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.
The novel is set against one of the most dramatic political chronicles of the twentieth century: the Congo's fight for independence from Belgium, the murder of its first elected prime minister, the CIA coup to install his replacement, and the insidious progress of a world economic order that robs the fledgling African nation of its autonomy. Against this backdrop, Orleanna Price reconstructs the story of her evangelist husband's part in the Western assault on Africa, a tale indelibly darkened by her own losses and unanswerable questions about her own culpability. Also narrating the story, by turns, are her four daughters—the self-centered, teenaged Rachel; shrewd adolescent twins Leah and Adah; and Ruth May, a prescient five-year-old. These sharply observant girls, who arrive in the Congo with racial preconceptions forged in 1950s Georgia, will be marked in surprisingly different ways by their father's intractable mission, and by Africa itself. Ultimately each must strike her own separate path to salvation. Their passionately intertwined stories become a compelling exploration of moral risk and personal responsibility.
Dancing between the dark comedy of human failings and the breathtaking possibilities of human hope, The Poisonwood Bible possesses all that has distinguished Barbara Kingsolver's previous work, and extends this beloved writer's vision to an entirely new level. Taking its place alongside the classic works of postcolonial literature, this ambitious novel establishes Kingsolver as one of the most thoughtful and daring of modern writers.
Grief-stricken and bewildered, Edgar tries to prove Claude played a role in his father's death, but his plan backfires—spectacularly. Forced to flee into the vast wilderness lying beyond the farm, Edgar comes of age in the wild, fighting for his survival and that of the three yearling dogs who follow him. But his need to face his father's murderer and his devotion to the Sawtelle dogs turn Edgar ever homeward.
David Wroblewski is a master storyteller, and his breathtaking scenes—the elemental north woods, the sweep of seasons, an iconic American barn, a fateful vision rendered in the falling rain—create a riveting family saga, a brilliant exploration of the limits of language, and a compulsively readable modern classic.