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The River Is Waiting (Oprah's Book Club)

A Novel

LIST PRICE $29.99

About The Book

OPRAH’S BOOK CLUB PICK

#1 New York Times bestselling author Wally Lamb, celebrated for two prior Oprah Book Club selections, returns with an exceptional third pick, a propulsive novel following a young father grappling with unbearable tragedy as he searches for hope, redemption, and the possibility of forgiveness.

Corby Ledbetter is struggling. New fatherhood, the loss of his job, and a growing secret addiction have thrown his marriage to his beloved Emily into a tailspin. And that’s before he causes the tragedy that tears the family apart. Sentenced to prison, Corby struggles to survive life on the inside, where he bears witness to frightful acts of brutality but also experiences small acts of kindness and elemental kinship with a prison librarian who sees his light and some of his fellow offenders, including a tender-hearted cellmate and a troubled teen desperate for a role model. Buoyed by them and by his mother’s enduring faith in him, Corby begins to transcend the boundaries of his confinement, sustained by his hope that mercy and reconciliation might still be possible. Can his crimes ever be forgiven by those he loves?

Appearances

JUN 16
19:00:00
in person
The River Room
In Person
book bundled event, in conversation with Laura Heeger
750 Main Street
Willimantic, CT 06226
JUN 17
19:00:00
in person
RJ Julia Booksellers at the First Congregational C
In Person
book bundled event
26 Meeting House Ln
Madison, CT 06443
JUN 18
18:00:00
in person
Bank Square Books
In Person
ticketed
80 Stonington Road
Mystic, CT 06355
JUN 20
19:00:00
in person
The River Room
In Person
book bundled event, in conversation with Laura Heeger (2nd night added after first event sold out)
750 Main Street
Willimantic, CT 06226
JUN 23
18:30:00
in person
Barrington Books with the Barrington Public Librar
In Person
281 County Rd
Barrington, RI 02806
JUN 25
18:00:00
in person
Northshire Bookstore at Saratoga Springs City Cent
In Person
book-bundled event, in conversation with WAMC's Joe Donahue
522 Broadway
Saratoga Springs, NY 12866

Excerpt

Chapter One CHAPTER ONE


April 27, 2017

It’s six a.m. and I’m the first one up. Spotify’s playing that Chainsmokers song I like. If we go down, then we go down together… I take an Ativan and chase my morning coffee with a couple of splashes of hundred-proof Captain Morgan. I return the bottle to its hiding place inside the twenty-quart lobster pot we never use, put the lid on, and put it back in the cabinet above the fridge that Emily can’t reach without the step stool. Then I fill the twins’ sippy cups and start making French toast for breakfast. If we go down, then we go down together. I cut the music so I can listen for the kids, but that song’s probably going to play in my head all morning.

Emily’s up now and in the bathroom, getting ready for work. When the shower stops, I hear the twins babbling to each other in the nursery we converted from my studio almost two years ago. My easel, canvases, and paints had been exiled to the space behind the basement stairs. It wasn’t much of a sacrifice. I made my living as a commercial artist and had been struggling after hours and on weekends to make “serious” art, but after the babies were born, the last thing I felt like doing was staring at a blank canvas and waiting for some abstraction to move from my brain down my arm to my brush to see what came out. Maisie was the alpha twin; Niko, who would learn to creep, walk, and say words after his sister did, was the beta. In the developmental race, Niko always came in second, but, as their personalities began to emerge, his sister became our more serious, more driven twin and he was our mischievous little laughing boy. I loved them more deeply every day for who each was becoming. How could some artistic indulgence of mine have competed with what our lovemaking had created? It wasn’t even close.

“Yoo-hoo, peekaboo!” I call in to them, playing now-you-see-me-now-you-don’t at the doorway into their room. “Daddy!” they say simultaneously. Their delight at seeing me fills me with momentary joy—my elation aided, I guess, by the benzo and booze. I lift them, one after the other, out of the crib they share. The twins often hold on to each other as they sleep and sometimes even suck each other’s thumb. I lay them on their backs on the carpet and take off their diapers. Both are sodden and Maisie’s has two pellet-sized poops. As I wet-wipe and rediaper them, I say, “Hey, Miss Maisie, where’s your nose?” We were playing that game yesterday. “Very good! And how about you, Mr. Niko? Where’s your ear?” He puts his finger to his nose. “Nooo!” I groan in mock horror. “You can’t hear with your nose!” Both kids giggle. I start singing “Wheels on the Bus,” that song Emily sometimes sings with them when they’re in the tub. Maisie listens attentively and does a few of the gestures with me while her brother kicks his legs and blows spit bubbles. I lift them up, one in each arm, and walk them into the kitchen just as the smoke alarm starts screaming.

