Caro Claire Burke's debut novel uses the conventions of psychological thriller and satire to dissect the contemporary tradwife internet phenomenon. Natalie is an influencer who has built a large following by performing a curated version of nineteenth-century domesticity—homesteading, sourdough, large families, submissive marriage—on social media. When the gap between the performance and her actual life becomes unbearable, she finds herself transported, by means the novel keeps deliberately ambiguous, into the actual 1855 frontier life she had been romanticizing. The book moves between her present-day public collapse and her bewildered, often horrifying attempts to survive in a world she had only ever played at. Burke uses the displacement to interrogate the politics of nostalgia: what does it mean to monetize a sanitized vision of the past while contemporary women still negotiate the unfinished business of bodily autonomy, domestic labor, and religious authority? The novel is darkly comic, scornful of its protagonist without dismissing her, and acute about the way social media transforms private confusion into public product. Picked up as a Good Morning America Book Club selection and optioned for film, Yesteryear has been praised for marrying genre pleasures—suspense, satire, a touch of speculative weirdness—to a serious argument about contemporary womanhood.