by Sarah Stonich
On a lake in northernmost Minnesota, you might find Naledi Lodge—only two cabins still standing, its pathways now trodden mostly by memories. And there you might meet Meg, or the ghost of the girl she was, growing up under her grandfather’s care in a world apart and a lifetime ago. Now an artist, Meg paints images “reflected across the mirrors of memory and water,” much as the linked stories of Vacationland cast shimmering spells across distance and time.
Those whose paths have crossed at Naledi inhabit Vacationland: a man from nearby Hatchet Inlet who knew Meg back when, a Sarajevo refugee sponsored by two parishes who can’t afford “their own refugee,” aged sisters traveling to fulfill a fateful pact once made at the resort, a philandering ad man, a lonely Ojibwe stonemason, and a haiku-spouting girl rescued from a bog.
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