Fiction

In the late nineteenth century, a group of German-speaking Mennonites traveled from Russia into Central Asia, where their charismatic leader predicted Christ would return.

Over a century later, Sofia Samatar joins a tour following their path, fascinated not by the hardships of their journey, but by its aftermath: the establishment of a small Christian village in the Muslim Khanate of Khiva. Named Ak Metchet, “The White Mosque,” after the Mennonites’ whitewashed church, the village lasted for fifty years.

In pursuit of this curious history, Samatar discovers a variety of characters whose lives intersect around the ancient Silk Road, from a fifteenth-century astronomer-king, to an intrepid Swiss woman traveler of the 1930s, to the first Uzbek photographer, and explores such topics as Central Asian cinema, Mennonite martyrs, and Samatar’s own complex upbringing as the daughter of a Swiss-Mennonite and a Somali-Muslim, raised as a Mennonite of color in America.

A secular pilgrimage to a lost village and a near-forgotten history, The White Mosque traces the porous and ever-expanding borders of identity, asking: How do we enter the stories of others? And how, out of the tissue of life, with its weird incidents, buried archives, and startling connections, does a person construct a self?

Make a wish. . . .

Lucy Hart knows better than anyone what it’s like to grow up without parents who loved her. In a childhood marked by neglect and loneliness, Lucy found her solace in books, namely the Clock Island series by Jack Masterson. Now a twenty-six-year-old teacher’s aide, she is able to share her love of reading with bright, young students, especially seven-year-old Christopher Lamb, left orphaned after the tragic death of his parents. Lucy would give anything to adopt Christopher, but even the idea of becoming a family seems like an impossible dream without proper funds and stability.

But be careful what you wish for. . . .

Just when Lucy is about to give up, Jack Masterson announces he’s finally written a new book. Even better, he’s holding a contest on his private island where four hand-picked readers will compete to win the only copy. At age thirteen, Lucy fled her unhappy home and showed up on Jack Masterson’s doorstep, hoping to live with her favorite author. Thirteen years later, a sky-blue envelope arrives with Lucy’s name on it, postmarked “Clock Island.”

For Lucy, a chance to read the first Clock Island book in years is a prize worth fighting for, but the possibility of winning, selling the manuscript, and securing a better future for her and Christopher means everything.

But first, Lucy must contend with ruthless book collectors, wily opponents, and the distractingly handsome (and grumpy) Hugo Reese, illustrator of the Clock Island books and Jack’s only friend. Meanwhile, Jack “the Mastermind” Masterson is plotting the ultimate twist ending that could change all their lives forever.

. . . You might just get it.

I think what I’m trying to say is that I’ve been wanting to become friends with the Woman in the Purple Skirt for a very long time…

Almost every afternoon, the Woman in the Purple Skirt sits on the same park bench, where she eats a cream bun while the local children make a game of trying to get her attention. Unbeknownst to her, she is being watched–by the Woman in the Yellow Cardigan, who is always perched just out of sight, monitoring which buses she takes, what she eats, whom she speaks to.

From a distance, the Woman in the Purple Skirt looks like a schoolgirl, but there are age spots on her face, and her hair is dry and stiff. She is single, she lives in a small apartment, and she is short on money–just like the Woman in the Yellow Cardigan, who lures her to a job as a housekeeper at a hotel, where she too is a housekeeper. Soon, the Woman in the Purple Skirt is having an affair with the boss and all eyes are on her. But no one knows or cares about the Woman in the Yellow Cardigan. That’s the difference between her and the Woman in the Purple Skirt.

Studiously deadpan and chillingly voyeuristic, and with the off-kilter appeal of the novels of Ottessa Moshfegh, The Woman in the Purple Skirt explores envy, loneliness, power dynamics, and the vulnerability of unmarried women in a taut, suspenseful narrative about the sometimes desperate desire to be seen.