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Best known for his Border Trilogy, hailed in the San Francisco Chronicle as "an American classic to stand with the finest literary achievements of the century," Cormac McCarthy has written ten rich and often brutal novels, including the bestselling No Country for Old Men, and The Road. Profoundly dark, told in spare, searing prose, The Road is a post-apocalyptic masterpiece, one of the best books we've read this year, but in case you need a second (and expert) opinion, we asked Dennis Lehane, author of equally rich, occasionally bleak and brutal novels, to read it and give us his take. Read his glowing review below. --Daphne Durham

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Guest Reviewer: Dennis Lehane

Dennis Lehane, master of the hard-boiled thriller, generated a cult following with his series about private investigators Patrick Kenzie and Angela Gennaro, wowed readers with the intense and gut-wrenching Mystic River, blew fans all away with the mind-bending Shutter Island, and switches gears with Coronado, his new collection of gritty short stories (and one play).

Cormac McCarthy sets his new novel, The Road, in a post-apocalyptic blight of gray skies that drizzle ash, a world in which all matter of wildlife is extinct, starvation is not only prevalent but nearly all-encompassing, and marauding bands of cannibals roam the environment with pieces of human flesh stuck between their teeth. If this sounds oppressive and dispiriting, it is. McCarthy may have just set to paper the definitive vision of the world after nuclear war, and in this recent age of relentless saber-rattling by the global powers, it's not much of a leap to feel his vision could be not far off the mark nor, sadly, right around the corner. Stealing across this horrific (and that's the only word for it) landscape are an unnamed man and his emaciated son, a boy probably around the age of ten. It is the love the father feels for his son, a love as deep and acute as his grief, that could surprise readers of McCarthy's previous work. McCarthy's Gnostic impressions of mankind have left very little place for love. In fact that greatest love affair in any of his novels, I would argue, occurs between the Billy Parham and the wolf in The Crossing. But here the love of a desperate father for his sickly son transcends all else. McCarthy has always written about the battle between light and darkness; the darkness usually comprises 99.9% of the world, while any illumination is the weak shaft thrown by a penlight running low on batteries. In The Road, those batteries are almost out--the entire world is, quite literally, dying--so the final affirmation of hope in the novel's closing pages is all the more shocking and maybe all the more enduring as the boy takes all of his father's (and McCarthy's) rage at the hopeless folly of man and lays it down, lifting up, in its place, the oddest of all things: faith. --Dennis Lehane

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If you haven't seen Hay House's Lifestyles series of gorgeous gift books, there is no better way to acquaint yourself than with publisher/author Louise Hay's You Can Heal Your Life. A bestseller for many years, You Can Heal Your Life has been republished with bright, beautiful illustrations in full, living color and exquisite typography--each and every page is a work of art by artist Joan Perrin Falquet. The timeless message of the book is that we are each responsible for our own reality and "dis-ease." Hay believes we make ourselves ill by having thoughts of self-hatred. She includes a directory of ailments and emotional causes for each with a corresponding affirmation to help overcome the illness. For example, the probable cause of multiple sclerosis is "mental hardness, hard-heartedness, iron will, and inflexibility." The healing "thought pattern" would be: "By choosing loving, joyous thoughts, I created a loving joyous world. I am safe and free." --P. Randall Cohan.
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Mark Haddon's bitterly funny debut novel, The Curious Incident of the Dog in the Night-Time, is a murder mystery of sorts--one told by an autistic version of Adrian Mole. Fifteen-year-old Christopher John Francis Boone is mathematically gifted and socially hopeless, raised in a working-class home by parents who can barely cope with their child's quirks. He takes everything that he sees (or is told) at face value, and is unable to sort out the strange behavior of his elders and peers.

Late one night, Christopher comes across his neighbor's poodle, Wellington, impaled on a garden fork. Wellington's owner finds him cradling her dead dog in his arms, and has him arrested. After spending a night in jail, Christopher resolves--against the objection of his father and neighbors--to discover just who has murdered Wellington. He is encouraged by Siobhan, a social worker at his school, to write a book about his investigations, and the result--quirkily illustrated, with each chapter given its own prime number--is The Curious Incident of the Dog in the Night-Time.

