For 19th-century novelists--from Jane Austen to George Eliot, Flaubert to Henry James--social constraint gave a delicious tension to their plots. Yet now our relaxed morals and social mobility have rendered many of the classics untenable. Why shouldn't Maisie know what she knows? It will all come out in family therapy anyway. The vogue for historical novels depends in part on our pleasure in reentering a world of subtle cues and repressed emotion, a time in which a young woman could destroy her life by saying yes to the wrong man. After all, there was no reliable birth control, no divorce, no chance of an independent life or a scandal-free separation. Christina Schwarz's suspenseful debut pivots on two of the lost "virtues" of the past: silence and stoicism. Drowning Ruth opens in 1919, on the heels of the influenza epidemic that followed the First World War. Although there were telephones and motor cars and dance halls in the small towns of Wisconsin in those years, the townspeople remained rigid and forbidding. As a young woman, Amanda Starkey, a Lutheran farmer's daughter, had been firmly discouraged from an inappropriate marriage with a neighbouring Catholic boy. A few years later, as a nurse in Milwaukee, she is seduced by a dishonourable man. Her shame sends her into a nervous breakdown, and she returns to the family farm. Within a year, though, her beloved sister Mathilde drowns under mysterious circumstances. And when Mathilde's husband, Carl, returns from the war, he finds his small daughter, Ruth, in Amanda's tenacious grip, and she will tell him nothing about the night his wife drowned. Amanda's parents, too, are long gone. "I killed my parents. Had I mentioned that?" muses Amanda. I killed them because I felt a little fatigued and suffered from a slight, persistent cough. Thinking I was overworked and hadn't been getting enough sleep, I went home for a short visit, just a few days to relax in the country while the sweet corn and the raspberries were ripe. From the city I brought fancy ribbon, two boxes of Ambrosia chocolate, and a deadly gift... I gave the influenza to my mother, who gave it to my father, or maybe it was the other way around." Schwarz is a skilful writer, weaving her grim tale across several decades, always returning to the fateful night of Mathilde's death. Drowning Ruth displays her gift for pacing and her harsh insistence on the right ending, rather than the cheery one. --Regina Marler

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

An Oprah Fan, 07 Feb 2004
I loved this book. I have read a few of Oprah's book club books and they are not "happy ending" type books at all. This one is the best one I have read so far. I've never read a book like this before. Usually, a story will be told by the first person or by the third person but this is told by two of the characters. It keeps switching from one to the other which is quite unusual. It tells the story of two very different sisters and it keeps you guessing right up to the end. I found it a very emotive ending. I would definitely recommend this book.

With Kathy Bates, it could be a terrific film., 03 Oct 2003
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
These statements are not negatives, however. Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

An Oprah Fan, 07 Feb 2004
I loved this book. I have read a few of Oprah's book club books and they are not "happy ending" type books at all. This one is the best one I have read so far. I've never read a book like this before. Usually, a story will be told by the first person or by the third person but this is told by two of the characters. It keeps switching from one to the other which is quite unusual. It tells the story of two very different sisters and it keeps you guessing right up to the end. I found it a very emotive ending. I would definitely recommend this book.

With Kathy Bates, it could be a terrific film., 03 Oct 2003
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
These statements are not negatives, however. Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

An Oprah Fan, 07 Feb 2004
I loved this book. I have read a few of Oprah's book club books and they are not "happy ending" type books at all. This one is the best one I have read so far. I've never read a book like this before. Usually, a story will be told by the first person or by the third person but this is told by two of the characters. It keeps switching from one to the other which is quite unusual. It tells the story of two very different sisters and it keeps you guessing right up to the end. I found it a very emotive ending. I would definitely recommend this book.

With Kathy Bates, it could be a terrific film., 03 Oct 2003
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
These statements are not negatives, however. Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

An Oprah Fan, 07 Feb 2004
I loved this book. I have read a few of Oprah's book club books and they are not "happy ending" type books at all. This one is the best one I have read so far. I've never read a book like this before. Usually, a story will be told by the first person or by the third person but this is told by two of the characters. It keeps switching from one to the other which is quite unusual. It tells the story of two very different sisters and it keeps you guessing right up to the end. I found it a very emotive ending. I would definitely recommend this book.

With Kathy Bates, it could be a terrific film., 03 Oct 2003
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
These statements are not negatives, however. Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

As miserable as it gets, 26 Oct 2008
The book seems to go out of its way to punish Margaret for daring to give up her teaching job and try something else. She is unable to get tutoring work and when she tries to get her old job back, a mix-up means she does not know it has been handed to someone else. She is, however, an idiot, expecting to conjure a fully fledged writing career out of nothing, despite being academically intelligent.

