New Hampshire

Neco said, "Anita Shreve (the novelist who wrote Fortune's Rock) lives in (or nearby) Boston and grew up in New England, I think. I have read the majority of her books, which are character driven stories that make one think about why people makes the choices they make and usually have lovely New England settings that feature into the story. I chose this particular book to recommend because not only does it have a complicated romance and complex characters, but the mill towns and factory girls of the early 1900s in New England play into the main story so I thought it shared something about the history of that area of New England. The majority of the book is set at the girl's family's summer home, which is in New Hampshire according to your post (I've read the book more than once but not recently enough to remember for sure), and also in Boston and a mill town in New England. So I'd go New Hampshire, if you use it."

In Fortune's Rocks, Shreve turns historical in venue and ultramodern in attitude. Set at the turn of the century — the 20th century, that is — the story concerns Olympia Biddleford, well-born daughter of an erudite, if rather cold father. The precocious Olympia is the kind of girl who might then have been called high-spirited: She has her own opinions about history and literature, for example, and isn't shy about expressing them — at least within the safety of her family. But Olympia is also high-spirited and provocative in other, more dangerous ways — most notably when she embarks on a sexual relationship with John Haskell, one of her father's friends (and 30 years her senior). Nothing good will come of this, Olympia and the reader both know from the outset; it doesn't take long — just about a third of the novel, in fact — for this foreboding to be proved right. The lovers are soon discovered, and their lives are torn asunder. Haskell's wife leaves him, the Biddlefords' reputation is seriously besmirched, and Olympia is sent by her omnipotent father to a school "out west."

But the story hardly ends there. Olivia, it turns out, is pregnant with Haskell's child, and though in a drugged postpartum state she allows her son to be taken from her, she soon returns to Fortune's Rocks intent on reclaiming him.

It's at this point that Shreve begins blending the novel's own particular topicality cocktail. Olympia discovers that her son is living with well-meaning but poor French immigrants, and she decides to use her not insignificant fortune and still powerful (if somewhat tarnished) reputation to prove that she, not the Telesphore Bolducs, should have custody of her boy. The problem is, even Olympia can't deny that the Bolducs are loving parents and that the child is happy and well in their care. What follows is a court case and a soul-searching that liberally borrows not only from the biblical tale of King Solomon (who is the better mother — the one who will allow her child to be figuratively cut in half or the one who allows him to live with the other?) but also from pop culture milestones such as the 1979 movie "Kramer vs. Kramer" and the Mary Beth Whitehead surrogate mother trial (remember that one?).