Martin Sloane
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- ¥2,000
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- ¥2,000
発行者による作品情報
In 1984, Jolene Iolas, a student in upstate New York, encounters Martin Sloane's art while visiting a Toronto gallery. Flush with the confidence of youth, she strikes up a correspondence with the older artist, and eventually the two become lovers. Introduced to a constancy of love she has never known, Jolene relaxes into the rituals of being someone's other half. She learns Martin's story and cherishes it as her own. He becomes a fixture in her life, a star in her sky.
And then, he vanishes. There is no hint of his fate, no chain of cause to be followed. Over a long fall, the shock slowly hardening into fact, Jolene sheds her life, losing everything, including her oldest friend, Molly, to inexpressible grief.
Ten years pass, Jolene slowly learns to stop trying to make sense of it all. But before she can fully return to life, the opportunity to confront a ghost arises. Word has come from Molly, of all people, that someone named Sloane has been exhibiting artworks identical to Martin's in Irish galleries. Jolene travels to Dublin, where she reluctantly reconnects with Molly and together, they find themselves lost in a jumble of pasts as they try to piece together what happened to Martin Sloane.
An exquisitely crafted novel, Martin Sloane is about the mysteries of love and art, the weight of history, and what it means to bear memory for the missing and the dead.
PUBLISHERS WEEKLY
Martin Sloane, the protagonist of Redhill's elegant debut, is an Irish-born Canadian who makes dioramas from "found objects." Among these chanced-upon entities is the book's narrator herself, Jolene Iolas, a Bard undergrad who happens upon Martin's work and falls in love with the artist. Their affair lasts several years, until one day Martin purposefully and inexplicably vanishes. Achingly sweet in its execution, the novel explores what it means to love, as we follow a dual narrative: Jolene's attempt to recover after Martin disappears, and Martin's own childhood memories of Ireland, as retold by Jolene. "It's not really safe to love other people, is it?" asks Jolene's former college roommate Molly, in Ireland years later to help Jolene track Martin down. Redhill's book reminds us that love can be half imaginary. Even Jolene's recollections of Martin's childhood must pass through the lens of Martin's inventiveness: one story that Martin tells Jolene and Molly is proven a lovely fabrication. Then, too, our sense of love is shaped by our own desire. In a surprise ending, Jolene visits someone who asks for information about Martin, to which Jolene responds: "Whatever I tell you about him will just end up being about myself." A memorable and satisfying read, Redhill's book leaves the reader with a child's sense of nostalgia and a sympathy for the impasses of adulthood. in paperback should up the stakes and spur more discussion about the relative merits of cloth and paper.
