“Strout has an aesthetic as spare as the white Congregational church, where her father’s funeral was held. The dramatic turns are understated — tone on tone — but the characters are nearly bursting with feeling. One of the central agonies of their lives tends to be an inability to communicate their internal state. It’s as if they needed Strout as an interlocutor.”
"Elizabeth Strout’s Long Homecoming" Ariel Levy, The New Yorker, April 24, 2017