front cover of The Agnostics
The Agnostics
Wendy Rawlings
University of Michigan Press, 2007

“Who knows if there’s a God? There’s us, now, and caterpillars and other insects and mulch. So thinks Stephen Wirth as he watches his marriage collapse. Between bouts of alcoholism and attempts to restore a fleet of decrepit boats, Stephen does his best to help his daughters cope with their mother having fallen in love with another woman. But growing up and making sense of the world is something the girls must do on their own, just as for their mother there is no easy way around building a new life. Set on Long Island, The Agnostics follows the Wirths through several decades as they struggle to redefine themselves and their idea of family.

Painting with a fine and delicate brush, Wendy Rawlings reveals her characters’ lives as a series of discrete moments, illuminating the intimate story of one American middle-class family.

“Already an accomplished stylist, Rawlings has given us a first novel that is at once delicate and intense. The characters are so finely engraved and their passions so recognizable, the river of their daily lives runs so broad and deep, in the end we feel not that we have merely read about them but that we have lived with them, side by side. A poignant, exquisitely focused book.”
—Sigrid Nunez, author of The Last of Her Kind

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front cover of COME BACK IRISH
COME BACK IRISH
WENDY RAWLINGS
The Ohio State University Press, 2001
Nine inhabitants of a sleepy Irish seaside town tell what they know about a visitor from out of town who is rumored to be both attractive and dangerous. A young mother in an affluent Long Island community finds herself strangely drawn to the woman she has hired as her housekeeper. After her small business venture fails, a woman is forced to move back in with her parents and discovers they aren't the couple she thought they were at all. In fourteen expertly crafted stories, Wendy Rawlings chronicles with comic sympathy what happens when American women and Irish men, parents and children, employers and employees, hurtle toward each other and crash headlong into cultural or generational roadblocks. Like the American in the title story, who can imagine only a "litter of claddagh rings and Erin go bragh, the high-stepping of Riverdance on videocassette" until she gets on a plane and goes to Ireland, Rawlings's fiction entreats us to toss out the picture-perfect images we have of American consumer culture, Irish tourist towns, and the institution of marriage and enter the world of her fictions—more contradictory, troubling, and true.
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