This is a book about a family, the Harpers. Like most, the Harper family might seem fairly ordinary at first glance - but in fact it's seething with conflict and secrets. The Harpers live in a lovely old house near Oxford called Wildings, and the novel begins and ends in the lyrically described garden which surrounds the house. At the beginning, Bridget, the mother, is gazing at this garden which she loves so much: 'Against the wall the clematis and climbing rose were fully out, the deep purple of Etoile Violette against the pink-flushed clusters like hedgerow dog roses. Next year she wouldn't see them...In three weeks it would be midsummer, and from that turning point her life would wind down as the days shortened...' So we meet Bridget just as she has found out that she's dying, and we are instantly intrigued and engaged: who is this woman? If this is the end of her story, where will the story go next?
Well, it moves on six years, with a new character, Meg, taking centre stage. Meg, to her surprise, has received a message that Anthony, Bridget's husband, is now also dying - and wants to see her. Meg and Anthony have never liked each other - Meg, a stone carver, was Bridget's friend, emphatically not Anthony's - and neither she nor any of the three Harper children, Rob, Suzanne and Jane, can imagine why Anthony wants to see her. When she arrives he is no longer able to speak, and so there is a mystery here: what did he so badly want to say to her?
Gradually, moving effortlessly from one character to another and from one time frame to another, Linda Newbery reveals the answers to these questions and others. We get to know the quite large cast of characters: how their past histories link them together, and what is 'the one true thing that motivates each of them. For Meg, who first uses the phrase which provides the title of the novel, it is her stone carving. For Bridget, we eventually learn, it is gardening. Arriving at Wildings as a new bride, she feels at a loss: she has had to give up her job to move out here to the countryside, and though it wasn't a job she cared about, she feels she needs to be doing something. The large garden is neglected, and she wonders if she could bring it back to her life. It turns out that she can. She has a natural gift for gardening, and gradually makes a successful career out of it, often working with Meg. The pair are even invited to make a garden for Chelsea - the ultimate accolade. In contrast, Anthony, at the beginning of their life together a successful, enthusiastic university lecturer embarking on writing a book, finds that his star is waning: frustrated by his inability to complete the book, he becomes embittered and depressed.
Each of the characters needs to find his/her 'one true thing' - though it's clear that some of them probably never will: there doesn't seem to be much hope for Rob, for instance, Anthony's eldest child, financially successful but cold and unsympathetic. Jane, the youngest daughter, is consciously searching for her own one true thing, at the same time as she is searching for answers about her parents' relationship and the mystery son. But alongside those explorations - which are fascinating enough - there is a central mystery. For a long time, we're not aware of the nature of this mystery, only that it exists, and has to do with the puzzling relationship that existed between Anthony and Bridget.
Matters come to a head when Anthony's will throws up a number of surprises - in particular, the existence of another son, hitherto unknown to the rest of the family. But this is only the beginning - there is far more to learn, and the author skilfully keeps us guessing right till the end, when we can finally guess what it was that Anthony wanted to say to Meg right at the beginning.
Running underneath this family story is the issue of climate change and environmental activism. This is never heavy-handed, but it is there: it's a bedrock concern for at least two of the characters, and clearly, for the author. Alongside this awareness of the profound threat to nature, there is a profound appreciation of its beauty: here, for instance, is Meg, remembering Bridget and how she always looked forward to the arrival of the swifts in May: 'And now it was touched with a kind of grief, because everything, everything, was under threat: but there was joy in that too, because this evening was now, here, poignant in its fragility.' The writing is beautiful, particularly the descriptions of the garden and the landscape - but also in its depiction of Meg's carving, and the stones she uses. Here, for instance, is a description of the stone she wishes to use for Bridget's headstone: 'a local limestone, iron-rich, with subtleties of colour revealed in the cutting, blue-shaded grey against ochre and rust. A stone to suit the place, to suit Bridget.'
But as well as all these fine qualities, what any prospective reader will want to know, of course, is whether or not the book is a page-turner - whether it captures and maintains the reader's attention. And it does - it is a very good read.
One last thing - the cover, by Owen Gent, is gorgeous, as are the motifs - mostly swifts, the harbingers of summer, all the more poignant for their fleeting presence - by Victoria Heath Silk, which head up every chapter.
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