Tag Archives: Pennsylvania

The Adamant Sheriff: Nighthawk’s Wing

17 Monday Jan 2022

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Review: Nighthawk’s Wing, by Charles Fergus
Arcade, 2021. 273 pp. $26

Gideon Stoltz, sheriff of (the fictional) Colerain County, Pennsylvania, in 1836, faces long odds in solving his latest case. He suffers headaches and memory loss because he fell off his horse and hit his head. His deputy does his best to cover for him, but Gideon’s boss, an arrogant attorney, openly hopes the voters will turn the young sheriff out of office come autumn. At only twenty-three, Gideon fears for his future, but the present looks pretty dreadful too. His wife, True, locked in grief over their young son’s death from influenza, won’t speak to him or even stir from bed.

But that’s just for starters. A woman said to be a witch has been found dead in Sinking Valley, a farm district more than a day’s ride from Adamant, the town where Gideon lives, and he’s not sure he can manage an extended trip, given his physical ailments. He’s hoping that the rumors of suicide prove true, and that he can investigate briefly and return home.

However, he not only knew the dead woman, Rebecca Kreidler, he has the strongest impression that he visited her on or about the day she died. Could he have killed her? Could he have taken her to bed, even, for, like many men who knew Rebecca, he lusted after her? The notion fills him with shame.

What’s more, when Gideon begins questioning the good folk of Sinking Valley, he uncovers complexities that challenge a verdict of suicide. Rebecca’s beauty aroused desire and envy, and her knowledge of medicinal plants invited both gratitude for her cures and suspicion of witchcraft. Then again, her past preceded her, for a woman who kills her husband — no matter how violent or abusive — has marked herself as an outcast, and her three years in the penitentiary is not considered adequate expiation.

This ingenious framework, and the facets Fergus gives it, make Nighthawk’s Wing compelling reading. Gideon Stoltz is a man first and a detective second, and though the two naturally intertwine, the narrative offers much more than a whodunit — luckily, for reasons I’ll get to. Not only do Gideon’s cognitive difficulties and the various reactions to them provide a touching, unusual background in a mystery, the social atmosphere places the narrative firmly in the central Pennsylvania soil.

This document bound one Henry Mayer as indentured servant to Abraham Hestant of Bucks County, Pennsylvania, in 1738. Many German immigrants to Pennsylvania, erroneously called “Dutch,” bound themselves in this way (courtesy Immigrant Servants Database, via Wikimedia Commons; public domain)

Like many people in Sinking Valley, Gideon’s of German extraction, or, as commonly called, “Dutch,” apparently a corruption of the German word Deitsch, how they describe themselves. Much hated and maligned for being different, they occupy a social position that marks the story. With skillful economy, Fergus deploys the animosity to effect, tracing its roots and consequences, and since Rebecca was Deitsch, Gideon must take that into account.

Another pleasure of Nighthawk’s Wing involves the vivid, very much lived-in picture of early nineteenth-century rural American life. Fergus shows us crafts, like grinding and resetting a millstone, or a blacksmith shoeing a horse, and recounts herbal lore and depicts burial customs. Such authenticity extends to various mounted creatures, for riding a beast requires particular skills or physical heft, and either you have them, or you don’t:

The animal’s long upper lip stated that it grudged being ridden. No saddle. The boy sat on a girthed sheepskin with the fleece side down. He held a loop of rope tied to the bit rings on both sides of the mule’s broad, disgruntled mouth. The boy was small, and his leg stuck out sideways from the mule’s sweat-slick barrel — uncomfortable enough, Gideon thought, even for one so young.

The narrative from Rebecca’s point of view works less well, I think. I believe her portrayal as a psychotic — one of her delusions gives the book its title — but by going back in time to let the now-dead speak feels like a copout, telling us what Gideon couldn’t possibly know. That may not bother other readers; and I may also be alone in my dislike of the supernatural elements that play a strong role, especially toward the end.

But I wonder whether other readers will agree with me that Fergus has tipped his hand concerning the killer’s identity, which I latched onto because of how mystery novels are typically put together. I don’t want to say more, for fear of giving too much away, but despite this drawback, I do believe that Nighthawk’s Wing deserves its audience. I congratulate Fergus for the loving care with which he re-creates the time and place and crafts his characters. If you’re like me, that will justify reading the novel.

