Reviews for Light Between Oceans

Booklist Reviews 2012 July #1
*Starred Review* Stedman's haunting tale opens in 1918 with the return of Tom Sherbourne to his home in Australia after serving four years in the Great War. He applies for a job as a lighthouse keeper and is assigned to the light on Janus Rock, a remote island off the southwest coast where he hopes to erase his horrific memories of war. Several years later, Tom brings to the island his bride, Isabel, a free-spirited young woman who is determined to adapt to Tom's solitary life with their only contact with the mainland a quarterly visit from the supply boat. Four years later, after Isabel has suffered two miscarriages and a very recent stillbirth, an event occurs that forever changes them. A dinghy washes up on the beach carrying a dead man and a newborn baby girl, giving Isabel hope that she may become, at last, a mother. The choice they make as a couple comes to haunt them, their unexpected happiness replaced by guilt and mistrust. Stedman draws the reader into her emotionally complex story right from the beginning, with lush descriptions of this savage and beautiful landscape, and vivid characters with whom we can readily empathize. Hers is a stunning and memorable debut. Copyright 2012 Booklist Reviews.

BookPage Reviews 2012 August
The echoes of a fateful choice

In the wake of World War I, on a remote island off the coast of Australia, lighthouse keeper Tom Sherbourne and his wife Isabel make a life-altering choice: to keep and raise a foundling child who is not theirs. The repercussions of this decision shape M.L. Stedman’s stunning debut novel, The Light Between Oceans.

We caught up with Stedman (herself born and raised in Western Australia) for a discussion of right and wrong, moral ambiguity and an author’s responsibility to her characters.

What a mesmerizing story. Did anything specific inspire you to write The Light Between Oceans?

I write fairly instinctively, just seeing what comes up when I sit down at the page. For this story, it was a lighthouse, then a woman and a man. Before long, a boat washed up on the beach, and in it I could see a dead man, and then a crying baby. Everything that happens in the book stems from this initiating image—a bit like the idea of ‘Big Bang’—an initial point that seems tiny turns out to be incredibly dense, and just expanded outward further and further. I got to know Tom and Isabel as I wrote them, and was drawn into their seemingly insoluble dilemma, and their struggle to stay true to their love for each other as well as to their own deepest drives.

The major moral question of keeping a child that isn’t yours is posed early in the book. Do you think there was a “right” decision for Tom and Isabel?

Aha! It’s up to each reader to come up with their own answer to this one.

Fair enough. Well, you do a wonderful job of refusing to pass judgment on your characters. Was this a conscious choice and if so, was it difficult to do?

It was a conscious choice, yes. I think today more than ever we can fall into “sound-bite judgment,” reaching conclusions on the basis of quite a cursory consideration of an issue. It’s a kind of moral multitasking, that stems perhaps from being required to have an opinion on everything. If we really stop to consider things, they’re rarely black and white.

As to the second part of your question, the more my own views differed from that of a character, the more satisfying I found it to explore them and to put their point of view as convincingly as possible.

To this end, do you think there is a “bad guy” here? Do all books need heroes and antagonists?

I don’t think there are any “bad guys” in the book, just some poor choices made on the basis of imperfect information or perspective (i.e. the lot of the standard-issue human). Stories need tension, which can be supplied by antagonists, but here it’s supplied by fate or circumstance—the overwhelming force that pretty much all the characters are up against. One good character’s gain will be another good character’s loss, which makes the questions a lot harder. I didn’t want there to be any “safe place” in the book where the reader could relax and say, “I’m completely sure of what the right thing to do is here.”

If we really stop to consider things, they’re rarely black and white.

Speaking of antagonists, the landscape of Janus Rock and the great sea beyond is awfully unforgiving. Is it based on a real location?

No and yes. The island of Janus Rock is entirely fictitious (although I have a placeholder for it on Google maps). But the region where the Great Southern Ocean and the Indian Ocean meet is real, and the climate, weather and the landscape are more or less as I’ve described them. I wrote some of the book there: It’s a very beautiful, if sometimes fierce, part of the world.

Lighthouses are always weighty images in literature. What do they represent to you?

A lighthouse automatically implies potential drama: You only find them where there’s a risk of going astray or running aground. They’re a reminder, too, of human frailty, and the heroic endeavor of mankind to take on the forces of nature in a ludicrously unfair fight to make safe our journey through this world. And they betoken binary opposites such as safety and danger, light and dark, movement and stasis, communication and isolation—they are intrinsically dynamic because they make our imaginations pivot between them.

What kind of research did you do to prepare to write?

