Sophie Elmhurst, A Marriage at Sea ****

The central event in A Marriage at Sea is a shipwreck: Maurice and Maralyn Bailey were sailing toward the Galapagos when their 31-foot boat Auralyn was struck and sunk by an injured whale. They spent 118 days drifting across the Pacific in a life raft before a Korean fishing vessel spotted them.

The title is the first clue that the book is not fundamentally an adventure tale. Elmhurst describes the Baileys ' improvised survival and subsequent press tour with a journalist's attention to detail, but she is most interested in what their ordeal tells us about their relationship. Just as the undeterred Baileys are about to embark on a second ocean trip, Elmhurst spells out her metaphor explicitly: "For what else is a marriage, really, if not being stuck on a small raft with someone and trying to survive?"

The final section of the book jumps forward to a time after Maralyn has died from cancer. Maurice is miserable without his wife to "untangle him," and quite a handful for his friends. We see how Maralyn's relentlessly forward-looking spirit was critical to their survival both on the raft and off.

Charlotte Wood, Stone Yard Devotional ***

Stone Yard Devotional is the fictional story of a woman who retreats to a small nunnery in rural Australia. She is an atheist but feels the need to seclude herself from the challenges of her job as a wildlife conservationist. The book appeared on several "Best of 2025" lists and was a Booker Prize finalist. 

The writing was not as meditative or introspective as I expected and hoped. The narrator doesn't focus on day-to-day life in the community nor on her lack of/loss of faith, and says little about the pressures that led her here. Two themes stood out to me: whether retreat or engagement is the better approach to challenging problems (like climate change or injustice); and how to live with regrets when the possibility of forgiveness is gone.

Stone Yard Devotional has a quiet strength to it, but its wisdom applies to subjects that I am not currently struggling with.

Meghan O'Gieblyn, God Human Animal Machine ****

A collection of essays about the metaphors we use to understand our relationship to technology (specifically AI), and how they are largely the same metaphors we use to understand our relationships to God and to the "disenchanted" scientific world.

Many "new" ideas are merely attempts to answer questions that we have inherited from earlier periods of history, questions that have lost their specific context in medieval Christianity as they've made the leap from one century to the next, traveling from theology to philosophy to science and technology.

The unanswerable questions we keep returning to are about subjectivity and understanding. What is consciousness? What counts as an explanation for natural phenomena? 

Despite the technical subject matter, O'Gieblyn writes in the classic style of personal essays, including first-person stories about her own struggles with the issues. Her style makes the abstruse topics feel relevant, although I sometimes lost the thread of her argument.

She makes thought-provoking connections; for example, thinking of consciousness as software running on the hardware of the brain is a modern variant of the mind-body problem, which in turn is a recurrence of the religious idea of a soul. ("The metaphor has not solved our most pressing existential problems; it has merely transferred them to a new substrate.") I was particularly intrigued by the idea that science struggles to understand subjectivity because the enterprise was designed precisely to eliminate subjectivity from our understanding.

 

Daniyal Mueenuddin, This Is Where the Serpent Lives **** 1/2

This Is Where the Serpent Lives is ostensibly a novel by the author of the excellent story collection In Other Rooms. Other Wonders. Like the earlier book, it provides a convincing portrait of characters from various castes attempting to get ahead as the old feudal society of Pakistan gives way under modern and Western pressures. Every detail contributes to a realistic milieu, from the choice of which language to speak to whether you accept your host's offer to sit down.

The book seems like a Russian story that takes place in Pakistan. The subject matter is similar, peasants and landowners, social stagnation and transition, corrupt officials and disappointed dreamers, characters with multiple nicknames and forms of address. Mueenuddin's writing style is extremely Chekhovian. 

While it purports to be a novel, This Is Where the Serpent Lives is actually a collection of linked stories that includes the title novella. The four sections share characters, but they don't enrich each other as they would in a proper novel. For example, the main character in "The Golden Boy" is the orphan Bayazid who eventually becomes the driver for the Atar family. Yazid is also an important character in the title section, but none of his adventures from the first section affect his responses in the last.