Faith, I tell them, is a mystery, elusive to many, and never easy to explain.

Sweeping and lyrical, spellbinding and unforgettable, David Ebershoff’s The 19th Wife combines epic historical fiction with a modern murder mystery to create a brilliant novel of literary suspense. It is 1875, and Ann Eliza Young has recently separated from her powerful husband, Brigham Young, prophet and leader of the Mormon Church. Expelled and an outcast, Ann Eliza embarks on a crusade to end polygamy in the United States. A rich account of a family’s polygamous history is revealed, including how a young woman became a plural wife.

Soon after Ann Eliza’s story begins, a second exquisite narrative unfolds–a tale of murder involving a polygamist family in present-day Utah. Jordan Scott, a young man who was thrown out of his fundamentalist sect years earlier, must reenter the world that cast him aside in order to discover the truth behind his father’s death.

And as Ann Eliza’s narrative intertwines with that of Jordan’s search, readers are pulled deeper into the mysteries of love and faith.

From Publishers Weekly: This sweeping epic is a compelling and original work set in 1875, when one woman attempts to rid America of polygamy. Ebershoff intertwines his tale with that of a 20th-century murder mystery in Utah, allowing the two stories to twist and turn into a marvelous literary experience. With such a sprawling tale to relate, a few narrators (Kimberly Farr, Rebecca Lowman, Arthur Morey and Daniel Passer) divide up the roles and deliver a solid, professional reading, true to Ebershoffs prose. A Random House hardcover (Reviews, June 23). (Sept.)
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From The New Yorker: This ambitious third novel tells two parallel stories of polygamy. The first recounts Brigham Young's expulsion of one of his wives, Ann Eliza, from the Mormon Church; the second is a modern-day murder mystery set in a polygamous compound in Utah. Unfolding through an impressive variety of narrative forms—Wikipedia entries, academic research papers, newspaper opinion pieces—the stories include fascinating historical details. We are told, for instance, of Brigham Young's ban on dramas that romanticized monogamous love at his community theatre; as one of Young's followers says, "I ain't sitting through no play where a man makes such a cussed fuss over one woman." Ebershoff demonstrates abundant virtuosity, as he convincingly inhabits the voices of both a nineteenth-century Mormon wife and a contemporary gay youth excommunicated from the church, while also managing to say something about the mysterious power of faith.
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