The room is hazy and smells of burnt French toast. Frightened by the blare of the alarm, both kids begin crying. From down the hall, Emily calls, “Corby?” and I call back, “Everything’s good. I got it!” I slide the kids into their high chairs and snap their trays in place. Point up at the alarm and tell them Daddy’s going to stop the noise. “Watch,” I say. Climbing onto the step stool, I reach up and silence the damned thing. “Daddy to the rescue!” I announce. Jumping off the stool, I do a little dance that turns their fear into laughter. “Daddy funny!” Maisie says. In my best Elvis imitation, I slur, “Thank you. Thank you very much.” Of the two of us, I’m the fun parent and these two are my best audience. When I give them their sippy cups, I blow raspberries against their necks. They lift their shoulders and squeal with delight.

By the time Emily comes into the kitchen, I’ve already put her coffee and a stack of French toast on the table, the older pieces on the bottom and the fresh slices I’d made to replace the burnt ones on top. “Mama!” Niko shouts. Emily kisses the top of his head. “How’s my favorite boy today?” she asks. Then, turning to his sister, she kisses her head, too, and says, “And how’s my favorite girl?” She loves both of our kids, of course, but she favors Niko, whose emerging personality is like mine. Maisie is clearly her mother’s daughter. She’s less silly, more self-sufficient. Niko and I are the needy ones.

As Emily sits down to eat, I feel a surge of guilt thinking back to a morning a few weeks earlier. Emily told me she and some of the other teachers were going to Fiesta’s after school for drinks and an early dinner. “I’ll be home by seven, seven thirty at the latest,” she’d said. I reminded her that Friday is family night. “I’ll have had them all day. Not to mention all week. Did it occur to you when you were making your plans that I might need a break?”

She gave my shoulder a sympathetic squeeze. “I know you do, Corby, but Amber’s really struggling right now. People have already RSVP’d to the wedding. She’s been fitted for her dress. Their honeymoon is booked.” Amber’s a fellow teacher who was going to get married next month until her fiancé told her he was gay. “He completely blindsided her. She just really needs our support right now.”

“And I don’t?”

She stared at me, shaking her head. “If you’re going to make a big deal about a couple of hours, then fine,” she said. “I’ll tell the others I can’t make it.”

“No, you go ahead, babe. Fiesta’s, that Mexican place, right? Enjoy yourself. Have a margarita on me. What the hell? Have three or four. Get hammered.”

She was almost out the door when she pivoted, her eyes flashing. “That’s your thing, not mine.” Touché.

She said goodbye to the kids but not to me. At the front window, I watched her get into her car, slam the door, and drive off. My regret kicked in a few minutes later—probably before she’d even pulled into the school parking lot. I texted her: Sorry I was being a jerk. Go out with the others and help your friend. No worries.

Her terse return text—K Thx—let me know she was still pissed, which, in turn, pissed me off all over again and made me feel justified in taking another Ativan to calm down. That was what that doctor prescribed them for, wasn’t it?

Emily didn’t get home that evening until after nine. I heard her in the kitchen before I saw her. “Hi, Corby,” she called. “I got you an order of chicken enchiladas if you haven’t eaten yet.” I hadn’t eaten but told her I had. “Okay, I’ll put them in the fridge and you can have them tomorrow.” She entered the living room with that tipsy glow she gets on the rare occasion when she has a second glass of wine, but her face deflated when she saw Niko asleep on my lap instead of in the crib. “He’s sick,” I said. “Earache.”

She sat down on the couch beside us, stroked his hair, and asked whether I’d taken his temperature. “A hundred and one,” I told her. The thermometer actually read one-hundred-point-four but I’d added the extra sixth-tenths of a degree. Yeah, I can be that small.

“Did you give him any Tylenol?”

I nodded. “About an hour ago. So how did group-therapy-with-nachos go?”

Instead of answering, she stood and picked up empties from the coffee table. She’d mentioned before that she doesn’t like me drinking beer at night if I’m watching the kids, but she didn’t call me on it that night. Her guilt was at a satisfactory level.

I’m sure Emily is keeping track of my nighttime beer consumption, but I’m confident she’s unaware that I’ve started drinking the hard stuff during the day. Tuesday is when the recycling truck comes down our street, so I’ve begun hiding the empty liquor bottles until then. I wait until she leaves for school, then take them out of hiding and bring the blue box out to the curb, feeling embarrassed by the evidence of my growing reliance on alcohol but proud of myself for pulling off my daytime drinking deception. She knows I’m taking that prescription for my nerves, of course. In fact, she was the one who urged me to see someone because I’d become so edgy and sleep-deprived. What she doesn’t know is that I’ve begun taking more than “one before bedtime and/or as needed.”

I tell myself that “and/or as needed” is the loophole I can use if that doctor questions my need for an early refill. I’m not too worried about my growing reliance on “better living through chemistry.” It’s just a stopgap thing until my situation turns around. It’s not like I’m addicted to benzos or booze. There was that DUI, but there were extenuating circumstances: namely that I lost my job that day. Everything will right itself once I get back to work. And okay, maybe I’m not looking for another position as hard as I was at the start, but I’ll get back on the hunt soon.

