Birdie works, asking for tea and toast. Arthur doesn't talk much. He hasn't since Warren found him in the woods with a bear pelt seemingly attached to parts of his body and a mother Grizzly with a cub nearby. Warren's late wife, Carol, loved and cared for Arthur even more fiercely than their own daughters, making sure Arthur knew what he needed to get by in society. Even though he spends most of his time in the woods.
Birdie takes a liking to him. So does her daughter. Birdie longs for something different than her dead-end waitress job, and fighting the temptations of liquor and bad choices in men. Arthur, who tries to explain his mind functions as if he was in the past, present and future all at once, falls in love with Birdie. He offers to take Birdie and Emaleen to his remote cabin, which once Warren and Carol built in their younger days.
In this version of a tale as old as time, the ways in which Arthur, Birdie and Emaleen find ways to communicate with each other and become attached to each other fit their characters. But what is Arthur, or what did something make him to be? And what will happen when Birdie is tempted to follow Arthur into the woods when he has told her not to?
Then again, there is the truth that Warren knows:
Love is the most powerful force in the world. If you couldn't put your hope in that, what was the point of anything.
Or as a learned friend tells Birdie, quoting Proust, that he hopes she always sees blue sky above her, even when the woods are dark and black.
Throughout the novel, each character's love and appreciation for the Alaskan wilderness is a light into their pure hearts. The descriptions are as lovely as the sun shining on a fish jumping out of the river or a rain drop glistening on a newly opened blossom.
When the story begins, Birdie goes out early one morning to do a little fishing at the river. Just being out there feels good to her.
She knew she might be fishing an empty hole, but it didn't matter. It was enough to be out here, to let the sunlight and the green of the forest, the sound of the creek and the summer birdsong, wash over her.
That kind of love is felt and seen throughout the novel. It is as magical as the story of Arthur, Birdie and Emaleen.
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Several books are being published today. Links below are to The Literate Lizard online bookshop, and blurbs are by the publishers.
Winner of the 2023 Mary McCarthy Prize in Short Fiction, selected by Manuel Muñoz.
Imagine a space where cities and municipalities are delineated only by letters. A place in flux, a freewheeling confluence that does not commit to being American, Korea, or even Korean American. This is where God-Disease takes place. Strange things happen here. Identities warp and shift; sometimes they vanish altogether. In the titular story, a museum insect curator returns to her birth town, J Municipality, feeling empty and searching for answers to her mother’s absence; was it insanity that plagued her, or was it shin-byeong—god-disease?
For fans of Behold the Dreamers, comes a compelling novel about a tightly bound Nigerian family living in Florida and the wounds that get passed down from generation to generation, from the author of the acclaimed Mr. and Mrs. Doctor.
When 276 schoolgirls are abducted from their school in Nigeria, Fidelis Ewerike, a Florida-based barrister, poet, and former POW of the Nigerian Civil War, begins to go mad, consumed by memories of his younger sister Ugochi, who went missing during that conflict. Consumed by survivor’s guilt and fearful that the same fate awaits Amara, his sixteen-year-old daughter who bears an uncanny resemblance to Ugochi, Fidelis locks her in her bedroom, offering no words of explanation, only lovingly—if poorly—made meals and sweets.
Amid that singular action, the Ewerike family spirals into chaos.
Edited by The New Yorker's fiction editor, Deborah Treisman, a celebratory selection from one hundred years of short stories in the magazine which has been the most influential and important showcase for the form and has launched dozens of stellar careers in fiction
Your table awaits at the Chibineko Kitchen, where a soul-nourishing meal in the company of the resident kitten will transport you back in time to reunite with departed loved ones—for fans of Before the Coffee Gets Cold and The Midnight Library.
In a remote seaside town outside of Tokyo, Kotoko makes her way along a seashell path, lured by whispers of an enigmatic restaurant whose kagezen, or traditional meals offered in remembrance of loved ones, promise a reunion with the departed. When a gust of wind lifts off her hat, she sees running after it a young man who looks like her recently deceased brother. But it’s not her brother; it’s Kai, the restaurant’s young chef, who returns her hat and brings her to the tiny establishment, where he introduces her to Chibi, the resident kitten, and serves her steaming bowls of simmered fish, rice, and miso soup—the exact meal her brother used to cook for her. As she takes her first delicious bite, the gulls outside fall silent, the air grows hazy, and Kotoko begins a magical journey of last chances and new beginnings.