Utterly miserable and unconvincing. It depresses me even thinking about it.

boring yawn yawn, 31 Jan 2008
one of the most boring books that i have read for many years, so called plot was dreadful, kept waiting at the turn of each page for something to happen, a lot of hype for this book and a complete waste of money.
think twice before buying, go to the library instead, no where near as good as her first novel and i echo another review by saying that it seems strange for this book to be written by the same writer of drowning ruth, a complete thumbs down.

A real disappointment, 24 Sep 2003
I read Christina Schwarz's first novel 'Drowning Ruth' and loved it and couldn't wait to read her second. What a disappointment! I can hardly believe it was written by the same author, the contrast between the two was so great. I would even go so far as to say I doubt this book would even have been published if her debut novel hadn't been so good. I spent the book waiting for something to happen-it never does! The characters are ill defined, not particularly likeable and, most of the time, just plain stupid. The plot is far fetched and shallow and the ending was about as exciting as drying paint. I couldn't wait to finish it. I don't like criticising a novelist so harshly, especially when her debut was so impressive, but this book is so poor in comparison to 'Drowning Ruth' I feel potential buyers should know!

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

An Oprah Fan, 07 Feb 2004
I loved this book. I have read a few of Oprah's book club books and they are not "happy ending" type books at all. This one is the best one I have read so far. I've never read a book like this before. Usually, a story will be told by the first person or by the third person but this is told by two of the characters. It keeps switching from one to the other which is quite unusual. It tells the story of two very different sisters and it keeps you guessing right up to the end. I found it a very emotive ending. I would definitely recommend this book.

With Kathy Bates, it could be a terrific film., 03 Oct 2003
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
These statements are not negatives, however. Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

As miserable as it gets, 26 Oct 2008
The book seems to go out of its way to punish Margaret for daring to give up her teaching job and try something else. She is unable to get tutoring work and when she tries to get her old job back, a mix-up means she does not know it has been handed to someone else. She is, however, an idiot, expecting to conjure a fully fledged writing career out of nothing, despite being academically intelligent.

Utterly miserable and unconvincing. It depresses me even thinking about it.

boring yawn yawn, 31 Jan 2008
one of the most boring books that i have read for many years, so called plot was dreadful, kept waiting at the turn of each page for something to happen, a lot of hype for this book and a complete waste of money.
think twice before buying, go to the library instead, no where near as good as her first novel and i echo another review by saying that it seems strange for this book to be written by the same writer of drowning ruth, a complete thumbs down.

A real disappointment, 24 Sep 2003
I read Christina Schwarz's first novel 'Drowning Ruth' and loved it and couldn't wait to read her second. What a disappointment! I can hardly believe it was written by the same author, the contrast between the two was so great. I would even go so far as to say I doubt this book would even have been published if her debut novel hadn't been so good. I spent the book waiting for something to happen-it never does! The characters are ill defined, not particularly likeable and, most of the time, just plain stupid. The plot is far fetched and shallow and the ending was about as exciting as drying paint. I couldn't wait to finish it. I don't like criticising a novelist so harshly, especially when her debut was so impressive, but this book is so poor in comparison to 'Drowning Ruth' I feel potential buyers should know!

As miserable as it gets, 26 Oct 2008
The book seems to go out of its way to punish Margaret for daring to give up her teaching job and try something else. She is unable to get tutoring work and when she tries to get her old job back, a mix-up means she does not know it has been handed to someone else. She is, however, an idiot, expecting to conjure a fully fledged writing career out of nothing, despite being academically intelligent.

Utterly miserable and unconvincing. It depresses me even thinking about it.

boring yawn yawn, 31 Jan 2008
one of the most boring books that i have read for many years, so called plot was dreadful, kept waiting at the turn of each page for something to happen, a lot of hype for this book and a complete waste of money.
think twice before buying, go to the library instead, no where near as good as her first novel and i echo another review by saying that it seems strange for this book to be written by the same writer of drowning ruth, a complete thumbs down.