The morning after Niko’s earache, he was back to his rambunctious self and Maisie wasn’t sick yet. I let Emily know I wasn’t over it yet, communicating in single syllables. Emily took the kids to lunch and then over to the playscape in the park while I watched basketball. March Madness. Gonzaga versus Xavier, Oregon versus Kansas—but I didn’t have skin in either of those games. Back when I worked at Creative Strategies, Declan from Accounting was always in charge of the brackets pool and he or Charlie, one of the salesmen, would have the rest of us over to watch the games. I haven’t been gone that long, but neither had bothered to see whether I still wanted in. Out of sight, out of mind, I guess.

I stretched out on the couch with my six-pack of Sam Adams on the floor for company. What was that TV show where you could “phone a friend” for help? Who would I have called? My friendships at Creative hadn’t lasted past my being employed there. My high school and college buddies and I hadn’t stayed in touch. I had never been that close with the guys on my softball team. Try maintaining your male friendships when you’ve got two-year-old twins and have lost your job. While every other dude is out in the world, working during the week and hanging with his bros on the weekends, I’m Mr. Mom twenty-four seven for a couple of toddlers.

By midafternoon, I was half in the bag. Emily and the twins were still out—probably over at her mother’s. When I got up to take a piss, I swayed a little on my way to the bathroom. Mid-pee, I saw the envelope she’d left, propped against that stupid doll with the crocheted skirt that covered the toilet paper roll. We’d both laughed at it after Emily’s great-aunt Charlotte gave it to her one Christmas, but for some reason it’s survived several purges of domestic detritus.

Inside the envelope was a letter on lined paper. Hey Babe. I’m sorry about yesterday. You were right. I should have asked you if you minded my going out after work instead of telling you I was going. I hope you realize how much I appreciate your caring for the twins while you look for another job. I know it’s hard. And I know you’re going to find another position soon, Corby. I hope you realize what a talented artist you are and a great dad, too. Let’s do pizza tonight. Hope we can have some close time after the kids are asleep. XOXO, me.

I appreciated what she’d written, particularly her offer of “close time”—code for makeup sex. And sure enough, we had it that night, but it was a bust. As usual, we did her first, but she was taking so long that I gave up, got on top, and plugged in. Went from zero to sixty and was pounding away when she grabbed my wrist and whispered, “Hey, take it easy.” I stopped cold, began losing my hard-on, and pulled out. Threw on my robe and headed out the door, thinking, shit, man, I can’t do anything right. Can’t find work, can’t get through the day without drinking and drugging, and now I can’t even satisfy my wife. “Where are you going?” she said. “Come on. Let’s wait a few minutes and try again.”

I appreciated the offer. I still love her. Still want her. A dozen years and two kids after that summer we met, I still can’t believe she said yes when I asked her out that first time. Or that she committed to me when I drove cross-country to California and showed up out of the blue at her college apartment. And that she’s stayed committed. Of the two of us, I definitely got the better deal. And here she was in our bed, offering me kindness and understanding. So of course I sabotage myself. “Not feeling it,” I told her. “I’ll take a rain check.”

I went downstairs. Walked around in the kitchen, opened the fridge. I microwaved those enchiladas she had gotten me but kept them in so long, they were dry and tough. After a few bites, I scraped the rest into the garbage. Reached up for the lobster pot and made myself a stiff drink instead. By the time I got back to bed, Emily was asleep. In all the years we’d been together, I don’t think we’d ever been this much out of sync.

But the next day, things got better. We sat on the floor and played with the kids. Danced with them to that silly “Baby Shark” song. When they went down for their afternoon naps, we went back to bed and tried again—successfully, this time, for both of us. We cooked supper together, the twins watching us as they wandered around underfoot. Things have been better since then. The usual minor ups and downs but nothing more. Marriage is all about that seesaw ride, isn’t it? We’re okay.

Now Emily cuts two slices of French toast into bite-sized squares, dotting each piece with syrup. “Yum, yum, yum,” she says, divvying up the finger food between the kids. I love watching her with them, more so when I’m feeling relaxed like this. Maisie resembles her mother: dark hair, dark eyes, Em’s dad’s Mediterranean complexion. At her twenty-four-month checkup, she was in the thirtieth percentile for both height and weight, so she’s probably going to be petite like Emily. Niko’s got my reddish hair and lighter skin tone; his height and weight are a little higher than average, the pediatrician said, but compared to his sister, he looks like a bruiser. Turning to me, Emily asks why the smoke alarm went off. I hold up the two burnt pieces I threw on the counter, dangling them like puppets. “Here you go,” I say, sliding the new stuff from the pan onto a plate. “Be right back.” I head to the bathroom and brush my teeth so she doesn’t smell my breath. I wait half a minute or so, then flush and walk back into the kitchen. She asks me what I’m smiling about.

“What?”

“You’re smiling. What are you thinking about?”

“What am I thinking about? I don’t know. Nothing much.” I’m smiling because, thanks to the rum and Ativan, I’m pleasantly buzzed.

Maisie, the more fastidious eater, finishes without making a mess, but her brother’s bib is saturated with milk and he has somehow managed to get syrup in his left eyebrow. Half of his breakfast is on the floor. Emily looks at the clock, then starts cleaning up the mess. “You know something, kiddo?” she asks Niko. “I think Mommy and Daddy should get one of those Roomba things and program it to follow you around all day. Would you like that?” Without having any idea what she’s talking about, he nods enthusiastically. I tell Emily to leave it, that I’ll clean up. “That would be great,” she says. “I’m running a little late.” She heads back to the bathroom to brush her teeth and blow-dry her hair.

