Oh, I was so wrong about this book.

Multiple times I resisted buying this book by Sue Monk Kidd, even though I have read her previous three novels and loved them. But there was something about the plot description that made me recoil. ANOTHER book about Jesus's nonexistent wife? Give me a break. And then I read a professional book review that changed my mind, and I'm really glad that happened. This is not just another book about Jesus's nonexistent wife. It is so much more. Yes, it is a book about Jesus. His family. His early years before his public ministry began. But most of all, it is a radical portrayal of one woman's voice in a time when women had no power, no position, no privilege—and especially no voice.

It would have been most unusual — as in, it would have defied the most closely held and important expectations of society — for Jesus to not have married. New Testament Scripture actually doesn't say one way or the other if Jesus was married. It wasn't until the second century CE that the first claims were made that Jesus remained single and celibate. (Read the "Author's Note" at the end of the book for more fascinating information on this.)

But what if Jesus did marry? That is the premise of Kidd's book, written in the first person by the woman the author imagined to have married him. Her name is Ana, and unlike Jesus, she comes from an upper-class family. Ana is smart and capable. She is also stubborn, determined, and filled with longings for a life she can never have simply because she is female. She can read and write, and her greatest joy in life, much to her mother's chagrin, is writing stories. Ana is a rebel, who finds it difficult to fit into society as the placid and meek woman she is expected to be. When she meets Jesus in the marketplace, her world is turned upside down. Complicating matters, Ana's father is Herod Antipas's top scribe, and Judas is her (adopted) brother. When Ana's life is threatened by Herod Antipas, she escapes to Alexandria with her beloved aunt, Yaltha, who has a devastating secret of her own, which is the same time that Jesus's active ministry begins.

And finally…the Passion story as portrayed in this book is so emotionally and even physically resonant that I found myself holding my breath as I read. It will forever change the way I hear the Passion every Palm Sunday and during the Stations of the Cross.

The power of this book is twofold: First, the expertly researched, detailed, and absolutely fascinating descriptions of life in the first century are worth the price of the book. Second, Kidd writes with the utmost respect and reverence to fully commemorate and portray Jesus's humanity. And as odd as it may sound, it's totally believable and realistic.

Brilliant and beautiful, as well as richly imagined, this book is a thought-provoking celebration of not only Jesus's life, but also the redemptive power of one woman's voice. And that becomes an acknowledgement to all the women throughout time who were silenced and never heard.

When actress Isla Fisher did an interview to promote the movie "Wedding Crashers," she was asked how her appearance in it had changed her career. She said it hadn't, acknowledging there weren't many comic opportunities for women in Hollywood. "All the scripts are for men and you play the girl."

How is it that women, beginning when they are little girls, learn how to "play the girl" in society? In these 21 smart and sassy essays, author Carina Chocano expounds on all the mixed messages with which women and girls are bombarded from the time they are old enough to watch Disney movies. Be sexy. No, be smart. Wait, be both. Do this. No, you can't do that. And all these messages have one thing in common: They are what men want the ideal woman to be.

Creatively framed using some of the confusing messages Alice was assailed with during her bizarre adventures in Wonderland, Chocano explores her topics largely by examining popular culture, especially movies and TV shows—from "The Stepford Wives" to "Real Housewives," from Playboy to "Pretty Woman," and from "Sex in the City" to "Mad Men." (An earlier gig as a film critic makes her rather good at doing this.) She is especially adept at zeroing in on exactly what it is about these films and TV shows that tell women who and what they should be and why this so often makes us uncomfortable.

While each of the essays is imminently readable, I found I enjoyed the book far more by reading one or two essays a day and no more. Because this is such an emotionally-charged topic for most women, it felt like psychic overload when I read more than that. That is, the essays are powerful enough that I really needed time to think a bit between them.

While I recommend this book for all women, I especially recommend it for men, who may never have realized the emotionally damaging and intellectually intimidating mixed messages in our popular culture that is directly aimed at the psyches of their beloved wives, sisters, and daughters.