Haddon's novel is a startling performance. This is the sort of book that could turn condescending, or exploitative, or overly sentimental, or grossly tasteless very easily, but Haddon navigates those dangers with a sureness of touch that is extremely rare among first-time novelists. The Curious Incident of the Dog in the Night-Time is original, clever, and genuinely moving: this one is a must-read. --Jack Illingworth, Amazon.ca.
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Author Erik Larson imbues the incredible events surrounding the 1893 Chicago World's Fair with such drama that readers may find themselves checking the book's categorization to be sure that The Devil in the White City is not, in fact, a highly imaginative novel. Larson tells the stories of two men: Daniel H. Burnham, the architect responsible for the fair's construction, and H.H. Holmes, a serial killer masquerading as a charming doctor. Burnham's challenge was immense. In a short period of time, he was forced to overcome the death of his partner and numerous other obstacles to construct the famous "White City" around which the fair was built. His efforts to complete the project, and the fair's incredible success, are skillfully related along with entertaining appearances by such notables as Buffalo Bill Cody, Susan B. Anthony, and Thomas Edison. The activities of the sinister Dr. Holmes, who is believed to be responsible for scores of murders around the time of the fair, are equally remarkable. He devised and erected the World's Fair Hotel, complete with crematorium and gas chamber, near the fairgrounds and used the event as well as his own charismatic personality to lure victims. Combining the stories of an architect and a killer in one book, mostly in alternating chapters, seems like an odd choice but it works. The magical appeal and horrifying dark side of 19th-century Chicago are both revealed through Larson's skillful writing. --John Moe.
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Barack Obama's first book, Dreams from My Father, was a compelling and moving memoir focusing on personal issues of race, identity, and community With his second book The Audacity of Hope, Obama engages themes raised in his keynote speech at the 2004 Democratic National Convention, shares personal views on faith and values and offers a vision of the future that involves repairing a "political process that is broken" and restoring a government that has fallen out of touch with the people. We had the opportunity to ask Senator Obama a few questions about writing, reading, and politics--see his responses below. --Daphne Durham

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20 Second Interview: A Few Words with Barack Obama

Q: How did writing a book that you knew would be read so closely by so many compare to writing your first book, when few people knew who you were?
A: In many ways, Dreams from My Father was harder to write. At that point, I wasn't even sure that I could write a book. And writing the first book really was a process of self-discovery, since it touched on my family and my childhood in a much more intimate way. On the other hand, writing The Audacity of Hope paralleled the work that I do every day--trying to give shape to all the issues that we face as a country, and providing my own personal stamp on them.

Q: What is your writing process like? You have such a busy schedule, how did you find time to write?
A: I'm a night owl, so I usually wrote at night after my Senate day was over, and after my family was asleep--from 9:30 p.m. or so until 1 a.m. I would work off an outline--certain themes or stories that I wanted to tell--and get them down in longhand on a yellow pad. Then I'd edit while typing in what I'd written.

Q: If readers are to come away from The Audacity of Hope with one action item (a New Year's Resolution for 2007, perhaps?), what should it be?
A: Get involved in an issue that you're passionate about. It almost doesn't matter what it is--improving the school system, developing strategies to wean ourselves off foreign oil, expanding health care for kids. We give too much of our power away, to the professional politicians, to the lobbyists, to cynicism. And our democracy suffers as a result.

Q: You're known for being able to work with people across ideological lines. Is that possible in today's polarized Washington?
A: It is possible. There are a lot of well-meaning people in both political parties. Unfortunately, the political culture tends to emphasize conflict, the media emphasizes conflict, and the structure of our campaigns rewards the negative. I write about these obstacles in chapter 4 of my book, "Politics." When you focus on solving problems instead of scoring political points, and emphasize common sense over ideology, you'd be surprised what can be accomplished. It also helps if you're willing to give other people credit--something politicians have a hard time doing sometimes.

In retrospect, it seems as if the American Revolution was inevitable But was it? In Founding Brothers, Joseph J. Ellis reveals that many of those truths we hold to be self-evident were actually fiercely contested in the early days of the republic.

Ellis focuses on six crucial moments in the life of the new nation, including a secret dinner at which the seat of the nation's capital was determined--in exchange for support of Hamilton's financial plan; Washington's precedent-setting Farewell Address; and the Hamilton and Burr duel. Most interesting, perhaps, is the debate (still dividing scholars today) over the meaning of the Revolution. In a fascinating chapter on the renewed friendship between John Adams and Thomas Jefferson at the end of their lives, Ellis points out the fundamental differences between the Republicans, who saw the Revolution as a liberating act and hold the Declaration of Independence most sacred, and the Federalists, who saw the revolution as a step in the building of American nationhood and hold the Constitution most dear. Throughout the text, Ellis explains the personal, face-to-face nature of early American politics--and notes that the members of the revolutionary generation were conscious of the fact that they were establishing precedents on which future generations would rely.