Just before she leaves for work, Emily addresses the twins. “Be good kiddos for Daddy and Grammy today. No naughty stuff, okay?” She models the correct response, a head nod, which they both mirror back to her.

“Too bad we can’t get that in writing,” I quip. The day before, Niko led his sister in a game of crayon-scribbling on the kitchen linoleum and it was a bitch to scour off those marks without scratching the surface, which I did anyway.

“Okay, I’m off,” she says. “Wish I could stay home with you guys. Love you.”

“Love you, too.” I made sure to start the breakfast dishes when I saw she was about to leave. Better a sudsy-handed wave goodbye than a boozy kiss. “Have fun on your field trip.” She’s just finished a dinosaur unit with her third graders and is taking them to the Peabody Museum to see prehistoric bones and footprints.

“Good luck with those leads, babe,” she says. “Maybe today’s the day, huh?”

I shrug. “Maybe.”

Theoretically, I’ll be job hunting today, although, truth be told, I’ve pretty much surrendered to the status quo. When I hear Emily’s car back down the driveway, then accelerate, I say, aloud to no one in particular, “There goes the family breadwinner.” Then I reach up for the lobster pot, take it down, and refresh my coffee-and-Captain cocktail. Get the twins dressed and pack the diaper bag. “Guess what?” I tell them. “Today is a Grandma day.” Maisie claps her hands, but Niko shakes his head and says, “No Gamma! No Gamma!”

“Dude, I feel your pain,” I tell him, chuckling. Emily’s father once referred to his ex-wife as “the iron butterfly.”

I lied to Betsy, telling her I’d drop them off somewhere around eight thirty so I can chase down a couple of imaginary leads, one of them in Massachusetts, north of Boston. Traffic permitting, I said, I’ll pick them up sometime between three and four. I added the “traffic permitting” caveat as a cushion in case I need an extra hour to sober up.

I’ve lied to Emily, too—told her that after I drop the kids off at her mom’s, I’ll send out another round of résumés, make some follow-up calls, and then drive over to Manchester because Hobby Lobby has advertised an opening in their framing department. In truth, having been defeated by several months’ worth of humiliation in my search for employment, and now dreading the possibility of actually getting the Hobby Lobby job and having to mat and frame people’s shitty, mass-produced poster art at a big-box store, I will not be driving to Manchester or doing anything else on my make-believe agenda.

When I was laid off from the two-person art department of the advertising firm where I’d worked for five years, Rhonda, my manager, delivered the news at lunchtime and told me to take the afternoon off. In fairness, she didn’t realize she was shitcanning me on Maisie and Niko’s first birthday, for which we’d planned a party with the two grandmas, plus a few of our neighbors, and some of Emily’s work friends. (The year before, it was Rhonda who had arranged for the lunchtime celebration of the twins’ birth: cake, gift cards, packs of Huggies, jokes about sleeplessness.) “I want you to know that it’s not about the quality of your work, Corby,” Rhonda assured me as she raised the ax and let it drop. “It’s about the company’s bottom line. It was a difficult decision, but I was told I couldn’t keep you both.” And, of course, she wasn’t about to lay off Brianne, the golden child who’d been hired three years after me but had been getting assigned to the bigger accounts. Like me, Brianne had been a scholarship student at the Rhode Island School of Design, but unlike me, she had graduated with honors and won awards for her work, whereas I’d quit midway through my senior year and driven across the country to secure Emily’s love.

For a while now, I’ve been nurturing this scenario whereby a bigger and more lucrative agency lures Brianne away from Creative and I get my old job back and excel, showing them what a foolish mistake they made when they let me go. What’s that called? Magical thinking? Meanwhile, my unemployment benefit has run out, and we’ve refinanced our mortgage and done three sessions of marriage counseling. Last month, we acknowledged the twins’ second birthday with presents, cake, and candles but skipped the expense of a party. Hey, it is what it is, as they say. With an assist from rum and Ativan, I’ve lately held panic at bay by embracing the Alfred E. Neuman philosophy: What? Me worry? So after I drop off the kids, I’ll be heading to the liquor store for another fifth of the Captain, then back home to consume it while watching some daytime TV: CNN, The People’s Court, The Price Is Right, and, if I can find it again, that station that carries reruns of Saved by the Bell. Once my rum-and-benzo minivacation really kicks in, I might watch some porn and jerk off, maybe grab a nap. I’ll pick up Maisie and Niko at Betsy’s sometime around four. Start cooking supper by the time Emily gets home or, more likely, pick up Chinese or Chipotle for dinner, plus McNuggets for the twins. There’s starting to be an embarrassing number of Happy Meal toys gathering on the windowsill in the playroom. That’s my plan. But none of this will happen.

