Harry is a Richard Nixon scholar who leads a quiet, regular life; his brother George is a high-flying TV producer, with a murderous temper. They have been uneasy rivals since childhood. Then one day George loses control so extravagantly that he precipitates Harry into an entirely new life.

In May We Be Forgiven, Homes gives us a darkly comic look at 21st century domestic life – at individual lives spiraling out of control, bound together by family and history. The cast of characters experience adultery, accidents, divorce, and death. But this is also a savage and dizzyingly inventive vision of contemporary America, whose dark heart Homes penetrates like no other writer – the strange jargons of its language, its passive aggressive institutions, its inhabitants’ desperate craving for intimacy and their pushing it away with litigation, technology, paranoia.

At the novel’s heart are the spaces in between, where the modern family comes together to re-form itself. May We Be Forgiven explores contemporary orphans losing and finding themselves anew; and it speaks above all to the power of personal transformation – simultaneously terrifying and inspiring.