Amid the gangland wars of Prohibition, one fisherman’s long-shot play to secure his family’s future brings disaster to everyone he loves. Based partly on family lore, Matt Riordan’s follow-up to The North Line is for readers of Jeannette Wall’s Hang the Moon and S.A. Cosby’s All the Sinners Bleed.
WHILE THE GETTING IS GOOD
by Matt Riordan
Hyperion Avenue, April 2025
(via Kaplan/DeFiore Rights)
Eld should’ve known better. Hell, he did know better. But watching lesser men hit big paydays—men who didn’t fight in Europe—grew unbearable. So, when the opportunity arises, he reaches for a little something extra for his family, and even more for himself. With Prohibition expiring in a matter of months, his turn from fisherman to rumrunner was supposed to be temporary. It seemed the perfect plan. Even Maggie, Eld’s normally sensible wife, is on board.
Things don’t go to plan. Amid the region’s players battle to capture the biggest piece of a shrinking pie, Eld’s tiny family operation is caught in the crossfire. One bitterly cold night packing whiskey across Lake Huron costs Eld dearly, and his family even more.
Hunted by gangsters and squeezed by the Depression, Eld, Maggie, and the children are scattered: Eld to Canada on a doomed quest, Maggie and her daughter forced into finding sanctuary in a faith more cult than religion. When they finally reunite, they may not even recognize each other as the same people who crossed their fingers and threw the dice for a shot at a better life.
Matt Riordan grew up in Michigan but spent his early twenties working on commercial fishing boats in Alaska. After college Matt drifted from commercial fishing through a variety of jobs before landing in law school. He became a litigator in New York City, where he practiced for twenty years. He now lives with his family in Australia.
In the thick of winter 2020, when so many books were buried beneath the catastrophe of the COVID-19 news cycle, one unlikely debut seemed to cut through the noise. Jamie Hood’s How to Be a Good Girl was an inventive and hybrid work of self-making, mingling diary entries, poetry, literary criticism, and love letters to interrogate the archetype of the “good girl,” and the ideas of femininity, passivity, desire, and trauma that come with it. Journeying from the ice age to our modern-day climate crisis, it devoured texts as expansive as Levinas and Plath to the Ronettes and after-school specials, all the while asking: what pound of flesh must a woman pay to be seen as “good.”
A high-school state champion runner turned college dropout, Angela is working as a receptionist at an abortion clinic when a “heartbeat law” criminalizes most abortions statewide. In the ensuing upheaval, her boss is arrested for providing illegal procedures and the clinic is shut down.