I put the bag I packed for the twins’ day at their grandmother’s on the bottom porch step, then go back inside. Brush my teeth and gargle twice so that Betsy won’t smell anything when I drop them off. It’s a chilly morning, so I put the kids’ hats and spring jackets on. Lock the front door and walk them out to the driveway. The usual order of buckling the twins into their car seats is Niko first because he’s the more restless of the two. But the order gets turned around this morning when I see Niko on his belly, watching a swarm of ants in the driveway crawl over and around a piece of cookie that got dropped the day before. I buckle Maisie in. Then I remember the bag on the porch step and hustle back to get it. I place the bag on the passenger’s seat up front. Wave to our across-the-street neighbors, Shawn and Linda McNally, as they pull into their driveway. Linda gets out of the car shaking a paper bag. “Mr. Big Spender just took me out for breakfast,” she calls over to me. “Egg McMuffin to go. Woo-hoo!”

I laugh. Promise Shawn I’ll return the maul I’d borrowed from him. The weekend before, I finally finished splitting and stacking that half cord of wood that had been delivered a few months ago. “Yeah, good,” he says, instead of “no rush” or “not a problem.” Some guys are so possessive of their tools. Linda’s outgoing, but Shawn always seems standoffish. Suspicious, almost. Toward me, anyway. He’s a recently retired state cop. That probably explains it. I have the feeling that “Make America Great Again” sign on their lawn last year was his idea, not hers.

“How are my two little sweetie pies?” Linda asks.

“You mean double trouble? They got ahold of some crayons yesterday and scrawled all over the kitchen floor. When I busted them and asked, ‘Did you two do this?’ Maisie looked at her brother and he shook his head, so she did, too. The little monsters were still holding on to their Crayolas.”

“Gonna be artists like their daddy,” she says, laughing.

“Or politicians,” I say. “They’ve already got the fibbing thing down.”

Linda concurs. “When he was three, our Russell took a Magic Marker to our brand-new duvet. Swore up and down that he didn’t do it—that it must have been his sister, Jill, who hadn’t even started to creep yet. He almost didn’t live to see age four.” I roll my eyes and laugh. Ask her how Russell likes living out in Colorado. “Fine,” she says. “He’s been taking classes and bartending part-time but he just got a ‘real’ job at a TV station in Fort Collins.”

I tell her to say hi from Emily and me next time she speaks to him. “Well, I better get going,” I say. “Have a good one.”

I climb into our CRV, start it up, and put it in reverse. When I feel the slight resistance at the rear right wheel, I figure a piece of the wood I stacked must have fallen off the pile; that’s what the obstruction must be. What are they yelling about over there? I pull ahead a few feet, then back up again, depressing the gas pedal just enough to make it over the obstacle. In the rearview mirror, I see them running toward us, arms waving. What the fuck, man? Why is she screaming?

And then I know.

Reading Group Guide

Reader's Group Guide for The River Is Waiting

Discussion Questions:

1. Corby is a deeply flawed yet sympathetic character. Does his character challenge your preconceived notions about morality and empathy, particularly within the context of his life decisions? How does he evolve throughout the novel?

2. The Wequonnoc River serves as a profound symbol within the narrative. Beyond its role in the story, reflect on the river's significance as a metaphor for life's continuous flow and transformations. What does the river represent to the novel’s characters?

3. Consider Emily’s guilt over her last conservation with Corby. How does her struggle with forgiveness parallel larger themes within the story? Do you believe forgiveness is essential for personal growth?

4. The plot touches on systemic injustices within the prison system, particularly with Corby’s experience with officers Anselmo and Piccardy. How does the narrative critique societal structures, and what insights does it offer into the complexities and failures of the justice system?

5. Consider how addiction and mental health are portrayed within the novel. How do these challenges impact Corby’s choices and relationships? In what ways does the story prompt a deeper understanding of the societal and personal dimensions of these issues?

6. The mural Corby painted in the prison library becomes a symbol of his legacy. What does the mural mean to Emily and Maisie? Discuss how art can become a form of resistance and hope.

7. Manny plays a pivotal role in helping Emily reconcile with Corby’s death. What does Manny’s survival and his eventual contact with Emily suggest about the enduring connections between people?

8. Grief is a central theme in the novel. Evaluate the portrayal of mourning and the diverse coping mechanisms embodied by various characters. Which characters’ journeys resonated most with your own experiences, and why?

9. The Law of Threefold Return, associated with Wiccan beliefs, is woven into the story. Discuss its thematic relevance and how its principles of karmic justice influence the narrative's outcomes and character arcs.

10. Solomon's interactions with Corby highlight themes of mentorship, guidance, and moral complexity. Do you think Solomon benefitted from Corby’s influence? Why or why not?

11. Emily is at a crossroads in her life, torn between her grief for Corby and her new relationship with Bryan. How does she balance these two aspects of her life? Discuss the psychological and emotional intricacies of her choices; is it possible to have new beginnings when so much of your life is tied to the past?

12. The novel’s structure includes multiple perspectives and spans several years. How does this structure enhance or challenge your understanding of the characters and their journeys?

