Domenico Starnone’s The Old Man by the Sea is a slim masterpiece of a novel about an 82-year-old Neapolitan man, Nicola, who has spent his entire life telling stories, becoming very, very good at it. In words, with his pen, in the notebook he carries with him everywhere, he records life’s minutiae, its ephemera, those vibrating essences and almost imperceptible atoms of existence that most of us barely notice but that constitute the very stuff of life. Yes, recording the universe in each grain of sand has become second nature to Nicola. But of course, there is always something that escapes. Something unnamable that resists, remaining on the margins, slithering away, a movement intuited rather than identified. And this fact, for Nicola, is a source of deep anxiety and a growing sense of failure.
Now, ensconced in a house on the dunes south of Rome, Nicola spends his mornings writing, watching the waves, and observing Lu, a store clerk in her twenties whose graceful canoeing stirs faint echoes of his mother—a glamorous, headstrong woman who defied convention with her beauty and creativity. As Nicola reflects on the women who shaped him and the passions he has never outgrown, he finds himself drawn into the nefarious intrigues of the small seaside town and its inhabitants. He will end by embarking on an improbable and ill-advised kayak adventure of his own with Lu’s young son, as Starnone himself brings this slim, virtuoso novel about eros and melancholy, memory and reinvention, age and imagination, to an unexpected conclusion.
In 1939, just as the clouds of war are gathering, Richard Halifax—boys' adventure writer of manly bravado and the breeziest of prose styles—vanishes in the Pacific. Halifax was attempting to sail a Chinese junk from Hong Kong to San Francisco as part of the World’s Fair festivities on Treasure Island. But while his disappearance upends the lives of those left in his wake back home, both his machinations and his letters to his young readers live on.
Hildegard Rauch, an émigré painter and the daughter of Germany’s greatest living writer in exile, finds her twin brother in a coma after an attempted suicide. He left a mysterious note that sends her on a search for the truth about her brother’s relationship with Richard Halifax and the dangerous secret he entrusted to the writer before his voyage.
Simon Faulk, a British intelligence officer, has been assigned to ferret out Nazi spies in California. He learns of the arrival of a mysterious American agent from across the Pacific, part of a joint German-Japanese operation.
Told in the alternating voices of these three characters, set against the growing threat of another world war and a World’s Fair dedicated to peace, World Pacific is a madcap quixotic tale that explores the many forms of shipwreck, exile, betrayal, and the stories we tell ourselves in the fight to stay afloat.
Ruth is raised in a snow globe of Christian communism, a world without private property, television, or tolerance for idle questions. Every morning she braids her hair and wears the same costume, sings the same breakfast song in a family room identical to every other family room in the community; every one of these moments is meant to be a prayer, but to Ruth they remain puzzles.
Her life is seen in glimpses through childhood, marriage, and motherhood, as she tries to manage her own perilous curiosity in a community built on holy mystery. Is she happy? Might this in fact be happiness?
Tombstone, Texas, has never seen anything like the barefoot travelers who barrel in one afternoon, looking like they just stepped out of the seventies. They appear right in the middle of Pinky Elizabeth Swear’s eulogy for her beloved rescue cat, Sweet Potato Grace (may she rest in eternal peace and abundance of goat cheese). To be honest, Pinky is relieved at the interruption. She’d planned to use the second half of her eulogy to come out of the closet. Now, she doesn’t have to.
Are the newcomers a circus troupe? Revolutionaries? A sinister cult? While the town grows suspicious and rumor mills churn, Pinky finds herself drawn to the charisma of the barefoot strangers. Perhaps, she starts to think, the wrath of Tombstone is a thing worth risking in order to be true to oneself.
Ophelia Blue Rivers is a descendent of Cherokee Freedmen: Blacks formerly enslaved by rich southern Cherokee. She is “Black” but doesn’t understand why that makes her different. She is “Cherokee” but struggles to know what that means.
Their town of Etsi—once a reservation—still lives with the wounds of its disbanding. When the town, and the river that sustains it, are put in mortal danger personal rivalries threaten their very survival. Against this backdrop Ophelia begins her spirited, at times harrowing, search for place and family. She must discover: what does it mean to belong when belonging comes at such a high price?
Along the way to a translation writing residency on the Dalmatian coast, Archipelago’s unnamed narrator has an unsettling, aggressive encounter with a man on a ferry, which sets off a series of strange events. At the residency, she reunites with Luka, an old friend who seems to have included a version of her in his novel. They strike up a romantic relationship as she continues her translation work.
Reverend Sabre Winfrey, Jr., shepherd of the Seven Seals Missionary Baptist Church, believes in God, his own privilege, and enterprise. He owns the barbershop and the radio station, and generally keeps an iron hand on every aspect of society in Dominion, Mississippi. He and his wife, Priscilla, have five boys; the youngest, Emanuel, is called Wonderboy—no one sings prettier, runs as fast, or turns as many heads. But Wonderboy, his father, and all the structures in place that keep them on top are not as righteous as they seem to be. And when Wonderboy is caught off guard by an encounter with a stranger, he finds himself confronted by questions he’d never imagined. His response sends shock waves through the entire community.
The Chu siblings haven’t seen each other in years but when they’re told that their ailing mother is scheduled for an operation next month, they agree to visit her together. Then their mother makes an odd request: before seeing her, they must go on a road trip together to the Grand Canyon.
Thirty years ago, a strange incident had aborted a previous family road trip there. No one’s ever really spoken about it, but during this journey, the middle-aged Chu siblings have no choice but to confront their childhood experience.
Together, Bonnie, Kevin, and Alex travel along Route 66—but as the trip continues, they realize the Great American Road Trip may not be what they expected. Facing their own prejudices and those of others, they somehow learn to bridge the distances between them, the present-day, and their past.
A mail order bride from Taiwan is packed up in a cardboard box and sent via express shipping to California, where her much older husband awaits her. Two teenage girls meticulously plan how to kill and cook their downstairs neighbor. An American au pair moves to Paris to find herself, only to find her actual French doppelgänger. A father reunites with his estranged daughter in unusual circumstances: as a background actor on the set of her film. A writer’s affair with a married artist tests the line between fact and fiction, self-victimization and the victimization of others.
In these six singular stories and a novella that pivot from the terrible to the beautiful to the surreal, Elaine Hsieh Chou confronts the slipperiness of truth in storytelling.
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