A museum curator’s job in London forces her to confront an old heartache in Ward’s novel.

Noel Enfield has been stuck in her position as the Director of Collections at Massachusetts’ Field-Lyons Museum for years. She allowed her career to languish to give her full attention to her husband and stepdaughter, Alice. Now, just as her marriage is ending in divorce and her relationship with Alice is in doubt, Noel has received an offer: a six-month appointment at the renowned Addison Gallery in London, to be followed by a promotion when she returns to the Field-Lyons. She leaps at the opportunity—how could she not, especially when she learns her accommodations will be large enough for Alice to come visit? But London isn’t exactly a clean slate for Noel. She was a university student there, years ago, when she fell in love with Bryn Jones, a Welsh artist whom she planned to marry. The relationship ended soon after Noel discovered she was pregnant, and she retreated to America without a husband, a child, or her degree. Now, Noel’s position at the Addison has placed her at the center of the London art scene, where long-lost acquaintances from her university days—including the now-established Bryn—pop back into her life. It turns out the past is much more complicated than Noel ever knew, but will pursuing a chance at the family Noel might have had cost her the one she’s desperately fighting to save? Ward writes of art and the art world with precision and vigor, as here when she describes one of Bryn’s paintings: “The painting—unfinished—was of a lake…Bold strokes and varying thicknesses of paint suggested textured fields in the distance, remnants of snow on the mountains, red flowers—or were those lichens?—dotting the rocks lakeside.” The story deftly leaps back and forth between the early 1990s and the present, crafting a romance that, while predictable in places, always manages to hold the contented reader in the palm of its hand.

An artful and affecting novel of loss and reconnection.

Ward offers a thoughtful novel about the long-term repercussions of one man’s impulsive act.

In April 2008, David Herron, a small-business owner in desperate financial straits due to the financial crisis and recession, commits suicide, which irrevocably alters the lives of his family, friends, and even people whom he’s never met. The story, set on Massachusetts’ North Shore, picks up again two years later with moving portrayals of the changed circumstances and turbulent emotions of several main characters affected by the drastic act. His wife, Jules, a baker; his teenage daughter, Rennie; his childhood best friend, Charlie Gale; his banker, Dan Hopper; and Denise Healey, a former police detective, are all struggling in different ways to cope with deep feelings of guilt and self-blame, each for their own personal reasons. Each of these characters is vividly drawn, uniquely individual, and highly relatable; their relationships are complex, and their stories intersect in unexpected ways. The chapters rotate through different points of view and are grouped into chronological sections, ending in April 2011. A few of the transitions between time periods and points of view seem jarring at first, but ultimately the narrative weaves its strands together into a coherent whole. Ward masterfully builds a sense of dread with mundane details in the first section, and the way that she finds significance in moments of ordinary, everyday life is reminiscent of the work of Anne Tyler. This deeply empathetic novel deals sensitively with difficult subjects, exploring the experience of loss, the tension between revealing one’s emotions and holding them back, and the fundamental human need for forgiveness—from others and from oneself. Its satisfying conclusion avoids easy resolutions, instead offering readers a sense of open-ended, hopeful possibility.

An insightful and psychologically astute story of ordinary people moving forward after personal tragedy.

A vibrant landscape of a family shattered by divorce, letting time and choices bring the pieces back together in moving on or letting go.

Ward’s (Hunger, 2001) second novel begins from the perspective of Jack Manoli, lying on his deathbed in the condo he shares with his much younger second wife, Sylvie. His love for Sylvie, his former-secretary-turned-business-partner-and-wife, is absorbing and passionate enough to have caused Jack to start up an affair many years ago and leave his children, Mark and Shelley, with their unstable mother. Upon Jack’s death, his now-adult children are left to decide what is to become of the Rockport lake house that was Sylvie and Jack’s sanctuary, the foundation where their affair solidified into a life together and the site full of bad memories for Mark, as it was where father and son’s relationship broke apart. For Mark, a pot-smoking mosaic artist, art imitates life; his anger is dangerously bottled up, destroying his relationship with his live-in girlfriend just as he shatters ceramic and glass for his mosaic landscapes. Shelley is a teacher working tirelessly to protect her younger brother and create the family life she never had for her husband and two daughters. She hopes to help Mark find a balance “somewhere in between perfection and devastation” creating a reality “where all the many pieces of us—the pleasant and painful—can be reconfigured into an imperfect but solid-enough life”— something their father also strived to create in choosing Sylvie. Ward fashions characters with rich detail, allowing each to leave a distinct impression. While not always likable (Sylvie comes off as a selfish stepmother at times), they are nonetheless genuine. Building layer upon layer of each family member’s story, Ward shows the complexity of divorce from all sides, even revisiting Jack’s thoughts throughout the book. Mark and Shelley are faced with what to do with the lake house and whether to shed the hurt caused by their father’s choices by making new choices for themselves to gain happiness, peace and, ultimately, freedom. A rich, complex novel that mixes art and life into a story about the decisions that lead to healing or hurt.

A frustrated cook leads a flavorless life—until she leaves her husband.

Anna Rossi loved Michael once, when he was a brilliant student and great kisser. But that was before he became a stuffed-shirt lawyer with friends and colleagues who always ask her if she majored in home ec. She's tired of being patronized and weary of her loveless marriage, but her daughter Sara is only six, too young to handle the stress of a divorce. When Anna talks Michael into a vacation at a New Hampshire inn, hoping for a reconciliation, the two discover, not surprisingly, that there really isn't anything left to say. Anna stays on to work in the kitchen, keeping Sara with her while Michael reluctantly returns to Chicago. She soon strikes up a friendship with James, the inn's sous-chef and a man who knows his way around a mushroom. His knack for fine cooking and his sensual good looks impress Anna, and it's not long before the two become lovers, though Michael continues besieging his wife with eloquent letters, wondering where they went wrong and answering his own questions all in one breath. Anna broods in silence and doesn't reply as she contemplates her failed marriage and compares it to that of her unhappy parents, throwing in, for good measure, every wrong turn she ever took and the least slight she ever suffered. Her mother's sudden stroke and subsequent disability compel Anna to make the most of her life while she's still young enough to enjoy it, and so the agonizing process of divorce begins, though it's instigated by the understandably jealous Michael. In due time, he and Anna part ways forever, and she begins her life anew, doing what she loves at last.

Thoughtful but awkwardly written debut about a young woman's emotional awakening. The doleful tone, unfortunately, is unrelenting.