A real disappointment, 24 Sep 2003
I read Christina Schwarz's first novel 'Drowning Ruth' and loved it and couldn't wait to read her second. What a disappointment! I can hardly believe it was written by the same author, the contrast between the two was so great. I would even go so far as to say I doubt this book would even have been published if her debut novel hadn't been so good. I spent the book waiting for something to happen-it never does! The characters are ill defined, not particularly likeable and, most of the time, just plain stupid. The plot is far fetched and shallow and the ending was about as exciting as drying paint. I couldn't wait to finish it. I don't like criticising a novelist so harshly, especially when her debut was so impressive, but this book is so poor in comparison to 'Drowning Ruth' I feel potential buyers should know!

For 19th-century novelists--from Jane Austen to George Eliot, Flaubert to Henry James--social constraint gave a delicious tension to their plots. Yet now our relaxed morals and social mobility have rendered many of the classics untenable. Why shouldn't Maisie know what she knows? It will all come out in family therapy anyway. The vogue for historical novels depends in part on our pleasure in reentering a world of subtle cues and repressed emotion, a time in which a young woman could destroy her life by saying yes to the wrong man. After all, there was no reliable birth control, no divorce, no chance of an independent life or a scandal-free separation. Christina Schwarz's suspenseful debut pivots on two of the lost "virtues" of the past: silence and stoicism. Drowning Ruth opens in 1919, on the heels of the influenza epidemic that followed the First World War. Although there were telephones and motor cars and dance halls in the small towns of Wisconsin in those years, the townspeople remained rigid and forbidding. As a young woman, Amanda Starkey, a Lutheran farmer's daughter, had been firmly discouraged from an inappropriate marriage with a neighbouring Catholic boy. A few years later, as a nurse in Milwaukee, she is seduced by a dishonourable man. Her shame sends her into a nervous breakdown, and she returns to the family farm. Within a year, though, her beloved sister Mathilde drowns under mysterious circumstances. And when Mathilde's husband, Carl, returns from the war, he finds his small daughter, Ruth, in Amanda's tenacious grip, and she will tell him nothing about the night his wife drowned. Amanda's parents, too, are long gone. "I killed my parents. Had I mentioned that?" muses Amanda. I killed them because I felt a little fatigued and suffered from a slight, persistent cough. Thinking I was overworked and hadn't been getting enough sleep, I went home for a short visit, just a few days to relax in the country while the sweet corn and the raspberries were ripe. From the city I brought fancy ribbon, two boxes of Ambrosia chocolate, and a deadly gift... I gave the influenza to my mother, who gave it to my father, or maybe it was the other way around." Schwarz is a skilful writer, weaving her grim tale across several decades, always returning to the fateful night of Mathilde's death. Drowning Ruth displays her gift for pacing and her harsh insistence on the right ending, rather than the cheery one. --Regina Marler

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

An Oprah Fan, 07 Feb 2004
I loved this book. I have read a few of Oprah's book club books and they are not "happy ending" type books at all. This one is the best one I have read so far. I've never read a book like this before. Usually, a story will be told by the first person or by the third person but this is told by two of the characters. It keeps switching from one to the other which is quite unusual. It tells the story of two very different sisters and it keeps you guessing right up to the end. I found it a very emotive ending. I would definitely recommend this book.

With Kathy Bates, it could be a terrific film., 03 Oct 2003
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
These statements are not negatives, however. Drowning Ruth is a very good read!

The author is precise and careful about building her suspense with excruciating slowness. She has created intriguing characters--at heart, not all that different from you and me--characters who are confronted with difficult problems to solve, some of which are not of their own making and some of which are the unexpected results of desperate decisions made in the long ago past. Her alternations of point of view help to give breadth and depth to the conflicts within the main characters, while the fragmentary memories which Ruth contributes add to both the mystery and the sense of dread.

Although Schwarz ably illustrates the restricted roles into which women had to adapt themselves during the period, the mores which applied to "good girls," and the limited choices open to them, the lack of liberation is so natural a part of her story that her novel and its complications are by no means part of a liberation manifesto. Drowning Ruth is a simple story presented clearly and suspensefully by an author who, like Amanda, is careful to keep her grasp completely within her reach. Mary Whipple

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

"If he was in trouble it would be Ginny he'd call out for", 11 Jul 2008
Jon, who works at an advertising agency has been married to Ginny, a landscape artist, for almost twenty years. He loves his wife, but theirs has become a predictable marriage, with Ginny constantly obsessed with her ability to get pregnant and the hope that a child will perhaps provide the panacea to all of their troubles. Although Ginny had once suffered a terrible accident, the doctors assured her that one day she would be able to have children. This knowledge, however does little to appease her sense of insecurity in herself and in Jon's commitment to her and in her marriage.