In Founding Brothers, Ellis (whose American Sphinx won the National Book Award for nonfiction in 1997) has written an elegant and engaging narrative, sure to become a classic. Highly recommended. --Sunny Delaney.
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The Stranger is not merely one of the most widely read novels of the 20th century, but one of the books likely to outlive it. Written in 1946, Camus's compelling and troubling tale of a disaffected, apparently amoral young man has earned a durable popularity (and remains a staple of U.S. high school literature courses) in part because it reveals so vividly the anxieties of its time. Alienation, the fear of anonymity, spiritual doubt--all could have been given a purely modern inflection in the hands of a lesser talent than Camus, who won the Nobel Prize in 1957 and was noted for his existentialist aesthetic. The remarkable trick of The Stranger, however, is that it's not mired in period philosophy.

The plot is simple. A young Algerian, Meursault, afflicted with a sort of aimless inertia, becomes embroiled in the petty intrigues of a local pimp and, somewhat inexplicably, ends up killing a man. Once he's imprisoned and eventually brought to trial, his crime, it becomes apparent, is not so much the arguably defensible murder he has committed as it is his deficient character. The trial's proceedings are absurd, a parsing of incidental trivialities--that Meursault, for instance, seemed unmoved by his own mother's death and then attended a comic movie the evening after her funeral are two ostensibly damning facts--so that the eventual sentence the jury issues is both ridiculous and inevitable.

Meursault remains a cipher nearly to the story's end--dispassionate, clinical, disengaged from his own emotions. "She wanted to know if I loved her," he says of his girlfriend. "I answered the same way I had the last time, that it didn't mean anything but that I probably didn't." There's a latent ominousness in such observations, a sense that devotion is nothing more than self-delusion. It's undoubtedly true that Meursault exhibits an extreme of resignation; however, his confrontation with "the gentle indifference of the world" remains as compelling as it was when Camus first recounted it. --Ben Guterson.
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Told in a series of vignettes stunning for their eloquence, The House on Mango Street is Sandra Cisneros's greatly admired novel of a young girl growing up in the Latino section of Chicago Acclaimed by critics, beloved by children, their parents and grandparents, taught everywhere from inner-city grade schools to universities across the country, and translated all over the world, it has entered the canon of coming-of-age classics.

Sometimes heartbreaking, sometimes deeply joyous, The House on Mango Street tells the story of Esperanza Cordero, whose neighborhood is one of harsh realities and harsh beauty. Esperanza doesn't want to belong--not to her rundown neighborhood, and not to the low expectations the world has for her. Esperanza's story is that of a young girl coming into her power, and inventing for herself what she will become..
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Settle down to enjoy a rousing good ghost story with Diane Setterfield's debut novel, The Thirteenth Tale. Setterfield has rejuvenated the genre with this closely plotted, clever foray into a world of secrets, confused identities, lies, and half-truths. She never cheats by pulling a rabbit out of a hat; this atmospheric story hangs together perfectly.

There are two heroines here: Vida Winter, a famous author, whose life story is coming to an end, and Margaret Lea, a young, unworldly, bookish girl who is a bookseller in her father's shop. Vida has been confounding her biographers and fans for years by giving everybody a different version of her life, each time swearing it's the truth. Because of a biography that Margaret has written about brothers, Vida chooses Margaret to tell her story, all of it, for the first time. At their initial meeting, the conversation begins:

"You have given nineteen different versions of your life story to journalists in the last two years alone."

She [Vida] shrugged. "It's my profession. I'm a storyteller."

"I am a biographer, I work with facts."

The game is afoot and Margaret must spend some time sorting out whether or not Vida is actually ready to tell the whole truth. There is more here of Margaret discovering than of Vida cooperating wholeheartedly, but that is part of Vida's plan. The transformative power of truth informs the lives of both women by story's end, and The Thirteenth Tale is finally and convincingly told. --Valerie Ryan.
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What Is the What is the epic novel based on the life of Valentino Achak Deng who, along with thousands of other children--the so-called Lost Boys--was forced to leave his village in Sudan at the age of seven and trek hundreds of miles by foot, pursued by militias, government bombers, and wild animals, crossing the deserts of three countries to find freedom. When he finally is resettled in the United States, he finds a life full of promise, but also heartache and myriad new challenges. Moving, suspenseful, and unexpectedly funny, What Is the What is an astonishing novel that illuminates the lives of millions through one extraordinary man..
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