I first read this magnificent book by Eowyn Ivey in 2014 and reread it now for my book club. It's even better the second time around!

This is a delightful tale mixed in equal parts with fantasy and realism--so much so that it's hard to tell which is which. A childless man and woman, who have recently moved to Alaska from Pennsylvania, build a snow-girl on a lark during the season's first snowstorm. The next morning, the snow-girl has disappeared, and against all common sense it seems as if she has come to life. She says her name is Faina. Or is this an orphan child who desperately needs their love?

Set in the Alaskan wilderness of the 1920s when brave, hardy homesteaders carved farms out of unyielding forests and hunted wolverine and marten and lived on moose and potatoes all winter (if they were lucky), this tale is filled with magic, love, the bonds of friendship and, above all, the joy of family. It made me laugh, and it made me cry.

One of the advantages of rereading a book when I already know what happens is that I am able to pay closer attention to the literary elements of the story. I was especially struck by the symbolism of the color yellow, beginning with a yellow leaf trapped beneath ice and ending with yellow birch leaves lining a trail. In between there are yellow asters, yellow grass, Faina's yellow hair, yellow feathers, yellow sun, and yellow lamplight. In literature, yellow is often associated with joy and happiness, and when yellow is mentioned in this novel, it certainly seemed to signal a special kind of joy in a story that is also filled with tragedy and sorrow.

This is an engrossing, lively, and (most of all) delightful tale that is ideal reading on a cold winter night.

What is your address? The answer to that seemingly innocuous question reveals more about you than you probably ever considered. This fascinating book by Dierdre Mask explains everything you never knew about what your address means and what it can tell others about you—from your race to your income.

From the slums of Calcutta to the confusing layout of streets in Tokyo and from the hollows of West Virginia to the poshest avenues of Manhattan, Mask explores the history of numbering houses and naming streets. Find out why governments began numbering houses in the first place, the meanings behind various street names, the sometimes-nefarious political machinations of street naming and how such names can be used as propaganda, and how class and status are reflected in an address.

In addition to fun facts, such as how your street name can affect your home's value, Mask offers up remarkable tidbits on the backstories of street names in Berlin, New York City, South Korea, and parts of London. Find out the most common street name in America. (Hint: It's not Main Street. Or First Street.)

Consider the homeless. One of their worst problems is not having an answer to the question: What is your address? Without an address, they can't fill out a job application. Without a job, there isn't much hope for ever being able to get a home. And some companies and restaurants require not only an address, but also being able to demonstrate you have lived at that location for a certain period of time.

I ask again: What is your address? Because your address is truly your identity, this book will give you an insight into your answer that is both fascinating and surprising.

What a scrumptious book! It's not only a fun and sexy read, but also it is deeply thoughtful and intelligent—a combination that is not often found in novels, especially ChickLit.

Written by Elizabeth Gilbert (of "Eat Pray Love" fame), this is the story of Vivian Morris, the ultimate party girl who makes big mistakes along the way and learns some pretty big lessons from them. It's the summer of 1940. After flunking out of Vassar after her freshman year, Vivian moves from her small home town in New York state to the big city to live with her aunt, Peg Buell. Peg married well (very well) but the marriage is on the rocks (kind of…it's a complicated story). She owns a dilapidated theater in New York City where she and a motley crew of actors, musicians, and dancers put on a motley variety of simple shows. Vivian, who is a talented seamstress, takes over the costumes…and eventually takes over New York. All is fun, games, and sex until she does the unforgivable and is photographed doing it. How she builds back her life following this scandal is the heart and soul of the book.

With vividly-drawn characters, delightful descriptions, and a plot that never stops moving, this is a glittering and seductive book I couldn't put down. It won't win any literary awards, but it's an enthralling book to read.

This is one of those rare books that is both a literary achievement and unputdownable (I love that word!). Magnificently written by Maggie O'Farrell, the prose is so lyrical that many sentences deserve to be reread, but that is only possible if you can stop reading forward long enough to do that.

