Winter 1952. Penelope Fitzgerald’s husband is a struggling alcoholic, their literary journal is on the brink, and she is pregnant with their third child. Out of the blue she receives a letter from two spinster sisters named Delaney, distant relations with a silver mine, who dangle the possibility of an inheritance.
Jessica Francis Kane’s brilliantly imagined Fonseca fictionalizes Penelope’s real and momentous trip to northern Mexico in pursuit of this legacy, a creative and practical lifeline. She leaves her two-year-old, Tina, with relatives and sails for New York with her six-year-old, Valpy, in tow. From there, mother and son take a bus all the way to . . . Fonseca.
But when they arrive, nothing goes to plan. There are others vying for the Delaney money, and for three months, from Day of the Dead to Candlemas, Penelope must navigate a quixotic household and guide her impressionable son. More and more people arrive: an ambitious American couple, various local entrepreneurs and artists (including Edward Hopper and his wife, Jo), and finally a handsome stranger who claims he is a Delaney.