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About The Book
Through the richly intertwined narratives of two women from different generations, Ashley Hay, known for her “elegant prose, which draws warm and textured portraits as it celebrates the web of human stories” (New York Times Book Review) weaves an intricate, bighearted tale of the many small decisions—the invisible moments—that come to make a life.
“Readers who loved the quiet introspection of Anita Shreve’s The Pilot’s Wife and Elizabeth Strout’s Olive Kitteridge will enjoy the detailed emotional journeys of Hay’s characters. Their stories will linger long after the final page is turned” (Library Journal).
When Elsie Gormley leaves the Brisbane house in which she has lived for more than sixty years, Lucy Kiss and her family move in, eager to establish their new life. As they settle in, Lucy and her husband Ben struggle to navigate their transformation from adventurous lovers to new parents, taking comfort in memories of their vibrant past as they begin to unearth who their future selves might be. But the house has secrets of its own, and the rooms seem to share recollections of Elsie’s life with Lucy.
In her nearby nursing home, Elsie traces the span of her life—the moments she can’t bear to let go and the places to which she dreams of returning. Her beloved former house is at the heart of her memories of marriage, motherhood, love, and death, and the boundary between present and past becomes increasingly porous for both her and Lucy.
Over the course of one hot Brisbane summer, two families’ stories intersect in sudden and unexpected ways. Through the richly intertwined narratives of two ordinary, extraordinary women, Ashley Hay uses her “lyrical prose, poetic dialogue, and stunning imagery” (RT magazine) to weave an intricate, bighearted story of what it is to be human.
“Readers who loved the quiet introspection of Anita Shreve’s The Pilot’s Wife and Elizabeth Strout’s Olive Kitteridge will enjoy the detailed emotional journeys of Hay’s characters. Their stories will linger long after the final page is turned.” (Library Journal)
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