- Anoxia by Miguel Angel Hernandez
In this mesmerizing psychological novel, a strange job leads a widowed photographer down a rabbit hole where the line between past and present, and the living and the dead blurs.
What is our relationship with the dead? How do we remember them? What dark secrets do our images of them hold? How do we emerge from grief to face the time we have left?
Ten years after the tragic death of her husband, Dolores Ayala, owner of an old photography studio that has run out of clients, receives the most unusual assignment of her career: to take a portrait of a deceased person on the day of his funeral. Accepting it leads her to meet Clemente Artés, an eccentric old man obsessed with recovering the ancient tradition of photographing the dead. Under his guidance, Dolores will explore this forgotten practice, experience the slow time of the daguerreotype, and our need for images to remember those who are no longer there. She will also discover that some of them hold dark secrets that should never be revealed and, above all, that the dead never cease to move and sometimes pounce on the memory of the living.
A panoramic novel of European history, by an internationally bestselling writer.
The whole truth, as the name implies, is the collective knowledge of all those involved. Which is why you can never really piece it together again afterwards. Because some of those who possessed a part of it will already be dead. Or they’re lying, or their memories are bad.
It’s 1989, and in a small town on the Austria–Hungary border, nobody talks about the war; the older residents pretend not to remember, and the younger ones are too busy making plans to leave. The walls are thin, the curtains twitch, there is a face at every window, and everyone knows what they are not supposed to say.
But as thousands of East German refugees mass at the border, it seems that the past is knocking on Darkenbloom’s door.
An uncertain near-future. A story of new boundaries drawn between people daily. A not-very brave new world.
Add two children. And a horse.
From a Scottish word meaning a transient moment, a shock, a faint glimpse, Gliff explores how and why we endeavour to make a mark on the world. In a time when western industry wants to reduce us to algorithms and data—something easily categorizable and predictable—Smith shows us why our humanity, our individual complexities, matter more than ever.
Canisia Lubrin's debut fiction is that rare work of art—a brilliant, startlingly original book that combines immense literary and political force. Its structure, deceptively simple, is based on the infamous Code Noir, a set of real historical decrees originally passed in 1685 by King Louis XIV of France defining the conditions of slavery in the French colonial empire. The original code had fifty-nine articles; Code Noir has fifty-nine linked fictions—vivid, unforgettable, multilayered fragments filled with globe-wise characters who desire to live beyond the ruins of the past.
Accompanied by black-and-white drawings—one at the start of each fiction—by acclaimed visual artist Torkwase Dyson, and with a foreword by Christina Sharpe, Code Noir ranges in style from contemporary realism to dystopian literature, from futuristic fantasy to historical fiction. This inventive, shape-shifting braid of narratives exists far beyond the boundaries of an official decree.
Margot and Mama have lived by the forest ever since Margot can remember.
When Margot is not at school, they spend quiet days together in their cottage, waiting for strangers to knock on their door. Strays, Mama calls them. People who have strayed too far from the road. Mama loves the strays. She feeds them wine, keeps them warm. Then she picks apart their bodies and toasts them off with some vegetable oil.
But Mama’s want is stronger than her hunger sometimes, and when a beautiful, white-toothed stray named Eden turns up in the heart of a snowstorm, Margot must confront the shifting dynamics of her family, untangle her own desires, and make her own bid for freedom.
With this gothic coming-of-age tale, debut novelist Lucy Rose explores how women swallow their anger, desire, and animal instincts—and wrings the relationship between mother and daughter until blood drips from it.
In this atmospheric novel set in the Jim Crow South, a powerful Black family fights to protect their empire—for readers of Tayari Jones.
Jordan Sable, a prosperous undertaker turned political boss, has controlled the Black vote in St. Louis for decades. Sara, his equally formidable wife, runs the renowned funeral establishment that put the Sable name on the map. Together they have pushed through obstacles in order to create a legacy for their children. When tragedy bursts their carefully constructed empire of dignity and safety, the family rallies around an unconventional solution. But at what cost?
n the 1950s near the Arctic Circle, seven-year-olds Jon-Ante, Else-Maj, Nilsa, Marge, and Anne-Risten are taken from their families. As children of Sámi reindeer herders, the Swedish state has mandated they attend a “nomad school” where they are forbidden to speak their native language. As the children visit home only sporadically, their parents know little about the abuse they face, much of it at the hands of the housemother, Rita. Those who dare to speak up are silenced.