And while this novel is ostensibly about a young William Shakespeare, his courtship of his wife, his marriage, and the birth and lives of their three children (Susanna and twins Hamnet and Judith), it is more a book about the plague. Specifically, it is a book about the physical suffering caused by this horrific illness—one that was treated in 1596 with a dried toad laid upon the victim's stomach. It is a book about grief, blame, and the alienation of a loving couple after the death of their beloved son, Hamnet.

The first half of the book is alternately told in two narrow time lines: young Will's courtship and marriage along with their life just before Hamnet contracts the plague. The two are skillfully woven together until they become one, and the story proceeds from there as the grief-stricken Will and Agnes attempt to put their lives back together. (O'Farrell changed Anne Hathaway's name for an excellent reason; see the Author's Note at the end of the book.) Shakespeare wrote "Hamlet" in honor of his little boy as a way to bring him back to life the only way he knew, but Agnes is horrified, thinking he has taken the name of their precious child in vain.

This highly imaginative tale is, on the surface, a profile of the greatest English playwright who ever put quill to paper, but even more so, it is a profound and emotionally resonant story of the human heart.

Bonus: The incredibly detailed and many descriptions of life in England in the late 1500s are magnificent, dried toads and all.

Oh, what a story! Imagine sitting beside a wide stone fireplace, a roaring fire within, and a storyteller perched on the hearth ready to spin a tale…a tale that will have you mesmerized for hours even as the embers die down. Yes, that is this book. It is an old-fashioned kind of story, spun of facts and fantasy. And can you tell the difference between what is real and what is imagined?

It's the winter solstice sometime in the 1870s (ish) in England in a village by the mighty River Thames. The Swan, the local watering hole is filled with thirsty men who are regaling each other with stories. While some of the area's pubs are known for singing or brawling or gambling, the Swan is known for the tales spun by the regulars. But on this night, all conversation suddenly ceases when a very large man profusely bleeding from his cut-up face kicks open the door. In his arms he is cradling a child, a dripping-wet little girl of about four years old who appears to be dead. Her skin is waxen. She isn't breathing. She has no pulse. But after a while, she comes back to life. Who is this mysterious child who has seemingly been raised from the dead? She won't speak a word so she can't tell where she has been and who she is. Three local families lay claim to her, each with their own tale of sadness and secrets.

This richly imaginative and spellbinding story, expertly woven by author Diane Setterfield, is an absolute delight to read with its vividly created characters, captivating plot, elements of suspense, and something that is simply magical that very colorfully ties all the threads together. There are heroes and miracles, villains and treachery, spirits and superstitions, and romance and love. The writing is exquisite. Even the chapter titles are perfect for advancing the story.

And while the novel moves slowly at first—why rush such wonder and enchantment?—it soon picks up the pace as the storyline becomes more intense. And the ending? Well…let's just say this: It's perfect.

Savor it. Enjoy it. Fall into the magic and wonder. This is the art of storytelling at its finest. And this is why we read books.

Two succinct ways I viewed this novel by Matt Haig:

1. Underwhelmed
I say that because before I even purchased the book, I knew it had been honored with a slew of "best book" picks from Goodreads to "Good Morning America." Based solely on this, I had certain expectations. They were dashed.

2. Boring, banal, and predictable
The saccharine-sweet story set my teeth on edge.

Nora Seed is 35 years old and desperately unhappy. Living in Bedford, a small town in England about 50 miles from London, she feels like a failure both personally and professionally. She left her fiancé just two days before their wedding, she gave up on competitive swimming when she had Olympic potential, she did finish university with a degree in philosophy, but never managed to translate that into a job she loved—or even just didn't hate. Her brother isn't speaking to her because she quit their rock band. And her beloved cat has died. So Nora decides to die by suicide. When she is in that state between life and death (presumably in a coma), she arrives at the Midnight Library where Mrs. Elm, Nora's school librarian from way back when, is the mistress of this mysterious place. Mrs. Elm informs Nora that she may choose from all these millions of books on the shelves of the Midnight Library to see how her life would have turned out had she made different choices. That is, what if she had gotten married? What if she had pursued swimming and competed in the Olympics? What if she had realized her career dream of becoming a glaciologist? Or that even crazier dream of becoming a rock star? The bulk of the book is Nora coming back to Earth in the guise of these different lives that would have been.