13. The inclusion of the Covid-19 pandemic adds an additional layer to the story's gravity. Discuss how the pandemic context affects the characters, particularly Corby and Manny, and highlights broader themes of vulnerability and systemic challenges.

14. How are themes of memory and legacy woven throughout the book? How do Corby’s artistic creations, such as his stone and mural, help Emily and Maisie remember him? Is there anything in your life that serves as a symbol for remembrance or legacy?

15. The novel explores the complexities of father-son relationships, including themes of legacy, expectations, and reconciliation. How do you interpret the relationship dynamics between fathers and sons in this story? Are there moments or struggles that resonate with relationships you’ve observed or experienced in your own life?

16. Imagine you're in charge of casting a film adaptation of The River is Waiting. Who would you pick to play Corby and Emily, and why? What qualities or traits of these characters should the actors bring to life on screen? Are there other actors for the book’s additional characters that spring to mind?

Enhanced Book Club Activities:

1. Documentary Screening: Visit PBS.org or search the Frontline PBS YouTube channel to watch the documentary Prison State. Discuss which moments stood out to you the most from the film. What systemic issues or policies do you think contribute to the challenges depicted in the documentary? Discuss the real-world parallels and experiences depicted in the novel.

2. Artistic Legacy Project: Create an art piece inspired by Corby’s mural, incorporating elements that reflect themes of transformation and hope. Share your piece with group members and use as a springboard for discussing how art can effect change and preserve memory.

3. Prison Library Research: Check out organizations such as Freedom Reads (freedomreads.org), Prison Books Program (prisonbookprogram.org), and Books Through Bars (booksthroughbarsnyc.org) to learn more about the power of promoting literacy and access to reading material for incarcerated individuals. Consider finding an organization or local volunteer chapter that serves individuals in your state or community.

Questions for the Author:

1. What inspired you to write The River Is Waiting? How much of Corby Ledbetter’s journey came from real-life experiences versus pure imagination?

2. The book dives deep into incarceration and systemic injustice. How did you tackle writing about these tough topics, especially keeping in mind that some readers might be unfamiliar with aspects of the prison experience?

3. Nature, especially the Wequonnoc River, is an important part of the story. How did you come up with the idea to use it as a metaphor and emotional anchor?

4. Manny’s journey is all about resilience and hope. What shaped his character, and what do you want readers to take away from his life after incarceration?

5. Art plays a big role in Corby’s story—it’s both an escape and a legacy. Why did you decide to make Corby an artist, and what does artistic expression mean in the story?

6. Addiction and mental health are handled with so much care in the book. How did you approach writing about these themes in an authentic way?

7. The multiple perspectives and time jumps in the book add significant dimension to the story. How did you decide on this structure and balance storylines to make the characters feel so real?

8. Emily scattering Corby’s ashes is a deeply powerful moment. How did you decide on this ending, and what do you hope readers will take from it?

9. Including the Covid-19 pandemic added a contemporary dimension to the story. Why did you want to weave this into the narrative? How does it highlight issues facing incarcerated individuals?

10. What is one takeaway you hope readers will have after finishing The River is Waiting?

Readers Group Guide: Questions for the Author

1. What inspired you to write The River Is Waiting? How much of Corby Ledbetter’s journey came from real-life experiences versus pure imagination?

Starting a novel is always difficult for me. I usually begin by going back to ancient folktales and myths—the stories that have withstood the test of time because people need them to be told and retold. In 2018, I discovered a Mexican folktale called “The Weeping Woman.” It’s about a ghost who wanders near bodies of water, mourning the loss of her children whom she has drowned. The River Is Waiting goes far afield from that story but it, too, is about a parent who mourns a child for whose death he is responsible and who goes to the river to seek his truths.

As to real-life experiences, the writer Tom Drury said it best when he answered this perennial question: How much of you is there in your characters? Think of it this way, Drury said. A fiction writer takes a baseball bat to a stained-glass portrait of himself. Then he sits before the broken pieces and creates a whole different portrait. There are shards of me in Corby, but he and I are different people.

2. The book dives deep into incarceration and systemic injustice. How did you tackle writing about these tough topics, keeping in mind that some readers might be unfamiliar with aspects of the prison experience?

Almost all the novels I’ve written explore in some way how power is used and sometimes abused—personally, politically, judicially. Although it’s not the central theme, The River Is Waiting comments, through Corby’s growing awareness, on the racist white paternity’s historical and contemporary abuses of power to the detriment of Black and Indigenous people.

From 1999 to 2019, I facilitated a writing program for incarcerated women at a maximum-security facility where inmates of color far outnumbered white inmates. Many of my students’ autobiographical essays told me why. Crime and punishment is a complicated equation in which race, class, and economics are factors. Many of the women in our program gained self-awareness by examining in writing the “hows” and “whys” that led to their imprisonment. Other writers focused on the day-to-day details and challenges of prison life. Prison administrators and officers don’t necessarily want the public to know everything that goes on in the institutions they maintain. Perhaps Corby’s story lends some transparency to life behind the prison walls, particularly for those unfamiliar with the challenges of this existence.

