12.99

The Narrow Land

This is a story about loneliness and regret and the attempt to hold onto the American Dream in the post-war era. It is also the story of a troubled marriage and a fictional study of one of the greatest artists of the 20th century.

1950: late summer season on a light-infused Cape Cod. Michael is a ten-year-old German boy, orphaned during the war. Richie is the lonely son of a wealthy American army officer killed in action. Left to their own devices, the boys get to know a couple living nearby – the artists Edward and Jo Hopper – and an unlikely friendship is forged. She is volatile and suffers from bouts of obsessive sexual jealousy. He, unwell and depressed by his inability to work, becomes besotted by Richie’s frail and beautiful Aunt Katherine who has not long to live – an infatuation he shares with young Michael.

Michael is haunted by memories he can’t understand. Richie is overwhelmed by his own loss and the increasing alcoholism of his glamorous mother, Olivia.

This is a story about loneliness and regret and the attempt to hold onto the American Dream in the post-war era. It is also the story of a troubled marriage and a fictional study of one of the greatest artists of the 20th century.

Translation rights sold to Poland, Germany, Holland and Egypt. Film Rights sold to Lightbulb Films.
Italian translation published May 30th as La Moglie di Hopper (Paginuno).

In The Media

Reviews

The Irish Times

https://www.irishtimes.com/culture/books/the-narrow-land-review-fine-novel-focuses-on-edward-hopper-s-wife-1.3804933

Dublin Review of Books

https://www.drb.ie/essays/words-of-love-words-of-venom

Sunday Business Post

https://www.businesspost.ie/more-life-arts/dwyer-hickeys-well-drawn-portraits-bring-life-to-a-summer-in-cape-cod-cc6ce268

The Guardian

‘It’s a risky business, portraying the marriage of two artists, particularly when both the marriage and the art have already been picked over by biographers and art historians. Christine Dwyer Hickey has embraced the risk and created a masterpiece,”

Alison Flood, The Guardian.
Read the full review