by Heidi Diehl


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“A graceful, attentive, and beautiful debut.” —George Saunders

"Gorgeous...Lifelines has everything you'd want in a book."Cosmopolitan

Named a Best Book of the Summer by O Magazine,Cosmopolitan, Nylon, and the Minneapolis Star-Tribune

For fans of Meg Wolitzer and Maggie Shipstead: a sweeping debut novel following an American artist who returns to Germany—where she fell in love and had a child decades earlier—to confront her past at her former mother-in-law’s funeral.

It’s 1971 when Louise leaves Oregon for Düsseldorf, a city grappling with its nation’s horrific recent history, to study art. Soon she’s embroiled in a scene dramatically different from the one at home, thanks in large part to Dieter, a mercurial musician. Their romance ignites quickly, but life gets in the way: an unplanned pregnancy, hasty marriage, the tense balance of their creative ambitions, and—finally, fatally—a family secret that shatters Dieter, and drives Louise home.
But in 2008 she’s headed to Dieter’s mother’s funeral. She never returned to Germany, and has since remarried, had another daughter, and built a life in Oregon. As she flies into the heart of her past, she reckons with the choices she made, and the ones she didn’t, just as her family—current and former—must consider how Louise’s life has shaped their own, for better and for worse.
Exquisitely balanced, expansive yet wonderfully intimate, Lifelines explores the indelible ties of family; the shape art, history, and nationality give  to our lives; and the ways in which we are forever evolving, with each step we take, with each turn of the Earth.

Product Details

ISBN-13: 9781328483720
Publisher: HMH Books
Publication date: 06/18/2019
Pages: 336
Product dimensions: 5.90(w) x 9.10(h) x 1.30(d)

About the Author

HEIDI DIEHL’s writing has appeared in the Colorado Review, Crazyhorse, Indiana Review, Mississippi Review, Witness, and elsewhere. She received her MFA from Brooklyn College and has won fellowships from the MacDowell Colony, the Saltonstall Foundation, and the Vermont Studio Center.

Read an Excerpt

Louise was a passenger in her own car. Richard, her husband, the inveterate cyclist, was driving her to the airport. When they got to Amazon Parkway, he turned left instead of making the right that led to the freeway, the fastest route there. They passed the rose gardens, then the pizza place run by second-wave hippies. Soon the streets were unfamiliar. Houses sank into hard yellow grass. Flowers, their stems bleached and brittle, offered no premonition of the rainy season ahead. Louise had lived in Eugene a long time; it was nearly impossible that this terrain could feel new. But Richard taught urban design, and he never took the same route twice. That detour made us discover those donuts, he liked to remind her. We never would have found that park. Life presented constant opportunities for research, he told his graduate students.

And maybe he wanted her to miss her flight.

It was October, and for the first time in many years, Louise was not shackled to the school calendar. At fifty-nine, she was newly retired, or perhaps just unemployed. Until a few months earlier, she’d taught art at a private school across town—​the Cedar School, with its experimental curriculum and sliding-scale tuition—but in June, the principal had confirmed the swirling rumors: the strapped school would be closing for good.

Normally at this point in the fall, Louise would have been dreading the annual barbeque at the vice principal’s house—a time for teachers to get together and moan about their seasonal panic, to swap verbal recipes for horrible dips made of sour cream. Now she longed for that familiar slump. The usual classroom anxieties had filled her recent dreams, and it took a few minutes in the middle of the night to remember that she wasn’t going back.

This drive to the airport prompted similar feelings: she was urgently nostalgic for Eugene’s hippie pizza and ordered green spaces, even though it was all still right there, the colors softened by fog.

Richard squeezed the wheel. “Remind me what I’m doing with the wood.”

Louise had charged him with maintaining her project while she was gone, adding a piece to the cumulative sculpture she had been working on for almost twenty years on the land behind their house.

“The next piece is in the garage,” she said. “With the drawings.” She’d cut plywood into triangles and squares already, their sides four or five feet long, and painted them. Each new shape was added to a line in the yard that pushed forward and turned back as its tail end decomposed. The rules were simple: a new piece and two photos on the 18th of every month, documenting how the untreated wood had faded and settled into the earth. The wood’s decay was the most interesting part​—it gave her a way to measure time, to feel its pressure. An ongoing reminder, a clock. The 18th project was at once a utopian vision—that plotted spectrum against the green grass—and a document of its failure. Fading and breakdown left in its wake. To see both the possibility and the aftermath offered a gratifying sense of control.

What will you do when you run out of space? people often asked. That wasn’t the threat. Their two-acre yard cut into a patch of forest at the edge of the property. She could work on the project at the same rate for decades longer; the wood’s decay cleared space for a return, and that promised room had always reassured her. Money was the real limitation. The question was whether she and Richard could afford to stay in the house now that Louise had lost her job and her pension.

“What about the camera?” Richard asked.

“One shot from the ladder, one from the roof,” Louise said. “You know how to do it.”

He’d done it before. Taken over for Louise when she was out of town. But it was unusual for her to go away without him. The two of them timed their trips to the project—camping on the coast, visiting their scraps of extended family. Some things were unavoidable, of course. Graduations, weddings, parents’ weekends: occasionally they fell on the 18th. Louise would ask their younger daughter, Margot, to set the next piece, or else a friend, if the whole family was away.

“What if the pictures come out wrong?” Richard asked. Back when she’d first devised the project—an eroding line—Richard had been the one to suggest the photos in regular increments. She hadn’t switched to digital photography, at least not for the strict confines of the project. Her simple rules made it easier to keep going.

“You’ve always done it right,” Louise said.

Richard nodded. He knew exactly how to take the pictures, but knowing and wanting to be told were two different things.

Louise would be taking three flights that day.

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