Disclaimer: I obtained my reading copy of this book from the public library.

Lacking Compulsion: West

10 Monday Sep 2018

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Review: West, by Carys Davies
Scribner, 2018. 149 pp. $22

Sometime around 1817, John Cyrus Bellman, an English immigrant to central Pennsylvania, reads about old bones discovered in Kentucky, perhaps belonging to an ancient, unknown animal. Bellman has never heard the like, and he’s immediately transfixed. What kind of creature could it be? Why didn’t Captains Lewis and Clark happen on them during their explorations? Wouldn’t it be a fine thing if he, Bellman, saw these creatures and brought back news of the discovery? So he leaves his motherless eleven-year-old daughter, Bess, in the care of his sister, Julie, and heads west, alone, figuring to follow Lewis and Clark’s footsteps.

Meriwether Lewis and William Clark, merged public-domain images (courtesy Wikimedia Commons)

It’s a grand scheme, about dreams and dreamers, beautiful in its simplicity. Is Bellman an irresponsible lunatic, as his sister thinks, burdening her with the care of a young girl who barely knew her late mother? But Bess herself, though she loves her father dearly and will miss him, believes in her heart that he’ll find the creatures he’s looking for and return to her. Bess is a dreamer herself, a solitary, sensitive child who wishes she could go to school. You sense that she has wider horizons than the few people she comes in contact with, and that she embodies her father’s spirit.

Davies, a short-story writer of note, spares few words. Her opening chapters offer a primer on how to draw the reader’s attention and allegiance. She creates tension in small moments, using simple words to convey her characters’ thoughts, as with Bellman’s, when he contemplates making his journey:

He cooked, and occasionally he cleaned, and made sure Bess had a pair of shoes on her feet, but he was silent the whole time and sometimes his eyes turned glassy and he would not let Bess come near him. The giant beasts drifted across his mind like the vast creature-shaped clouds he saw when he stood in the yard behind the house and tipped his head up to the sky. When he closed his eyes, they moved behind the lids in the darkness, slowly, silently, as if through water — they walked and they drifted, pictures continually blooming in his imagination and then vanishing into the blackness beyond, where he could not grasp them. . .

But as a novel, West doesn’t work. In fact, I have a hard time calling it a novel, and not only because its 149 pages appear as sparsely populated in sentences as early nineteenth-century Kentucky was in people. The chapters are necessarily brief bits, and though Davies’s skill at creating broad impressions from tiny details would make Chekhov nod in appreciation, the episodes barely skim the surface.

Only one paragraph, a third of the way through, gives a hint of why Bellman has this dream. But even that little is already more than the narrative suggests about Bess’s yearnings. What does she want an education for? What does she think of Lewistown, the nearest settlement, aside from the church she’s made to attend, whose services she finds empty? And what of Julie — what’s her story? What does she want, and why did she emigrate?

There’s simply not enough inner life in West to go around, which makes it all the more difficult to believe the arresting premise. Because yes, Bellman’s idea is lunacy, so much so that it’s utterly implausible. Bellman must realize, at least in part, that Lewis and Clark were more knowledgeable and better equipped than he, yet he charges ahead, with little thought of Bess or Julie. It’s also a head-scratcher why, if the creatures were sighted in Kentucky, he thinks to go a thousand miles or more past that; but never mind.

All the more reason, then, for the narrative to focus on his motives. Is he drawn by the youth and promise of the still-new country, of travelers’ reports of natural beauty, or an extension of whatever it was that led him to cross the Atlantic? West is mum about all that. Well, then, does he have a philosophical or scientific interest in possibly extinct creatures? Nope. His attraction is just mythic, and I sense that we’re supposed to accept it on the author’s say-so.

But how? Davies is so tight-fisted with details of scenery or geography — for a novel that attempts sweep, its camera eye feels devoted to close-ups — that the grandeur and scope of the country seldom come across. Such strong novels as The Landbreakers, The Way West, or News of the World succeed, in part, because they convey all that and more. From those narratives you can see how frontier America was a wild, dangerous place, and no intelligent person would have jeopardized himself or his young daughter so carelessly, unless he had the most compelling urge.