I forced myself to finish it just in case it improved. It didn't. It was mildly amusing at best, boring and banal at worst. Don't waste your money or time on this.

We humans do not know as an absolute scientific fact what happens after death, but we can pretty much surmise that it is one of two things:
1. Nothing. We are dead. Our existence ceases. It is finished. Over. Done. Sweet everlasting dreams.
2. There is an afterlife.

The idea of an afterlife—be it a literal heaven or hell, who goes to which, is it our body and our soul or just our soul that lives on—has a long and storied past, dating back to the Greeks and Romans. Theologian and professor of religious studies Bart D. Ehrman explores this long, somewhat convoluted, sometimes hilarious, sometimes frightening, sometimes reassuring, sometimes absurd history.

And that is just what this book is: a HISTORY of the various beliefs of the afterlife from the Greeks and Romans to the Jews and the Christians. This is not a theological treatise advocating one belief over another; it is a historical exploration of this very human yearning that our life here on Earth can't be all there is.

Since the point of the book is to examine how views of the afterlife came to be and how they changed over the centuries, it is ideal for both believers and nonbelievers.

In addition to many delightful descriptions of heaven, as well as terrifying ideas of hell (including detailed explanations of the torture that awaits sinners), the book explains in easy-to-understand ways what the Bible REALLY says about the afterlife. The Hebrew Scriptures have various ideas that radically changed over the generations. Meanwhile, the difference between what Jesus says in the four Gospels about the afterlife vs. what Paul says in his many letters to the churches are quite different. I read the Bible every day, and I never noticed this discrepancy!

Bonus: Chapter 11, which focuses on the New Testament book of Revelation, is alone worth the price of the book. It is the most straightforward, intelligent, and truly understandable explanation of this most confounding and confusing book in the Bible.

Before you start reading this book, here is some advice: Clear your calendar, and stock up on dinner leftovers. You won't want to stop reading. Yes, it's that good.

This prequel to Ken Follett's hugely successful "Pillars of the Earth," begins in 997, which is closing in on the end of the Dark Ages in England. The multilevel storyline is riveting with entrancing plot twists and turns, characters so well created they seem like real people, and such detailed and colorful descriptions of the setting—from castles to cathedrals and monasteries to alehouses—that it drops the reader into the middle of the action.

The multiple storylines of love, sex, violence, politics, good vs. evil, and extreme power plays make for a riveting tale. The main characters around which this complex plot revolves are:
• Ragna, the daughter of a wealthy Norman count, falls in love with the English ealdorman Wilfwulf. Her parents reluctantly agree to the marriage, and Ragna moves to the English village of Shiring where a few months after her wedding she discovers a heartbreaking secret her husband has been hiding from her. Meanwhile, she is in a political battle for power against Wilf's formidable brothers and stepmother.

• Edgar is only 17 and a poor workingman, but he knows how to build things—from boats to brewhouses to bridges. In the first pages of the book, a Viking invasion levels his hometown of Combe, and he loses everything except his life. How he rebuilds and comes of age is a central part of the book.

• Aldred, a monk in Shiring, happily labors in a small scriptorium making illuminated manuscripts. Since Aldred is a moral, ethical man who is living in a corrupt society with dishonest superiors, he finds himself in constant conflict as he attempts to do the right thing and is punished repeatedly.

This is fiction. It is a made-up story. It isn't real. But the book's superpower strength is the threads of nonfiction woven throughout. Read this book to be entertained, but when you are finished, you will be just a bit more knowledgeable about what life was like more than 1,000 years ago for slaves, peasants, the working class, women, clergy, and nobles.

And while this is not great literature, it is a great story. It's all plot and not much else. No underlying themes. No imagery or symbolism to analyze. But wow! What a plot it is. Read and enjoy.