Jon thinks Ginny is overreacting to the assumed prospects of having a child and although he readily admits to marrying for love and loyalty, enjoying a more than comfortable middle-class life, he's recently fallen into an affair with his work partner Freddi. As the novel opens, Jon is frantically soaking up Freddi's seductive emails, furtively sneaking behind his wife's back, the thoughts of Freddi's sharpness and softness always present in his consciousness.

For her part, Freddi is in thrall to Jon's charisma. Although she's content to stay the mistress and the other woman, she still holds a glimmer of hope that only she is his "real love. " When Jon conceives of the plan to spend the day with Ginny at Summerfest, a local county fair, in the hope they can revisit a scene from their youth, a time they'd been so vigorously happy, Ginny responds by telling him she's booked up with appointments. It is this reaction that once again leaves Jon feeling unmoored. A basically good man, Jon resolves to finish it with Freddi, he loves Ginny and the thought of losing her fills him with a dark and breathless panic, but it doesn't stop him from wanting to feel connected to his early sexual impulses through his affair with Freddi.

Central to Schwartz's story are the subtle shifts and changes that occur in the relationships between these three people, reflected in Ginny's reluctance to confront the truth even as she remains ignorant of Jon's philandering; and Jon as he frantically hides behind the growing problems of his marriage; and Freddi, her resentment at the situation rising like a "geyser in her chest" as she realizes she cannot count on anything from Jon, least of all a lifetime of commitment. And she's always conscious of the fact that Jon's debt to Ginny never seems to diminish.

A number of secondary characters circle this threesome sometimes offering advice and consolation and at other times judgment. Jon's best friend and work buddy, Mark Kaiser offers a measure of moral stability, while Jon is forced to close his eyes against the memory of disgust he constantly feels is emanating from his friend. There's also Ethan who harbors a dangerous obsession for Freddi, originating from when they met in his first year of law school. Ethan spends his days obsessing and stalking his muse, constantly battling the unbearable feeling that Freddi is pulling away from him, and "that her eyes and thoughts are somewhere else."

Interspersing the present with the past, in what comes across as one of the more confusing subplots, Schwartz creates a back story of Jon's mother, Marie and her affair with Walter Fleisher, a developer who now owns the Meadowwood Golf Course and wants to employ Ginny to landscape the meadows surrounding the course. It is the events that took place in 1963 that allow Marie to keep alive an ember of hatred and a bitter sense of regret at what she'd once done willingly and what Walter had done to her. Certainly Ginny can't believe the fact that Marie had been once attracted to Walter Fleischer and that she'd actually cheated on her husband.

Regardless of the convoluted structure around which the novel circles, the issues of marital fidelity dominate this story and are undeniably compelling as Schwartz digs deep into her characters' tortured inner lives. Straying from voyeurism into betrayal and also into self-delusion, these people - in both the 1963 and the present - confront the heavy burdens of marriage with its complex fabric of understandings and misunderstandings, of its dependable support and its casual betrayal. Ultimately it is Jon's carelessness that physically and metaphorically scars both he and Ginny even as he eventually comes to acknowledge his one true love in an unexpectedly violent climax. Although while not without its structural faults, So Long At The Fair is exquisitely written and offers up some sharp observations on human nature even as it exposes the complicated layers that come to make up contemporary personal relationships. Mike Leonard July 08.

As miserable as it gets, 26 Oct 2008
The book seems to go out of its way to punish Margaret for daring to give up her teaching job and try something else. She is unable to get tutoring work and when she tries to get her old job back, a mix-up means she does not know it has been handed to someone else. She is, however, an idiot, expecting to conjure a fully fledged writing career out of nothing, despite being academically intelligent.

Utterly miserable and unconvincing. It depresses me even thinking about it.

boring yawn yawn, 31 Jan 2008
one of the most boring books that i have read for many years, so called plot was dreadful, kept waiting at the turn of each page for something to happen, a lot of hype for this book and a complete waste of money.
think twice before buying, go to the library instead, no where near as good as her first novel and i echo another review by saying that it seems strange for this book to be written by the same writer of drowning ruth, a complete thumbs down.

A real disappointment, 24 Sep 2003
I read Christina Schwarz's first novel 'Drowning Ruth' and loved it and couldn't wait to read her second. What a disappointment! I can hardly believe it was written by the same author, the contrast between the two was so great. I would even go so far as to say I doubt this book would even have been published if her debut novel hadn't been so good. I spent the book waiting for something to happen-it never does! The characters are ill defined, not particularly likeable and, most of the time, just plain stupid. The plot is far fetched and shallow and the ending was about as exciting as drying paint. I couldn't wait to finish it. I don't like criticising a novelist so harshly, especially when her debut was so impressive, but this book is so poor in comparison to 'Drowning Ruth' I feel potential buyers should know!