Thirty years later, the five children have chosen different paths to cope with the past. Else-Maj holds strong in her Sámi identity but has turned to religion for comfort, while Anne-Risten now goes by Anne to hide her heritage from friends. Nilsa herds reindeer like his father but harbors a lot of anger, and Jon-Ante struggles with traumatic memories from the school. Then there’s Marge, who is about to adopt a daughter from Colombia, but can’t help questioning if it’s right to take a child from her homeland.
Then suddenly, housemother Rita reappears. Now an old, frail woman claiming to have God on her side, she acts like nothing ever happened. But the five former students have neither forgotten nor forgiven her. As the narrative shifts between each of their perspectives, the novel asks: If you had the chance to punish the person who hurt you as a child, would you?
For fans of David Cronenberg's films and lovers of Kafka, this gaucho-punk, sci-fi novel set in 2197 offers an explosive interpretation of an ultra-capitalistic society on the brink of climate collapse.
The protagonist of this story has no understanding of the words “winter”, "cold”, or "snow" because he has never experienced the phenomena they describe. We find ourselves in Victorica, a province of La Pampa, Argentina, some time after 2197 – the year in which the last of the Antarctic icecaps melted and an unprecedented climate catastrophe ensued, radically transforming the landscape of the region into a Caribbean Pampas. It is here that the Dengue Child grows up, a mutant mix of child and mosquito, the result of crazy experimenting driven by ultra-capitalistic corporations racing against each other to own viruses and their cures, destroying even their very own children’s existence to cash in on the stock exchange.
The Edge of Water by Olufunke Grace Bankole
Set between Nigeria and New Orleans, The Edge of Water tells the story of a young woman who dreams of life in America, as the collision of traditional prophecy and individual longing tests the bonds of a family during a devastating storm.
In Ibadan, Nigeria, a mother receives a divination that foretells danger for her daughter in America. In spite of this warning, she allows her to forge her own path, and Amina arrives in New Orleans filled with hope. But just as Amina begins to find her way, a hurricane threatens to destroy the city, upending everything she’d dreamed of and the lives of all she holds dear. Years later, her daughter is left with questions about the mother she barely knew, and the family she has yet to discover in Nigeria.
A transgressive novel by an acclaimed writer that spans seventy years of Egyptian history.
Amna, Nimo, Mouna—these are all names for a single Egyptian woman whose life has mirrored that of her country. After her death in 2015, her son, Nour, ascends to the attic of their house where he glimpses her in a series of ever more immersive visions: Amna as a young woman forced into an arranged marriage in the 1950s, a coquettish student of French known to her confidants as Nimo, a self-made divorcee and a lover, a “pious mama” donning her hijab, and, finally, a feminist activist during the Arab Spring. Charged and renewed by these visions of a woman he has always known as Mouna, Nour begins a series of fevered letters to his sister—who has been estranged from Mouna and from Egypt for many years—in an attempt to reconcile what both siblings know about this mercurial woman, their country, and the possibility for true revolution after so much has failed.
For readers of Hilary Mantel and Madeline Miller, a deeply engrossing work of historical fiction—a tale of a woman of the Shakespeare family struggling to manage both her private grief and public danger.
At the age of sixty-one, Judith Shakespeare, a midwife-apothecary and twin of the long-dead Hamnet, must flee provincial Stratford on horseback to avoid arrest for witchcraft. Her traveling companions are a zealous Puritan woman and child who have been displaced by civil war—the bloody seventeenth-century strife between Royalists and Roundheads. Judith is also leaving her marriage, which has foundered since the wrenching loss of two adult sons to the plague.
The sequel to the author’s My Father Had a Daughter, a tale of Judith in her youth, The Owl Was a Baker’s Daughter revisits this character for the ages—Shakespeare’s sharp-tongued, witty youngest child, no less feisty in her maturity. Four-hundred years after Judith’s death, Grace Tiffany brings her back onto center stage. Judith’s latest tale offers profound insights—into friendship, motherhood, marriage, religious extremism, and war—which remain resoundingly true today.