No one — no one!— writes like Anne Tyler. This, her 23rd novel, is by turns tender, humorous, wise, and just plain delightful. Told with candor and compassion, the story is the literary equivalent of comfort food. The quirky characters, the life lessons, and the essential nature of human relationships are all here, wrapped up in a short novel that just took my breath away it was so astoundingly good.

Micah Mortimer is in his early 40s. A bachelor, he is superintendent of a small apartment house in Baltimore, Maryland and operates a very part-time computer repair business called Tech Hermit. He runs at 7:15 a.m. every day. On each day of the week, he does a special cleaning chore. For example, on Thursdays he cleans the kitchen and one cabinet, rotating through the cabinets week by week until he starts over again. He begins each morning with a run, followed by a shower and breakfast. Micah, the youngest of five children and the only boy, grew up in a chaotic household. As an adult, his life is built around the calmness of order and routine. But suddenly the routine and order of his life is shattered. An 18-year-old boy, the son of his college girlfriend, unexpectedly shows up on Micah's doorstep thinking Micah is his biological father, while Micah's girlfriend of three years unexpectedly and abruptly breaks up with him.

Everything about this novel is perfect. As in all of Anne Tyler's books, this is a character study first and foremost. What happens—what little plot there is—is truly secondary. The sparkling gem of the book is how profound truths and joys about life are revealed so lovingly and beautifully by simply showing us the life of one flawed and finicky man as he tries so hard to be good soul.

Oh, I loved this book! Treat yourself and read it.

Bonus: When you find out who is the redhead by the side of the road, it's bound to make you smile if not actually laugh out loud.

This book grabbed me right from the first page and wouldn't let go. And that's quite a statement because even though this is a novel, it reads more like interconnected short stories. Each new chapter begins a tale about new characters in a different time period, so the fact that I was riveted to the book—even with all the sudden starts and stops inherent in short stories—says so much about the extraordinary writing of author W.S. Winslow.

This is the story of several families living in Wellbridge, a very small town on the wild coast of Maine, that takes place over a 100-year period. Each chapter begins with a genealogical chart of the characters who are about to be portrayed. On top of that chart is the year in which that chapter takes place. These clues are really important for threading all the pieces together. The book begins in 1977, but then jumps back to 1904 and continues chronologically from there to 2017. Life is hard. The weather is hard. The people are hard. There are devastating secrets. There are reprisals and betrayals. Each chapter is a thin slice of life—a deep dive into the microcosm with the end result being an overview of the macrocosm: one night of a mother's hallucinatory grief over her son, a dinner party, a phone conversation between two sisters, a funeral (which is really quite funny), a death that is told from the point of view of the one who is dying, two days in the life of a woman trying to heal after divorce ended her 30-year marriage. All of these stories ring true and real, and each one is imminently engrossing to read.

This novel is fierce, intelligent and emotionally resonant with vivid characters that are so real they seemingly pop off the page. "The Northern Reach" is serious literary fiction at its finest.

This book is for two audiences:

1. Richard Russo fans. If you have read at least one or two of his books, you will recognize the source of some of the characters, places, and storylines. Plus, it's by Richard Russo. Need I say more?

2. Anyone who has had a mother totally dependent on him or her—that is, dependence so all-encompassing that it significantly impacts your own life choices because you must (always) think of Mom first.

By turns hilarious and heartbreaking, this soul-baring memoir by one of America's best novelists is a fascinating peek into the very personal lives of one man and his mother and the small town in which they lived. Richard's mom, Jean Russo, was divorced when her son was a little boy at time when marriages—even bad ones—were held sacrosanct. (His father was an alcoholic who spent his time and money gambling, and after the divorce rarely contributed money to Richard's care.) The pair lived in a duplex with her parents in Gloversville, New York, a slowly dying factory town. Jean was fiercely independent, confident, and self-reliant, except that was mostly a show. Deep down she was terrified because she and Richard lived so close to the edge financially that one misstep or unexpected expense could spell catastrophe. But there was one other big problem: Jean was mentally ill, even though everyone then just called it "nerves." By the time Richard was 18, he was pretty much responsible for his domineering, controlling, and passive-aggressive mom in a way that most of us could never fathom.

