The debut novel 'Yesteryear' by Caro Claire Burke uses caustic humor and a time-traveling horror premise to critique the modern 'tradwife' movement and its intersection with American religious identity. The story follows an influencer whose curated, wealthy lifestyle in rural Idaho is shattered when she is transported back to the year 1855.
A Curated Digital Life
In the opening of the novel, the protagonist Natalie manages a booming farm in rural Idaho known as 'Yesteryear.' Her life is defined by social media fame, where she chronicles her family of six children dressed in neutral-toned prairie clothing for millions of followers. The farm's operations are supported by her husband, Caleb, whose father is an ultra-wealthy U.S. Senator who has provided the necessary bankrolling for their agricultural success.
Parallels to Utah Ranching
As Religion News Service reporter Jana Riess noted in a June 2026 review, the novel's setting serves as a riff on real-world social media influencers, specifically referencing 'Ballerina Farm,' a well-known ranch located in Kamas, Utah. Riess observed that the fictional farm's lifestyle mirrors the existence of the Neelemans, whose Mormon faith remains a persistent undercurrent of their online empire.
During a visit to the Kamas and Midway, Utah areas, Riess identified striking similarities between the novel and the actual ranch, including the high prices for farm products. Examples cited included $46 for Bone Broth Hot Cocoa mix and $18 for a small pack of 'Willa Sourdough Starter.'
The Reality Behind the Feed
The narrative reveals a sharp contrast between the polished Instagram feed and the reality of the farm's operations. Behind the scenes, Natalie’s farm relies on an army of low-paid laborers, and the 'organic' fields are subject to nighttime spraying of fertilizers and pesticides. The domestic reality is also strained; Natalie is described as being distant from her children, who are raised by nannies, and she harbors deep resentment toward Caleb.
A central conflict in the book involves the imposition of gender roles. The novel depicts Natalie attempting to reshape Caleb away from his natural inclinations—such as nurturing children—toward a version of 'rugged Christian masculinity' focused on farming. Riess characterized this dynamic as a tragedy, noting that both characters are unsuited to their assigned roles: Natalie possesses the qualities of a dictator rather than a mother, while Caleb possesses the temperament of a kindergarten teacher.
A Descent into Horror
The novel shifts from social satire into horror when Natalie wakes up in the year 1855. The 'authentic' farm she once curated for her followers is replaced by a ramshackle, struggling homestead. Her modern life, which was built on high-tech machinery and immigrant labor, is gone, leaving her to perform grueling manual labor, such as washing mud-encrusted laundry until her knuckles bleed.
In this new era, Natalie encounters a different version of Caleb—one who is hardened, abusive, and capable. She also discovers that the children calling her 'Mama' are not her actual biological children. This transition leads Natalie to believe she might be trapped in a hardcore frontier reality show, prompting a desperate struggle to play her role correctly in hopes of finding an escape.
Broader Religious Context
The themes explored in 'Yesteryear' coincide with broader discussions regarding trends within the Church of Jesus Christ of Latter-day Saints (LDS). In a July 16, 2026, opinion piece, Jana Riess examined data-driven trends within the LDS community, specifically noting shifts toward prioritizing religious engagement over other lifestyle factors.
Final Reflections
While 'Yesteryear' functions as a work of fiction, its exploration of wealth, religion, and gendered expectations provides a commentary on contemporary American religious life. Through the lens of Natalie's displacement, the novel examines the tension between manufactured digital personas and the historical realities of frontier life.
