After 27 years of marriage and three children, Anna Oh—wife, mother, outsider artist—has fallen in love with Viveca, the wealthy Manhattan art dealer who orchestrated her success. They plan to wed in the Oh family’s hometown of Three Rivers in Connecticut. But the wedding provokes some very mixed reactions and opens a Pandora’s Box of toxic secrets—dark and painful truths that have festered below the surface of the Ohs’ lives.
We Are Water is a layered portrait of marriage, family, and the inexorable need for understanding and connection, told in the alternating voices of the Ohs—nonconformist, Anna; her ex-husband, Orion, a psychologist; Ariane, the do-gooder daughter, and her twin, Andrew, the rebellious only son; and free-spirited Marissa, the youngest. It is also a portrait of modern America, exploring issues of class, changing social mores, the legacy of racial violence, and the nature of creativity and art.
With humor and compassion, Wally Lamb brilliantly captures the essence of human experience and the ways in which we search for love and meaning in our lives.
You might be wondering what a diary from 1991 has to do with you. You're about to find out. Those who don't learn from the past are doomed to repeat it…
Twenty-four-year-old Cheyenne Florian has just received her dream job offer. On the strength of a few vlogs, she’s recruited to be the new correspondent on the recently hatched Independent News Network, INN.
With the slogan “Because independent thinking is the only way out,” INN has branded itself as innovative. Yet once Cheyenne joins the INN team, she finds age-old dynamics in play. Some of the female staff resent her meteoric rise, while a number of the men are only too happy to welcome her. Then there’s the diary left for her anonymously, written in 1991 by a female broadcaster named Elyse Rohrbach. The mysterious diary is accompanied by a note, urging Cheyenne to learn from the past. She wants to believe it’s intended as inspiration and friendly advice, or at most, a warning. But as disturbing—and increasingly dangerous—parallels begin to emerge, she starts to wonder if something more sinister is at work.
It’s almost as if someone is engineering the similarities in Cheyenne’s life to match those from Elyse’s past, like she’s a pawn in a very twisted game. But Cheyenne is determined to rewrite the rules and play her own game. Though they’re separated by more than twenty-five years, Elyse and Cheyenne are forced to learn the same lesson: Nothing is more threatening than a woman who doesn’t yet know her own power…
“In her elegant, sophisticated prose, Dillard tells a tale of intimacy, loss and extraordinary friendship and maturity against a background of nature in its glorious color and caprice. The Maytrees is an intelligent, exquisite novel.” — The Washington Times
Toby Maytree first sees Lou Bigelow on her bicycle in postwar Provincetown, Massachusetts. Her laughter and loveliness catch his breath. Maytree is a Provincetown native, an educated poet of thirty. As he courts Lou, just out of college, her stillness draws him. Hands-off, he hides his serious wooing, and idly shows her his poems.
In spare, elegant prose, Dillard traces the Maytrees' decades of loving and longing. They live cheaply among the nonconformist artists and writers that the bare tip of Cape Cod attracts. When their son Petie appears, their innocent Bohemian friend Deary helps care for him. But years later it is Deary who causes the town to talk.
In this moving novel, Dillard intimately depicts willed bonds of loyalty, friendship, and abiding love. She presents nature's vastness and nearness. Warm and hopeful, The Maytrees is the surprising capstone of Dillard's original body of work.