Told with surprising honesty and a raw intimacy that occasionally brought tears to my eyes, this is a book that was, no doubt, cathartic for Russo to write and reassuring for many readers who may have endured a similar life.

This is a murder mystery. But as soon as you see it's written by Louise Penny, you know it's no ordinary murder mystery. It's also a story of love and betrayal, hope and horror, rebirth and death. It is a book that is entertaining (see above: murder mystery), but even more so it is a book that plumbs the psychological depths of we humans as we try to live and love and be happy. I define it as a literary murder mystery.

Chief Inspector Armand Gamache of the Sûreté du Québec, the provincial police force for the province, is sent back to the idyllic village of Three Pines to investigate a murder. (OK, the high murder rate for such a small town does take away some of that idyllic sense.) It's April, and since this takes place in Canada it snows one day and is sunny and warm the next. Ah, the cruelest month—but it's not only the weather that incites cruelty. During a séance in the old Hadley house on Easter evening, one of the residents of Three Pines dies. Was this individual literally scared to death or was it something more sinister? Gamache and his crew are on the case. But someone from the police force is on Gamache's case, out to destroy his life.

The intelligent, multilayered plot is engrossing for even the most discerning reader. Translation: If murder mysteries are too mundane for your highbrow literary tastes, give Louise Penny a try. But you must start at the beginning of this now 16-book series (No. 17 is on the way in August 2021) with "Still Life."

A bit of advice: Do NOT read this book when you are hungry. I know, I know. It's a murder mystery, and that's a weird piece of advice. Just trust me on this one.

Aside to Louise Penny: Please, please, please write a cookbook with the recipes for all these delectable dishes you describe in such mouthwatering detail.

In a word, this novel is: creative. And by "creative," I mean just a little weird. Odd. Bizarre. Peculiar. Strange. (Really, really strange.)

BIG WORD OF ADVICE: Before you buy this book, use the Amazon "Look inside" feature and read the preface. Just a few pages (maybe even a few paragraphs) will tell you if this is your kind of book—or not. Because the whole sense of bizarreness is on full display in the preface. Still, if you love words and language, chances are you will enjoy this curious little novel by Eley Williams.

The first "creative" bit of writing is really structural. There are 26 chapters, one for each letter of the alphabet, and each one is associated with a word that sums up that chapter's plot. Such as "A is for artful" and "K is for kelemenopy." I'm not sure if this is clever or just a bit too cute. (Some of the words are so esoteric, they are not found in the Kindle dictionary or Wikipedia.)

The story takes place in London in two time periods, alternating chapters. Victorian lexicographer Peter Winceworth, who fakes a lisp for some weird reason, is helping to write Swansby's Encyclopaedic Dictionary, a massive multivolume work. Like many a disgruntled employee, he sabotages his employer. In this case he creates and then inserts fake words into the dictionary. Fast forward to the present day. The dictionary was published unfinished in 1930, and now David, the great grandson of the founder, and his intern, Mallory, are digitizing it. It becomes Mallory's job to figure out which of these words were faked—such words are called mountweazels—and remove them. But when a word like "mountweazel" is real, this is very difficult task.

And while I didn't really enjoy the book, I will say it is a beautiful love letter to words. I was glad I read it on my Kindle because it was easy and fast to look up the bajillion or so words in this 269-page book that I didn't know. OK, I exaggerate. But there were a LOT of words unknown to me. Of course, some of them were mountweazels, making the task a bit tricky at times.

A random thought: Every high school student should hope that Eley Williams never gets a job writing questions for the verbal section of the SAT.

This should be required reading for every woman young and old, but especially for women who became teenagers in the 1950s, 1960s, and very early 1970s. This is a heartbreaking, deeply intimate historical account of what happened when girls and young women got pregnant before they were married in a society that had zero tolerance for such behavior.