It’s that compulsion, or lack of it, that undoes West.

Disclaimer: I obtained my reading copy of this book from the public library.

More Subversion, Please: Wolf Hollow

03 Monday Apr 2017

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Review: Wolf Hollow, by Lauren Wolk
Dutton, 2016. 291 pp. $17

Eleven-year-old Annabelle McBride learns to lie because a sadistic newcomer to her rural Pennsylvania town pushes her to it. Betty Glengarry is several years older and uses her superior size, strength, and aggressiveness to work her will. She demands money, threatens Annabelle’s younger brothers if Annabelle doesn’t comply, and dishes out punishment that suggests what she’s capable of. Since it’s 1943, and everyone’s thinking about the war effort against Germany, it’s a nice touch to portray a young girl confronting a bully at home.

War Food Administration poster by Morley, 1945 (courtesy War Food Administration, Agriculture Department, via Wikimedia Commons)

In this engaging, evocative novel meant chiefly (but not solely) for children, I wish Wolk had taken more care to connect the dots, of which the bullying theme provides one example. Annabelle never once thinks about what purpose the war might have, or whether the adults around her live up to their patriotism. She doesn’t even recognize that the McBrides, as a farm family, can feed themselves more generously than city folk, whose lives are more strictly rationed–another opportunity missed.

Even so, Wolk derives power from small moments writ large. The key character here is Toby, a veteran of the previous war who’s never recovered from whatever he saw and did in battle. Toby strikes most people as odd, but, never having hurt anyone, he lives as he likes, as a hermit in the woods, and his eccentricities have never roused anything more hostile than gossip. Now, however, as Betty’s cruelties multiply, Toby becomes a convenient suspect. Annabelle gathers that Betty’s trying to frame him, and most people implicitly accept his guilt, preferring to blame a misfit rather than a sweet, innocent girl.

Annabelle therefore takes it upon herself to protect a man she knows as fragile and frightened, kind when you allow him to be. It outrages her particularly that her Aunt Lily ranks among his most outspoken (and wrongheaded) critics. But to protect Toby requires more and more deceit, which makes Annabelle uncomfortable, so there’s that. And as the net around him tightens, the more she discovers that adults whom she’d trusted to believe in fairness or justice seem ready to let their prejudices guide them instead. This too is a nice touch; she faces down a bully, whereas they attack the victim.

I like both the moral meat implied here and the manner in which Wolk serves it. Her clear, lucid prose makes me think that she believes in E. B. White’s rules for cherishing the English language; and her careful, loving portrayal of rural life evokes one of his favorite subjects and philosophy. Consider this passage:

Our old barn taught me one of the most important lessons I was ever to learn: that the extraordinary can live in the simplest things.
Each season meant a world refashioned inside its stalls and storerooms.
Pockets of warmth in winter, the milk cows and draft horses like furnaces, their heat banked by straw bedding and new manure.
In spring, swallows fledged from muddy nests wedged in crannies overhead, and kittens fresh and soft staggered between hooves and attacked the tails of tackle hanging from stable pegs.

But, as White also understood, children’s literature is no good without a strong element of subversion. Children see adult hypocrisy, cruelty, irrationality, and faithlessness more clearly than anyone else, because they’re tuned to it and suffer from it the most–think of Huckleberry Finn, Alice puzzling her way through Wonderland, or, more recently, Harry Potter’s struggles with evil incarnate. Wolk has the moral setup, for sure, delivered with admirable economy. Without fuss or heavy lifting, she gives you good versus evil, truth versus lies, the suffering of the innocents, and betrayal. What more could you want?

Answer: depth and ambiguity. Toby, Annabelle, and just about all her family are 100 percent good, despite a minor failing or two, whereas Betty is all bad, without a redeeming feature. Moreover, it’s not just that she’s bad; she’s a sociopath, a cliché that has ruined many a novel. As my seventeen-year-old astutely observed–he read the book over my shoulder during a long plane ride–Wolf Hollow would be far more gripping and believable had Annabelle rejected Betty’s friendly overtures, prompting a reaction. That would have redressed the balance between the characters, which Wolk could have fleshed out further had Betty’s cruelties seemed more like acting out or an attempt to get attention rather than cold-blooded violence. Instead, Betty has an accomplice in her ne’er-do-well boyfriend, with whom she gets up to who knows what, so she becomes that kind of girl–another cliché. And to overturn this axis of evil, Annabelle pulls off some rather improbable stunts, especially miraculous from so young a protagonist.

