Later, when Daisy remembered that night, she could smell the scent of honeysuckle at the window and see the moon on the floorboards. But in her memories Keiko wasn’t bandaged: her face was broken down the middle, just like the moon. One half was pure and white, the other half mottled and porous. The unbroken side was as smooth as porcelain, terrifying in its brightness, but in every memory it was the pocked side that drew Daisy in.
1952: Eighteen-year-old Hiroshima survivor Keiko Kitigawa arrives in New York City for surgery to cut away the scar marring her lovely face. Sponsored by The Hiroshima Project, Keiko is expected to be a media darling. But the Keiko who arrives in America does not perform as scripted, preferring to recall instead her grandfather’s dappled gardens and tales of trickster foxes. Frustrated by her recalcitrance, the Project presses Keiko’s suburban host mother, Daisy Lawrence, into duty, tasking her with drawing out the girl’s horrific story, the one they need for the media circuit. When Daisy reluctantly agrees, she must fight to enter Keiko’s sphere of intimacy, and is shocked by what she learns there.
Like Keiko, Daisy has a few surprises in store for the Project. But even Daisy is taken aback by what bubbles up from beneath her calm domestic existence in Riverside Meadows, drawn to the surface by Keiko’s presence.
Keiko, bandaged after her surgery like the Invisible Man, becomes a conduit for secret grief. A barrage of letters and gifts from strangers arrive at their door. Riverside Meadows housewives, a photographer covering her story, and even a former Japanese-held POW heap their weightiest confidences upon her. Perhaps it is the force of her tragedy that pulls them in, or perhaps it is because her bandages make her seem like a blank receptacle for their own pain. Whatever the cause, Daisy finds it increasingly difficult to find the real Keiko beneath these burdens. But she will fight with all her strength to protect the girl, even at incalculable cost.
Shaena Lambert’s novel Radiance was chosen as a ‘best book of the year’ by both the Globe and Mail and Quill and Quire and was a finalist for the Rogers Writers Trust Award and the Ethel Wilson Award. Her collection The Falling Woman was published to critical acclaim in Canada, the UK and Germany, and was a finalist for the Danuta Gleed Award. Her stories have appeared recently in Zoetrope: All Story, The Vancouver Review, and Best Canadian Stories 2010, and are forthcoming in Ploughshares, guest-selected by Colm Toibin, and Best Canadian Stories 2011. She lives in Vancouver, where she teaches at The Writers’ Studio at Simon Fraser University.
"The emerging lawn-lined suburbs of 1950s America Shaena Lambert describes in her debut novel Radiance are familiar - rendered by contemporary chroniclers such as Richard Yates. Though Lambert was born a decade later in Canada, this is no watery pastiche. She skilfully threads her characters' emotions and relationships with a brilliantly rendered historical background of McCarthyism and idealistic internationalism. Radiance is an absorbing debut which exquisitely locates unsentimental emotional histories in an America buoyant with post-war consumerism and racked with paranoia." —Financial Times of London
"It must be something in the water up there, but Canadian women writers are a remarkable breed - names like Alice Munro, Margaret Atwood and Carol Shields offer a guarantee of a good story well told. And now there's a new name to add the pantheon: Shaena Lambert, whose debut novel, Radiance, is as compelling, as thoughtful and as fundamentally readable as those of her better-known sisters. It is a mark of Lambert's skill as a writer that I wept. And it's entirely possible that you will too." —Sunday Independent
"This beautifully written novel captures the essence of Fifties America without striving for effect. Lambert, who has published an acclaimed collection of short stories, adds to Canada's reputation for nurturing its literary writers." —The Independent
"Lambert's writing, like Keiko herself, is detached, cool and compelling." —Daily Mail
"Lambert's powerful debut novel is more subtle than its plot line suggests. Lambert paints with fresh colours the now familiar setting of manicured, 1950s US suburbia." —Metro London
"A fascinating debut novel." —Bella