Award-winning writer Stewart O'Nan has been acclaimed by critics as one of the most accomplished novelists writing today. Now comes his finest and most complete novel to date. A year after the death of her husband, Henry, Emily Maxwell gathers her family by Lake Chautauqua in western New York for what will be a last vacation at their summer cottage. Joining is her sister-in-law, who silently mourns the sale of the lake house, and a long-lost love. Emily's firebrand daughter, a recovering alcoholic recently separated from her husband, brings her children from Detroit. Emily's son, who has quit his job and mortgaged his future to pursue his art, comes accompanied by his children and his wife, who is secretly heartened to be visiting the house for the last time. Memories of past summers resurface, old rivalries flare up, and love is rekindled and born anew, resulting in a timeless novel drawn, as the best writing often is, from the ebbs and flow of daily life.
O'Nan relies on a patient accumulation of detail instead of a focused dramatic arc to achieve a Vermeer-like realism in his latest novel. His strategy is to record minutely the thoughts and actions of all nine members of the extended Maxwell family as they spend a week at their family summer house, until their smallest gestures become familiar to the reader. Now that her husband, Henry, is dead, Emily Maxwell, the matriarch of the clan, is selling the family retreat near Chautauqua, N.Y. Emily and her sister-in-law, Arlene, drive up together from Pittsburgh for a last summer visit; Emily's son, Ken, and his wife, Lise, come next with their two children; and finally Emily's daughter, Meg, and Meg's son and daughter arrive. For seven days the Maxwells interact, with Emily's disappointment in her children prompting them to assess their lives themselves. Meg, a recovering alcoholic, is in the middle of a divorce. Kenneth is a failed photographer, whose latest low-paying job is in a photo lab. Lise, his wife, dislikes Emily, and is jealous of Ken and Meg's closeness. The children, whose tensions are wholly other than those of the adults, are tracked just as closely, with O'Nan's account of Ken's 13-year-old daughter Ella's budding crush on her cousin Sarah, also 13, becoming one of the high points of the novel. Various subplots evolve, especially one concerning a kidnapped local store clerk. At times the story is smothered by its own accumulative logic; yet in clinging so relentlessly to the surface of his world, O'Nan slowly pulls the reader into it.