To prepare, none at all! My research very much followed the story rather than leading it. I climbed up lighthouses, and went through the lightkeepers’ logbooks in the Australian National Archives—wonderful. And I spent time in the British Library, reading battalion journals and other materials from Australian soldiers in WWI: heartbreaking accounts that often left me in tears.

Do you have any useful tips for aspiring novelists?

Write because you love it. Write because that’s how you want to spend those irreplaceable heartbeats. Don’t write to please anyone else, or to achieve something that will retrospectively validate your choice.

Copyright 2012 BookPage Reviews.

Kirkus Reviews 2012 July #2
The miraculous arrival of a child in the life of a barren couple delivers profound love but also the seeds of destruction. Moral dilemmas don't come more exquisite than the one around which Australian novelist Stedman constructs her debut. Tom Sherbourne returns to Australia emotionally scarred after distinguished service in World War I, so the solitary work of a lighthouse keeper on remote Janus Rock is attractive. Unexpectedly, Tom finds a partner on the mainland, Isabel; they marry and hope to start a family. But Isabel suffers miscarriages then loses a premature baby. Two weeks after that last catastrophe, a dinghy washes ashore containing a man's body and a crying infant. Isabel wants to keep the child, which she sees as a gift from God; Tom wants to act correctly and tell the authorities. But Isabel's joy in the baby is so immense and the prospect of giving her up so destructive, that Tom gives way. Years later, on a rare visit to the mainland, the couple learns about Hannah Roennfeldt, who lost her husband and baby at sea. Now guilt eats away at Tom, and when the truth does emerge, he takes the blame, leading to more moral self-examination and a cliffhanging conclusion. A polished, cleverly constructed and very precisely calculated first novel. Copyright Kirkus 2012 Kirkus/BPI Communications.All rights reserved.

Library Journal Reviews 2012 March #2

After World War I, Tom Sherbourne takes a job as lighthouse keeper on isolated Janus Rock, off the coast of Australia, where the supply boat comes only four times a year. His spunky wife, Isabel, suffers two miscarriages and a still birth in three years, so it's no surprise that when a boat washes up carrying a dead man and a live baby, Isabel persuades Tom not to report the incident and takes the baby as hers. That causes trouble, of course, when they eventually return to the mainland. Big in-house excitement for this first novel, which will be backed by NPR coverage and a reading group guide. Tops on my reading list.

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Library Journal Reviews 2012 May #2

In Stedman's compelling, heartrending debut novel--infused with the symbol of the lighthouse as guidance and shelter--quiet, thoughtful Tom returns home to Australia after World War I and seeks refuge as a lighthouse keeper. Isabelle, a high-spirited young woman who is ruled by emotion, works her way into Tom's heart and joins him at his remote outpost. Although they yearn for a family, after three years and three lost babies, the light in Izzy's eyes has dimmed. Then, inexplicably, a small boat washes ashore, bearing a dead man and a tiny but healthy infant. Is this the answer to Tom and Izzy's fervent prayers? They must quickly choose whether to keep the baby as their own or to report it to the authorities. Years later, in another, faraway lighthouse, the story circles around to a satisfying conclusion. VERDICT Stedman's engrossing, emotionally driven novel sensitively treats the issue of loss and how we learn to live with its aftermath. Fans of Anita Shreve or Elizabeth Berg will enjoy being swept up in this novel. [See Prepub Alert, 2/20/12.]--Susanne Wells, MLS, Indianapolis

[Page 75]. (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Reviews 2012 June #1

In Stedman's deftly crafted debut, Tom Sherbourne, seeking constancy after the horrors of WWI, takes a lighthouse keeper's post on an Australian island, and calls for Isabel, a young woman he met on his travels, to join him there as his wife. In peaceful isolation, their love grows. But four years on the island and several miscarriages bring Isabel's seemingly boundless spirit to the brink, and leave Tom feeling helpless until a boat washes ashore with a dead man and a living child. Isabel convinces herself--and Tom--that the baby is a gift from God. After two years of maternal bliss for Isabel and alternating waves of joy and guilt for Tom, the family, back on the mainland, is confronted with the mother of their child, very much alive. Stedman grounds what could be a far-fetched premise, setting the stage beautifully to allow for a heart-wrenching moral dilemma to play out, making evident that "Right and wrong can be like bloody snakes: so tangled up that you can't tell which is which until you've shot 'em both, and then it's too late." Most impressive is the subtle yet profound maturation of Isabel and Tom as characters. Agent: Susan Armstrong, Conville & Walsh. (Aug.)

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