I give Wolk credit for daring to hurt her characters, both good and bad–she’s willing to show that life isn’t fair. But she’d have written a much better book had she not ducked two subversive truths: Good and bad aren’t always easy to see, and doing the right thing is usually more complicated than it appears.

Disclaimer: I obtained my reading copy of this book from the public library.

Playing the Hand You’re Dealt

22 Thursday Jan 2015

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Review: The Hollow Ground, by Natalie S. Harnett
St. Martin’s, 2014. 320 pp. $25

Child abuse is my least favorite subject to read about in fiction. Having reviewed two books this week in which parents systematically reduce a child to emotional rubble, I feel shaken and a bit ambushed, especially because I wasn’t expecting it. The publishers’ synopses said nothing about it, so I guess I’m not the only one who minds.

However, the flap copy for The Hollow Ground does compare the novel’s child narrator, Brigid Howley, to Scout Finch in To Kill a Mockingbird, and I have to say, Harnett earns the comparison. The story unfolds in the Pennsylvania coal fields in the early 1960s, vividly and excruciatingly rendered through Brigid’s eyes. She’s the most rounded, complete child narrator I’ve read in years: perceptive, but not unnaturally so; awkward as she should be; struggling to understand the nightmare in which she lives; and, poor soul, trying her damndest to appease the monsters who stage it. Good luck. To top it off, something happened in the mines to her late uncle and her disabled father, which, according to legend, is why her family lives under a curse.

Pennsylvania coal miners. (Courtesy State of Pennsylvania)

Pennsylvania coal miners. (Courtesy State of Pennsylvania)

Meanwhile, the ground is shifting beneath their feet, literally. Subterranean fires have closed the mines, throwing thousands out of work. Many houses have collapsed, whereas others have become uninhabitable, whether from carbon monoxide fumes or the tremendous heat. Wallpaper peels, cold water comes from the tap lukewarm, and vegetables ripen in the dead of winter. It’s as if hell has opened its jaws, ready to swallow them, hence the title.

But the real hell here is the Howleys. With perfect pitch, Harnett portrays their shifting alliances, which exclude Brigid and sacrifice her for her elders’ purposes. If she speaks up, they slap her down, sometimes physically. If she so much as flinches in humiliation, they pour it on. Her pain or discouragement or disappointment are nothing compared with theirs; how can she be so selfish as to suffer visibly? That’s how life is, they say, and she’d better get used to it. And oh, yes, they blame her for not being able to keep the place clean, taking no account of the inevitable coal dust that covers everything.

So unrelenting is this agonizing story that I had to force myself to read on. But I did anyway, because I rarely come across characters drawn with such depth and in such prose:

 

It was early July and warm but cooler than the hot spring had been. Fireflies lit up the dark hollows of the woods and no matter how bad things were, I couldn’t help but look on their glow as something magical. Sometimes late on clear nights . . . I’d take a blanket into the backyard and lie down to star watch. Whenever a falling star shot a powdery white streak through the sky, I made a wish. Sometimes I wished something horrible would happen to Ma for all the hurt she’d brought us through, but mostly I wished we’d just all be together again and as happy as I’d always thought we’d one day be.

All this is quite masterful, yet there’s one terrible, jarring note that nearly undoes the novel for me. Harnett has one character state the theme, that you have to play the hand you’re dealt, no matter how bad it is. No argument there, but the author also seems to say that forgetting the past is the first step. I can’t imagine how such an astute observer of human behavior could even suggest this, or imply that it’s an act of will, especially in the world she’s rendered.

The Howleys never say anything genuine about their conflicts with one another, only mouth off to use it as a weapon. Maybe in that sense, they might as well shut up; but even if they did, they wouldn’t forget. And in that benighted Howley clan, only Brigid cares to listen, so there’s no true emotional exchange, no way they’ll ever break the cycle. Which leaves me wondering how in blazes that poor girl will ever learn to play the cards she’s been dealt–and yet, you sense she will.

Disclaimer: I borrowed my reading copy of this book from the public library.