The 1950s were a magical time—on the surface, that is. GIs had come home from World War II, got married, bought homes, found jobs. Their wives stayed home, had babies, and cared for their new families. It was a time of deep conformity. You followed the rules, you did as everyone else did, and you fit in. You were accepted. But if you broke the rules—such as having a 16-year-old daughter who was pregnant—your entire family was shunned.

Because sex education was pretty much nonexistent in the schools or in the home, birth control not available unless you were married (and even then it was sometimes difficult to get), and abortion illegal, girls who found themselves pregnant had one of two options: Get married or give up the baby for adoption. About half did get married. The other half—too young for marriage or whose boyfriends refused to accept responsibility—were typically sent away to have the baby. A convenient cover story was cooked up, and off the girl went to an aunt's or more likely, a maternity home. There she awaited the birth of her baby, and within days (and sometimes hours) the child was taken from her and sent out for adoption. And then the girl was told in no uncertain terms to just go on with her life and forget the birth ever happened. That scenario led to irreparable psychological harm.

This bold book by Ann Fessler is an unflinching account of what happened to these girls who were sent away. The author recounts the sociological history (in VERY readable language) of good girls vs. bad girls, the intense shame they felt, the family's fears, the fear and loneliness of being sent away, and the inevitable search for these lost children. This is alternated with the heartbreaking personal stories of dozens of these women who recall the chilling, disturbing, and deeply sorrowful details of not only being pregnant and hidden away, but also what it felt like to give up a child. Ann Fessler is herself adopted, and begins and ends the book with her own story.

I venture to say that virtually all of us of a certain age know someone who either "had to get married" or was "sent away." This is that friend's story. The story she never shared. And it's the story you need to hear.

This is a powerful, no-holds-barred, and gut-wrenching account of an important slice of women's history. Five stars is not enough to do this book justice.

These nine very different short stories have one thing in common: They are all stories of love and loss, happiness and sadness as people adjust to the human condition. From adultery to abandonment, loneliness to falling deeply in love, each of the stories in this stellar, Pulitzer Prize-winning collection by Jhumpa Lahiri is absolutely brilliant.

I thought "When Mr. Pirzada Came to Dine" was the most poignant and imaginative of the collection. It told of the crushing heartache of the 1971 civil war in Pakistan, but it's all seen through the eyes of a 10-year-old Indian girl who lives in Massachusetts and the man who dines with her family daily as he worries about his family caught in the crossfires of the war.

My favorite was "This Blessed House" about Indian newlyweds who move into a house and keep finding Christian paraphernalia hidden in the home—from a porcelain effigy of Jesus to a 3D postcard of St. Francis to a statue of the Virgin Mary. The husband is annoyed, while the wife thinks it's hilarious. How they resolve it says much about their marriage.

This is an extraordinary collection of literature that is a delight to read.

This book is a real dichotomy.

On the one hand, it is a literary masterpiece, a political allegory, and a love story that won the 1999 National Book Award for Fiction, the 2000 PEN/Faulkner Award, and was a finalist for the 2000 Pulitzer Prize.

On the other hand, the title is quite apt. The reader will be kept waiting…and waiting…and waiting for something to happen. It doesn't. This is a relatively short book that feels quite long.

At its core, this is a love story. But it's so much more than that. Written by Ha Jin, this is the story of Lin Kong, a man who watches as his life passes him by. Forced into a loveless arranged marriage at an early age, Lin becomes a doctor and works in the big city of Muji, while his wife, Shuyu, and their daughter, Hua, live in rural Goose Village. Every summer he visits them. Every summer he asks Shuyu for a divorce, even making it as far as appearing before a judge. But every summer his request is denied. The impetus for the divorce is simple: At the army hospital, Lin has a girlfriend named Manna Wu. Because adultery is absolutely forbidden by Communist Party, Lin and Manna have a platonic relationship. What happens when Lin is finally granted the divorce after 18 years is at the crux of the novel's ultimate premise.

Lin's life is defined by waiting for everything he can't seem to achieve, and he blames it all on everyone but himself—the Chinese government, the army's regulations, his gossiping coworkers, and society's unwritten, but stringent, rules—when it's actually his own inability to take the risks needed to fully live and love.