As miserable as it gets, 26 Oct 2008
The book seems to go out of its way to punish Margaret for daring to give up her teaching job and try something else. She is unable to get tutoring work and when she tries to get her old job back, a mix-up means she does not know it has been handed to someone else. She is, however, an idiot, expecting to conjure a fully fledged writing career out of nothing, despite being academically intelligent.

Utterly miserable and unconvincing. It depresses me even thinking about it.

boring yawn yawn, 31 Jan 2008
one of the most boring books that i have read for many years, so called plot was dreadful, kept waiting at the turn of each page for something to happen, a lot of hype for this book and a complete waste of money.
think twice before buying, go to the library instead, no where near as good as her first novel and i echo another review by saying that it seems strange for this book to be written by the same writer of drowning ruth, a complete thumbs down.

A real disappointment, 24 Sep 2003
I read Christina Schwarz's first novel 'Drowning Ruth' and loved it and couldn't wait to read her second. What a disappointment! I can hardly believe it was written by the same author, the contrast between the two was so great. I would even go so far as to say I doubt this book would even have been published if her debut novel hadn't been so good. I spent the book waiting for something to happen-it never does! The characters are ill defined, not particularly likeable and, most of the time, just plain stupid. The plot is far fetched and shallow and the ending was about as exciting as drying paint. I couldn't wait to finish it. I don't like criticising a novelist so harshly, especially when her debut was so impressive, but this book is so poor in comparison to 'Drowning Ruth' I feel potential buyers should know!

Not bad, 15 Nov 2007
Drowning Ruth is a great book in concept. The story revolves around the mysterious drowning of Mathilda Neuman in a lake in Wisconsin. From the onset it is clear that her sister Amanda, with whom she was living at the time knows more about the drowning. It is even suggested here and there that she is to blame for her sister's death. Whether this is the case I leave to the potential readers to read for themselves and find out.
As the story moves forward from that point on, the chain events leading up to Mathilda's tragic death are little by little revealed. Meanwhile, Ruth, Mathilda's daughter is growing up, her father Carl returns from the war and Amanda, tries to be a good mother to her niece.

Some very interesting issues are at the centre of this novel: sibling rivalry that seems inseparable from sisterly love; traditional family values and what is viewed as proper behaviour for women that may lead to desperate measures, are only a few examples.
Some of the characters were also enticing, especially Amanda, whose over-protectiveness of her mother, sister and niece is not easily classified. Is it selfish or selfless?

However, I believe this work has some flaws and it makes the author come across as promising but inexperienced. For one, all male characters are flat. Whether this was intentional or not, it takes a toll on the credibility of the story. Secondly, there are some loose ends that the author didn't tie up. For example, in order to conceal her secrets Amanda allows Carl to believe things about his dead wife that may be detrimental to his memory of her. Thirdly, when the truth finally comes out, Ruth's reaction is a bit simplified, making it an anticlimax to this story.

But all in all I enjoyed reading this book most of the time. I especially found the psychological issues enticing. For this reason, I believe this book to great material for literary discussions, so if that's your thing, you should read this book or suggest it for your book club.

I might read another novel by the author, but hopefully there will be some improvements on her storytelling skills.

Suspense builds up to an anti-climax, 03 Sep 2006
Well defined characters, and a suspenseful plot that promises a lot but leaves you just a bit disappointed at the end, when perhaps you might reasonably be entitled to expect a late twist. A couple of the events necessary to fuel the plot seem a little contrived, such as the way that Clement Owens is somehow planted into the vicinity of the Neumanns, the way that Ruth is introduced to the Owens household, and the way that Carl, whose character appeared to be developing quite satisfactorily, is suddenly removed from the story, presumably to facilitate the desired ending. That said, this is still a very readable psychological thriller, and a promising debut for this author. Recommended.

With Kathy Bates, it could be a terrific film., 16 Jan 2006
With its vivid depiction of its post-World War I setting in Wisconsin, its nightmarish complexities as a family saga, its carefully developed suspense, and its simplicity of theme, Drowning Ruth has "blockbuster movie" written all over it.
This statements is not meant as a negative--Drowning Ruth is a very good read!

The author is precise and careful about building her suspense wit