3. Nature, especially the Wequonnoc River, is an important part of the story. How did you come up with the idea to use it as a metaphor and emotional anchor?

The Wequonnoc is a fictional river that shares characteristics with three rivers that conjoin in my hometown of Norwich, Connecticut. An East Coast native who lives about 45 minutes from the ocean, I’ve always been drawn to the sight, sound, and power of moving water. That fascination extends to rivers, streams, waterfalls, floods—and even to indoor plumbing! (I’ve gotten some of my best writing ideas in the shower.) There’s something about the flow of water that unblocks me and carries me along, as a writer and a problem solver.

Corby goes to the river seeking clarity. Should he confess and take responsibility for the tragedy he caused or use the loophole his attorney has suggested? He makes his decision when he stares eye to eye with a great blue heron perched on a rock in the middle of the swiftly moving river.

4. Manny’s journey is all about resilience and hope. What shaped his character, and what do you want readers to take away from his life after incarceration?

There’s a lot of sadness in this novel. To some extent, Manny is a character who provides a measure of comic relief. But he functions in other ways as well. The Yates Prison chapters depict two opposing forces: evil and good. The forces of evil are embodied in Officers Piccardy and Anselmo and Corby’s first cellmate, Pug. The forces of good include Mrs. Millman, Officer Cavagnero, Dr. Patel, and, despite the crimes he’s committed, Manny DellaVecchia. I like to think Manny’s compassion and humanity, as when he reaches out to Emily, will serve him well in his post-prison journey. That said, his employment opportunities are likely to be limited to low-paying service jobs like the one he has at the mall. I know from my formerly incarcerated students that employers are often reluctant to take a chance on someone who has a prison record.

5. Art plays a big role in Corby’s story—it is both an escape and a legacy. Why did you decide to make Corby an artist, and what does his artistic expression mean in the story?

I imagine making one’s living as a commercial artist is different than following one’s artistic impulses irrespective of a salary. Corby’s job provides him a living but does little to nurture his creative soul. Yet when his employer lets him go, it triggers his downward spiral toward addiction. Ironically, when he is tapped to create his mural, that confinement in prison frees him to follow his instincts, restoring his love of art for art’s sake.

When I was a kid, I loved to draw. I wrote and illustrated my own comic books. Recognizing that I had some artistic talent, my elementary school teachers—god rest their overworked souls—taped bedsheet-sized paper to the classroom walls and let me draw and paint full-size murals during recess. In high school I was voted “Class Artist” and entered college planning to major in art. Then I fell in love with literature and swerved in a different direction. In my twenties I had no idea I would become a novelist, but in retrospect it all makes sense. Drawing and fiction writing drink from the same well. I often see scenes play in my head like movies before I put them into words. All that drawing I did as a kid prepared me to become a storyteller.

6. Addiction and mental health are handled with so much care in the book. How did you approach writing about these themes in an authentic way?

The town where I grew up housed Connecticut’s largest hospital for the mentally ill. Riding past that sprawling campus when I was a kid spooked and fascinated me. It wasn’t until I was an adult that a family secret was divulged: my maternal grandfather had lived the last years of his life in that hospital’s forensic building.

Many of my incarcerated students were doing time because of DUI fatalities and/or addictions that led them to criminal behavior. Their honest explorations of how they came to crave substances that were destroying their lives opened my eyes to the self-defeating power of addiction. Corby’s problems start with his depression and subsequent anxiety, for which he is prescribed an addictive anti-anxiety drug. I wrote about his overreliance on alcohol based somewhat on personal experience. When I was in my fifties, my drinking went from enthusiastic to problematic, but I have been happily sober for fourteen years.

7. The multiple perspectives and time jumps in the book add significant dimension to the story. How did you decide on this structure and balance storylines to make the characters feel so real?

I began the story knowing that the tragedy would come near the beginning, but I didn’t yet know much about who Corby and Emily were as a couple, so in chapters two and three, I took a hiatus from 2017 and began writing their backstory covering the years 2005 through 2013. Later, I wrote several flashback scenes to inform myself what Corby’s childhood had been like with a difficult father and a mother who was checking out by smoking weed. I wasn’t thinking about a readership during this process; I was writing for myself so that I could understand Corby on a deeper level. I don’t outline or plot my stories ahead of time; I sit behind my laptop and discover them on a day-to-day basis.

I had a chunk of the novel written before I began working with my wise and perceptive editor, Marysue Rucci. Back then, the story swung back and forth between two points of view: Corby’s and Emily’s. Marysue urged me to tell the story from a single viewpoint, Corby’s, and let us know Emily through his eyes. That went a long way toward focusing and improving what I had drafted. Throughout our work together, Marysue’s feedback was rigorous and invaluable. She helped me to write a much better book.

8. Emily scattering Corby’s ashes is a deeply powerful moment. How did you decide on this ending and what do you hope readers will take from it?