The story takes place over several decades from the early 1960s to the mid-1980s during the height of the Chinese cultural revolution. The novel deftly contrasts life in a remote, rural village with life in the city, and also portrays the strict control that the Chinese government had over its citizens' lives and freedoms.

This is a deeply tragic, disturbing, and sorrowful story of a flawed man who waits his entire life for…nothing. And there is an important life lesson in that. Still, this is not an easy read so be prepared for that.

Gobsmacked. That's how I felt when I got to the end of this astonishing and rather addictive book by John Boyne.

But let's go back to the beginning.

This is not a "thriller" in the typical sense, but Boyne carefully—oh, so very carefully—builds the story from not much of anything into something that is truly powerful, enticingly dark, and just so enthralling that I couldn't stop reading it. This not-thriller is really very suspenseful. (Honestly, it is because of books like this that my favorite quote is: "Life is just a series of obstacles preventing you from reading your book.")

This is the story of Maurice Swift, a very handsome, very charming young man who has always dreamed of being a writer. Better yet, a famous and rich writer. But Maurice has a big stumbling block: He has no imagination. He writes well…even very well. But he can't conceive of a plot or a storyline. So he does the only thing he can think to do: He steals other people's ideas. And sometimes he steals more than that. Maurice publishes his first book to great acclaim, but then gets stymied. The story of his second successful novel gave me the shivers and nearly made me cry. But his treachery gets more sordid and so dark it's almost inconceivable. An absolutely morally corrupt human being is winning and winning and winning…and getting away with it. And then there is that ending.

Oh, and John Boyne's writing. It's superb. Each "chapter" is really a novella or a short story, depending on the length. Each is totally different than the others with the connecting link being Maurice Swift.

This isn't a horror story. There are no axe murderers stalking victims at midnight. But this richly imagined story is frightening, spine-chilling, and sinister. And the ending left me gobsmacked.

This is one of those books that just crawled into my heart and curled up. Fierce and unflinching, but also mournfully sorrowful, this 2020 Booker Prize-winning novel by Douglas Stuart is emotionally devastating and so brutal in parts that I felt almost bruised by reading it.

Just know this before you read it.

This is the story of beautiful and glamorous Agnes Bain—daughter, wife, mother, lover, friend, and most of all alcoholic. It is set in the slums of Glasgow, Scotland and an almost-deserted mining town on its peripheries during the 1980s when the coal mines closed, resulting in huge levels of unemployment. Agnes is married to Hugh "Shug" Bain, a taxi driver, and they live with her parents in a cramped Glasgow public housing apartment along with Catherine and Leek, Agnes's teenage children from her first marriage, and 5-year-old Shuggie, who gradually realizes as he gets a little older that he is not like other boys. Agnes is a drunk, and as the years go by, her drinking destroys not only herself, but also everyone around her.

This novel is a literary descent into the hell of addiction.

I think the most impressive part of the book is really very simple: The title. This may be Agnes's story, but because of the title, I kept thinking it was Shuggie's story first and foremost. I saw everything that happened to Agnes through Shuggie's tender, trusting, and loving eyes and heart and soul. And that's absolutely wrenching. Because this little boy tries so hard, as do most children of alcoholics, to hold life together for his mother. He is brave and resourceful, but he is just a child. And so he is doomed to failure. If the title alone is not enough, take a good look at the cover art. I realize this photograph is not the work of author Douglas Stuart, but this one image captures all of Shuggie's angst and anguish. It's brilliant.

Yes, this is a dark, depressing, and disheartening novel, but I'm so glad I read it. It is modern literature at its finest.

But here is something fun: The dialogue feels almost visceral because it is peppered with dozens of Scottish idioms, such as dout (a cigarette end), stour (dust), tick, (IOU), and dreich (gloomy). For what it's worth, it's pretty easy to figure out what these words mean from the context, but there is always Google if you get stuck. I did get totally stuck on "messages." It means groceries or shopping and sometimes errands, so context is critical.