For fifty years, Abe and Jane have been coming to Central Park, as starry-eyed young lovers, as frustrated and exhausted parents, as artists watching their careers take flight. They came alone when they needed to get away from each other, and together when they had something important to discuss. The Park has been their witness for half a century of love. Until now.
Jane is dying, and Abe is recounting their life together as a way of keeping them going: the parts they knew—their courtship and early marriage, their blossoming creative lives—and the parts they didn’t always want to know—the determined young student of Abe’s looking for a love story of her own, and their son, Max, who believes his mother chose art over parenthood and who has avoided love and intimacy at all costs. Told in various points of view, even in conversation with Central Park itself, these voices weave in and out to paint a portrait as complicated and essential as love itself.
A journalist finds himself embroiled in a disastrous government campaign as well as a sweeping romance in this landmark English translation of Ethiopia’s most famous novel.
An engrossing political thriller and a tale of love and war for readers of John Le Carré and Philip Kerr.
December 1981, Ethiopia. Tsegaye Hailemaryam, a well-known journalist for the state-run media, has just landed in Asmara. He is on assignment as the head of propaganda for the Red Star campaign, a massive effort by the Ethiopian government to end the Eritrean insurgency. There, amid the city’s bars and coffeehouses buzzing with spies and government agents, he juggles the demands of his superiors while trying to reassure his fiancée back home that he’s not straying with Asmara’s famed beauties.
As Tsegaye falls in love with Asmara—and, in spite of his promises, with dazzling, enigmatic local woman Fiammetta—his misgivings about the campaign grow. Tsegaye confronts the horror of war when he is sent with an elite army unit to attack the insurgents’ mountain stronghold. In the aftermath, he encounters betrayals that shake his faith in both the regime and human nature.
In 1943, when a frail old white woman shows up in Red Clay, Alabama, at the home of a Black former slave—on the morning following his funeral—his family hardly knows what to expect after she utters the words “… a lifetime ago, my family owned yours.” Adelaide Parker has a story to tell—one of ambition, betrayal, violence, and redemption—that shaped both the fate of her family and that of the late Felix H. Parker.
But there are gaps in her knowledge, and she’s come to Red Clay seeking answers from a family with whom she shares a name and a history that neither knows in full.
A breathtaking novel of longing, uncertainty, and ultimately of hope, written by an International Prize for Arabic Fiction-winning author and an International Booker-prize winning translator
Azzan is a beekeeper in a rural community in Oman. Devoted to tending his bees and searching for wild hives, he encounters Thamna, a lone shepherd woman, on a mountain slope and is captivated by her and her honey-colored eyes.
Across the breathtaking vistas of Oman’s remote mountains and plains, Azzan’s troubled past and present unfold. A disappointment to his family, he turns to drink, and ultimately discovers the healing power of his beekeeping, before an accident in which he loses all.
Published in Australia in 2009, Barley Patch was Murnane's first book in fourteen years, written after a period in which he had thought he would never write fiction again.
The book begins with the question, "Must I write?" What follows is both a chronicle of the images that have endured in the author’s mind and an exploration of their nature. The clarity of the images is extraordinary, as is their range, from Mandrake the Magician to the bachelor uncle kicked in the "stones" as a child, from a cousin’s doll’s house to the mysterious woman who lets her hair down, from the soldier beetle who winks messages from God to the racehorses that run forever in the author’s mind.
The narrator lays bare the acts of writing and imagining, finally giving us a glimpse of the mythical place where the characters of fiction dwell before they come into existence in books. With something of the spirit of Italo Calvino and Georges Perec, this is a cornerstone of Murnane's unclassifiable project, for which he is a deserving Nobel Prize candidate.
In a remote fishing village, a boy and his best friend spend the lonely hours on shore reading and talking about poetry. When the friend, absorbed in a borrowed copy of Paradise Lost, forgets his oilskin one morning and the crew is unexpectedly caught at sea in a savage winter storm, tragedy strikes. Overwhelmed by grief—and his crewmates’ indifference to what has happened—the boy leaves the village, determined to return the book to its owner. The hardship and danger of the journey is of little consequence: he’s already resolved to join his friend in death. But when he reaches the town where he intends to end his days, he couldn’t have imagined the stories and lives he finds.
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