Introduction

Joseph and Isabelle Winters seem to have it all: a grand home in Holt, New York, a trio of radiant daughters, and a sense that they are safe in their affluent corner of America. But when five-year-old Ellie disappears, the fault lines within the family are exposed: Joseph, once a successful businessman, succumbs to his demons; Isabelle retreats into memories of her debutante days in Savannah; and Ellie’s bereft sisters grow apart–Madeline reluctantly stays home, while Caroline runs away.

Fifteen years later, Caroline, now a New Orleans cocktail waitress, sees a photograph of a woman in a magazine. Convinced that it is Ellie all grown up, Caroline embarks on a search for her missing sister. Armed with copies of the photo, an amateur detective guide, and a cooler of Dixie beer, Caroline travels through the New Mexico desert, the mountains of Colorado, and the smoky underworld of Montana, determined to salvage her broken family.

Editorial Review

Sometimes an off-key phrase in a soulful song can wrench at the heart, nay, the soul and send one off into that same far-away place that a great book can take you to. Amanda Eyre Ward's second novel, How to Be Lost, provides for the reader with a finely-tuned ear, a nicely wrought, syncopated, octave-changing story. Featuring a hard-living, almost down-on-her-luck narrator, How to Be Lost isn't lost at all when it comes to telling a literary mystery wrapped in the arms of a strong woman's tale. Ward's story bounces between New Orleans and New York, taking her protagonist, Caroline, into steely encounters with her somewhat-estranged family, especially her older sister and mother, as they continue, many years after the fact, to deal with the wrenching effects of the unresolved disappearance of Ellie, the youngest of the Winters family. Readers may find uncanny similarities between the eerie tone and dark nature of Deborah Schupack's The Boy on the Bus but won't be disappointed at all with the story that unfolds and the clever, darkly humorous nature of Ward's pitch-perfect voice. --E. Brooke Gilbert

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