Titling my novels is always a big deal for me and, as many of my readers have observed, there’s always a tie-in to music. That’s because I play music while I’m writing and a snatch of song lyric or a refrain sometimes will point me in a direction that surprises me. Titling is my way of tipping my hat to musicians and songwriters. “The River Is Waiting” is a song I first heard sung by New Orleans’s soul queen, Irma Thomas. I later learned it was written and recorded by John Fogerty. The song kept playing in my head until I realized on a conscious level that that would be the title of my then story in progress. That left me with two questions I needed to answer: who or what was the river waiting for and why?

The scattering of the ashes comes near but not at the end. In the book’s final scene, Corby and Emily’s surviving twin, Maisie, reaches up to touch the rendering of her lost brother Niko in Corby’s mural. “Hello, boy,” she says. That ending wasn’t something I intellectualized about; it came to me full-blown and moved me to tears. For those brief few seconds, Maisie reconnects with her lost twin.

9. Including the Covid-19 pandemic added a contemporary dimension to the story. Why did you want to weave this into the narrative? How does it highlight issues facing incarcerated individuals?

I began writing this novel two years before the outbreak of Covid-19. Since Corby enters prison in August of 2017 with a three-year sentence, his release is scheduled for the summer of 2020, at which time the coronavirus was rampant. It would have been unrealistic to avoid this health crisis in a novel set in the real world at a specific place and time.

Because they live in close proximity to one another, prisoners were extremely vulnerable during the pandemic. Facilities had protocols to lessen the possibility of infection, but they were not always adhered to. Inmates were sequestered in their cells for weeks at a time, family visits were cancelled, and volunteer programs were shut down. Some incarcerated individuals still suffer from long Covid and the effect of long-term isolation.

10. What is one takeaway you hope readers will have after finishing The River Is Waiting?

What readers take away from the novel is up to them, not me. I only hope the story is useful and perhaps applicable to their own lives.

About The Author

Photograph by Shana Sureck

Wally Lamb is the author of six New York Times bestselling novels: I’ll Take You There, We Are Water, Wishin’ and Hopin’, The Hour I First Believed, I Know This Much Is True, and She’s Come Undone. Lamb also edited Couldn’t Keep It to Myself and I’ll Fly Away, two volumes of essays from students in his writing workshop at York Correctional Institution, a women’s prison in Connecticut, where he was a volunteer facilitator for twenty years. Lamb lives in Connecticut with his wife, Christine, and they have three sons.

Product Details

  • Publisher: S&S/Marysue Rucci Books (June 10, 2025)
  • Length: 480 pages
  • ISBN13: 9781668006399

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Raves and Reviews

"An epic tale…[Wally Lamb's] incandescent writing can illuminate even the darkest of stories."–Oprah Daily

“Lamb sheds light on the inhumanity and cruelty of the American prison system, while also offering glimmers of hope and friendship… There are no simple resolutions in this gripping drama, and Lamb offers plenty to ponder about guilt, innocence, rehabilitation, and forgiveness.” —Booklist

“[A] heart-wrenching story of redemption… Lamb lays bare the vagaries of his protagonist’s life in accessible prose and concludes on a bittersweet note. This will please the author’s fans.” Publishers Weekly

“Riveting… Lamb expertly shows [Corby’s] arduous, bumpy progression… a gripping […] story of grief, guilt, and healing.”Kirkus

"Wally Lamb has always written with compassion for all of his characters, no matter their flaws. But here, in this moving exploration of an otherwise good man and loving father who happens to be an addict, Lamb goes deeply into what it means not only to survive tragedy, but to actually heal from it by stepping tentatively into real forgiveness. I could not put down The River is Waiting, and I predict that you won't be able to either.” —Andre Dubus III, New York Times bestselling author of House of Sand and Fog and Ghost Dogs

“A heartwrenching, moving tale about the power of forgiveness, resilience and growth.” Woman's World, "12 Most Anticipated Books of 2025"

"I was awestruck by this brilliant novel! I know that “authenticity” isn’t the sexiest takeaway, but on my honor, page after riveting page, I asked myself, “How did he know this? How is this so moving, so real, so close to the bone?” Bravo, Wally Lamb. Not that you needed another masterpiece to demonstrate your unerring eye, ear, and signature heart, but may I say The River is Waiting might crown them all.” —Elinor Lipman, author of Every Tom, Dick & Harry and Ms. Demeanor

"As usual, Wally Lamb gripped me with his perceptive, page-turning novel, The River Is Waiting, a story that illuminates how the traumas of mass incarceration and addiction stigma spare no one. Lamb delivers what’s most needed in these turbulent times—an absolute empathy bomb." —Beth Macy, author of Dopesick and Raising Lazarus

"Time and time again, the amazing Wally Lamb’s imperfect people break our hearts and help us understand the unfathomable depths of guilt and grief as we look for light in the world." —Alice Hoffman, New York Times bestselling author of The Practical Magic series

The River is Waiting is an ambitious, affecting novel that’s not afraid to look directly at human suffering, and to map out the pain we inflict on others, and on ourselves. With an unflinching eye and an unsentimental compassion for his characters, Wally Lamb finds glimmers of hope and healing and decency in the darkest places." —Tom Perrotta, New York Times bestselling author of The Leftovers and Little Children

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