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Résumé
Résumé
"In The Lowering Days Gregory Brown gives us a lush, almost mythic portrait of a very specific place and time that feels all the more universal for its singularity. There's magic here." --Richard Russo, Pulitzer Prize-winning author of Empire Falls and Chances Are
A promising literary star makes his debut with this emotionally powerful saga, set in 1980s Maine, that explores family love, the power of myths and storytelling, survival and environmental exploitation, and the ties between cultural identity and the land we live on
If you paid attention, you could see the entire unfolding of human history in a story . . .
Growing up, David Almerin Ames and his brothers, Link and Simon, believed the wild patch of Maine where they lived along the Penobscot River belonged to them. Running down the state like a spine, the river shared its name with the people of the Penobscot Nation, whose ancestral territory included the entire Penobscot watershed--the land upon which the Ames family eventually made their home.
The brothers' affinity for the natural world derives from their iconoclastic parents, Arnoux, a romantic artist and Vietnam War deserter who builds boats by hand, and Falon, an activist journalist who runs The Lowering Days, a community newspaper which gives equal voice to indigenous and white issues.
But the boys' childhood reverie is shattered when a bankrupt paper mill, once the Penobscot Valley's largest employer, is burned to the ground on the eve of potentially reopening. As the community grapples with the scope of the devastation, Falon receives a letter from a Penobscot teenager confessing to the crime--an act of justice for a sacred river under centuries of assault.
For the residents of the Penobscot Valley, the fire reveals a stark truth. For many, the mill is a lifeline, providing working class jobs they need to survive. Within the Penobscot Nation, the mill is a bringer of death, spewing toxic chemicals and wastewater products that poison the river's fish and plants.
As the divide within the community widens, the building anger and resentment explodes in tragedy, wrecking the lives of David and those around him.
Evocative and atmospheric, pulsating with the rhythms of the natural world, The Lowering Days is a meditation on the flow and weight of history, the power and fragility of love, the dangerous fault lines underlying families, and the enduring land where stories are created and told.
Critiques (3)
Critique du Publishers Weekly
Brown's dynamic debut shines a light on a small town's fraught history in Maine's Penobscot River valley. The story is narrated by David Ames, a doctor reflecting on his childhood in the 1980s and '90s, beginning with his journalist mother, Falon's establishment of a local newspaper called The Lowering Days during his infancy. As the paper's first articles go to press, the Indigenous Penobscot people are working to reclaim land they allege was illegitimately sold out from under them in the 19th century. A paper mill now sits on the land--and in the crosshairs of a national clean water movement. After a fire destroys the mill, Falon publishes a letter by a teen eco-activist who claims to have set the fire, and controversy erupts. The white townspeople become increasingly divided on the issues of pollution and land reparations, as rumors and long-held prejudices build to various feuds, particularly between Falon and a troublemaking lobsterman Lyman Creel, whose family owned the mill. The feud with Creel leads to a tragedy that forces David and his family to regroup. Brown poetically depicts the bucolic backdrop and grounds the action amid forested hillsides "deep and green and smoky with the scent of pine." Lyrical and gorgeously written, Brown's memorable outing does justice to a complicated web of issues. Agent: Jonah Straus, Jonah Straus Literary. (Mar.)
Critique de Kirkus
A novel of place, myth, and clashing loyalties set in 1980s Penobscot, Maine. Shortly after a team of Japanese investors visits a local paper mill with an eye toward reopening it, a 14-year-old member of the Penobscot Nation burns the building to the ground and disappears. The act sows discord through the economically challenged region. Enraged by the loss of prospective jobs, some demand swift vengeance for the perpetrator. Others, like the narrator's mother, Falon Ames, who runs a local newspaper, argue that the event must be seen in its larger context; the mill, after all, had hardly been "an innocent victim"; its former owners had "knowingly discharged toxic chemicals and wastewater products…into the river, poisoning its fish and plants." This dichotomy--between a mystical appreciation for the natural world and the environmentally extractive nature of work and industry--pervades Brown's beautiful if uneven debut. While the arsonist and her father struggle to survive off the land as fugitives, Penobscot Bay lobsterman Lyman Creel inaugurates a parallel land-industry drama: Convinced that un-fished waters are wasted waters, Lyman lays his traps in the mouth of the Penobscot River, an act of overreach (the river rights belong to the Penobscot Nation) that helps motivate the narrator and his twin brother to begin sabotaging Lyman's traps. Like many debuts, Brown's first novel is imperfect. His dialogue sometimes veers toward preciousness at the expense of character development; his characters are often too accurately aware of the wider themes that shape their lives ("Some places are like portals to eternity," says the narrator's uncle. "You stand in them and look around, and you feel how long and unending the world is. You become a part of something beyond time. Maybe this is one of those places"); and the plot moves through increasingly convenient contortions as it hurtles toward its foreseeable crescendo. Yet despite these shortcomings, Brown tells a gripping tale. And in his hands the Penobscot region of the 1980s and '90s--with its eccentric cast of Vietnam veterans, hippy fugitives, gruff lobstermen, and Penobscot tribal members--comes wonderfully to life. Mystical, gripping, rooted in the land--Brown may bang a little too hard on the keys, but he plays a compelling tune. Copyright (c) Kirkus Reviews, used with permission.
Critique de Booklist
Brown's debut novel weaves together the lush setting of the Penobscot River in Maine and disparate characters struggling to coexist on a verdant, alluring land. The protagonist, David, a white man, transports readers to his childhood home, a place that "shares its name with the Penobscot people . . . the original inhabitants of the river and ancestors of the waters." At a time when lawsuits called for "two-thirds of the land in the state of Maine to be returned to the tribes, along with massive financial reparations," David's activist mother, Falon, attempts to bridge cultural divides by launching a local paper she names The Lowering Days. Ironically, even the medium on which this news is conveyed, paper, symbolizes environmental exploitation, and when an arsonist burns a nearby bankrupt paper mill, conflicts escalate, opening deep wounds. As "old hurts and wayward entitlements raged on, generation to generation, feeding sadness and violence," David and his family find love and survive tragedy, while profound truths, the mournful beauty of the land, and mythologies encoded within the people who live there are revealed.
