River Thieves
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- ¥2,200
発行者による作品情報
In elegant, sensual prose, Michael Crummey crafts a haunting tale set in Newfoundland at the turn of the 19th century. A richly imagined story about love, loss and the heartbreaking compromises—both personal and political—that undermine lives, River Thieves is a masterful debut novel. Published in Canada and the United States, it joins a wave of classic literature from eastern Canada, including the works of Alistair MacLeod, Wayne Johnston and David Adams Richards, while resonating at times with the spirit of Charles Frazier’s Cold Mountain and Cormac McCarthy’s Border Trilogy.
An enthralling story of passion and suspense, River Thieves captures both the vast sweep of history and the intimate lives of a deeply emotional and complex cast of characters caught in its wake.
PUBLISHERS WEEKLY
Trudging across the same harsh, icy fictional terrain that's fired the imagination of such writers as William Vollman, Andrea Barrett and Wayne Johnston, Crummey, an award-winning poet (Arguments with Gravity), has produced a poetic but ponderous tale of the colonization of Newfoundland and the last days of its Beothuk Indians. As the novel opens in 1810, grim family patriarch and homesteader John Senior (his face looks "hard enough to stop an axe") has kept up a hostile standoff with the Beothuk for years. But John Senior's blood feud with the Indians doesn't sit well with his idealistic son, John, with his spirited housekeeper, Cassie, or with David Buchan, a lieutenant in the Royal Navy who organizes a peacekeeping expedition to the Indian territories. When the mission goes awry and two soldiers are left headless in the snow, John Senior and the settlers set out to exact their revenge on the natives. Fitting for a book about history and the mapping of a lost world, Crummey's story is shaped by the vagaries of memory, perpetually circling back on itself to fill in narrative and historical details. And as is sometimes typical of a first novel by a seasoned poet, Crummey's story struggles to maintain momentum, dilating at length on the meaning and limitations of language. Each Beothuk word that survives, he writes, "has the heft of a museum artifact." The same might be said of Crummey's prose ("Fat dripped into the fire, the smell of it darkening the air like a bruise") and his characters' stilted behavior, which gives rise to a panorama of Newfoundland history and mythology as carefully composed but as lifeless as a dusty museum diorama.
