A Palm Beach Post 2020 Recommendation
“Compelling...[A] good, captivating and ultimately satisfying story.”—Greensboro News & Record
“Chamberlain is more than a terrific writer. She’s incisive and understands people.”—The Star-Ledger
“Chamberlain’s depictions of creative beauty and perseverance across time and in the face of inevitable obstacles will keep readers turning the pages.”—Publishers Weekly
“Chamberlain’s writing is reminiscent of a quilt made up of pieces from different people, places, and times, stitched together into a single, emotional story.”—Booklist
“An engaging, well-researched, and sometimes thought-provoking art mystery.”—Kirkus Reviews
“[A] great escape.”—First for Women
“[A] heart-pounding whodunit.”—Women’s World
Praise for Diane Chamberlain’s The Dream Daughter
"With a little tension and a lot of heart, The Dream Daughter will delight Chamberlain’s fans and hook new readers.” —Booklist
“Chamberlain writes with supernatural gifts...fate, destiny, chance and hope combine for a heady and breathless wonder of a read.”—Pam Jenoff, author of The Orphan’s Tale
“Can a story be both mind-bending and heartfelt? In Diane Chamberlain’s hands, it can. The Dream Daughter will hold readers in anxious suspense until the last satisfying page." —Therese Fowler, author of Z
Chamberlain's (The Silent Sister) latest novel follows 22-year-old Morgan Christopher, an art student serving time for a bad choice that left another woman paralyzed. When a lawyer offers her an early release, she knows she can't say no despite the contingency: to restore a 70-year-old mural that is shrouded in mystery in the small town of Edenton, NC. If she completes the task, she earns not only her freedom but also a $50,000 payment from the estate of the late Jesse Jameson Williams, an artist with a penchant for rescuing troubled youth. The artist behind the mural, Anna Dale, disappeared in 1940 and was presumed dead by suicide. While Morgan was an art student before her incarceration, she has zero restoration experience and must learn every step of the way while simultaneously unraveling the dark secrets of the small town. VERDICT Chamberlain's story is a little slow at the start but picks up and becomes a quick and engaging read. Vaguely reminiscent of Donna Tartt's The Goldfinch, this is a good fit for mystery lovers, and the crossover among art, history, and mental health is multifaceted and intriguing. [See Prepub Alert, 7/15/19.]—Chelsie Harris, San Diego Cty. Lib.
A tale of two artists, living 78 years apart in a small Southern town, and the third artist who links them.
The fates of two white painters in Edenton, North Carolina, intertwine with the legacy of a third, that of Jesse Jameson Williams, a prominent African American artist with Edenton roots. In 2018, the recently deceased Jesse has left a very unusual will. In life, Jesse paid his success forward by helping underdog artists. Morgan Christopher, the last, posthumous recipient of Jesse's largesse, can't imagine why he chose her, a complete stranger who is doing time for an alcohol-related crash that left another driver paralyzed. Released on an early parole engineered by Jesse's daughter, Lisa, Morgan will receive $50,000 to restore a mural painted by one Anna Dale in 1940 in time for a gallery opening on Aug. 5, 2018. If Morgan misses this deadline, not only is her deal off, but Lisa will, due to a puzzling, thinly motivated condition of Jesse's will, lose her childhood home. In an alternating narrative, Anna, winner of a U.S. Treasury Department competition, has been sent from her native New Jersey to paint a mural for the Edenton post office. Anna has zero familiarity with the South, particularly with Jim Crow. She recognizes Jesse's exceptional talent and mentors him, to the ire of Edenton's white establishment. Martin Drapple, a local portraitist rejected in the competition, is at first a good sport, when he's sober, until, somewhat too suddenly, he's neither. Issues of addiction and mental illness are foremost in both past and present. Anna's late mother had manic episodes. Morgan's estranged parents are unrepentant boozers. And Anna's mural of civic pride is decidedly strange. One of the strengths here is the creditable depiction of the painter's process, in Anna's case, and the restorer's art, in Morgan's. Despite the fraught circumstances challenging all three painters, conflict is lacking. The 1940 racial tensions are unrealistically mild, and Jesse's testamentary testiness is not mined for its full stakes-raising potential.
An engaging, well-researched, and sometimes thought-provoking art mystery.