In 1982, the oil rig Ocean Ranger sank off the coast of Newfoundland during a Valentine's night storm. In the early hours of the next morning, all 84 men aboard died. Helen O'Mara is one of those left behind when her husband, Cal, drowns. Her story starts years after the Ranger disaster, but she is compelled to travel back to the 'February' that persists in her mind, and to that moment in 1982 when, expecting a fourth child, she received the call informing her that Cal was lost at sea. A quarter of a century on, late one winter's night, Helen is woken by another phone call. It is her wayward son John, in another time zone, on his way home. He has made a girl pregnant and he needs his mother to decide what he should do. As John grapples with what it might mean to be a father, Helen realises that she must shake off her decades of mourning in order to help. With grace and precision, and a shocking ability to render the precise details of her characters' physical and emotional worlds, Lisa Moore reveals the whole story to us. And just as, finally, we watch the oil rig go down, we see Helen emerging from her grief to greet a new life.

Lisa Moore's Alligator moves with the swiftness of a gator in attack mode through the lives of a group of brilliantly rendered characters in a city whose spiritual location is somewhere in the heart of Flannery O'Connor country. Madeleine, the driven, ageing filmmaker whose mission is to complete a Bergmanesque magnum opus before she dies Frank, a young man of innocence and determination whose life is a strange anthology of unpredicatable dangers Valentin, the sociopathic Russian refugee whose predatory tendencies threaten everyone he encounters Colleen, at seventeen, a hard-edged female Holden Caulfield, drawn inexorably to the places where alligators thrive.