Hoffman brings us 200 years in the history of Blackwell, a small town in rural Massachusetts, in her insightful latest. The story opens with the arrival of the first settlers, among them a pragmatic English woman, Hallie, and her profligate, braggart husband, William. Hallie makes an immediate and intense connection to the wilderness, and the tragic severing of that connection results in the creation of the red garden, a small, sorrowful plot of land that takes on an air of the sacred. The novel moves forward in linked stories, each building on (but not following from) the previous and focusing on a wide range of characters, including placid bears, a band of nomadic horse traders, a woman who finds a new beginning in Blackwell, and the ghost of a young girl drowned in the river who stays in the town's consciousness long after her name has been forgotten. The result is a certain ethereal detachment as Hoffman's deft magical realism ties one woman's story to the next even when they themselves are not aware of the connection. The prose is beautiful, the characters drawn sparsely but with great compassion. (Jan.) (c) (c) Copyright PWxyz, LLC. All rights reserved.
From
Starred Review The lush and haunted wildlands of Massachusetts provide fertile ground for Hoffman’s endlessly flowering imagination. Like The Probable Future (2003) and Blackbird House (2004), The Red Garden, a sequence of beguiling, linked stories, is rooted in colonial times and reaches into the present. The first foolhardy white folks—the Motts, Partridges, Starrs, and Bradys—to settle in this land of blackflies, bears, eels, and harsh winters in 1750 only survive because Hallie Brady, the first of a line of determined and adept women in what becomes the small town of Blackwell in Berkshire County, goes out into the snowy wilderness to find sustenance. As spring allows the founding families to cultivate the strange red soil in the village’s first garden, Johnny Appleseed stays for a spell, and, later, Emily Dickinson happens by. Generation by generation, humans and animals form profound bonds; women’s lives change, somewhat; men go to war; people are poor and in despair; illness and violence rage; strangers find refuge; and love blossoms impossibly, extravagantly, inevitably. In gloriously sensuous, suspenseful, mystical, tragic, and redemptive episodes, Hoffman subtly alters her language, from an almost biblical voice to increasingly nuanced and intricate prose reflecting the burgeoning social and psychological complexities her passionate and searching characters face in an ever-changing world. --Donna Seaman
Description:
From Publishers Weekly
Hoffman brings us 200 years in the history of Blackwell, a small town in rural Massachusetts, in her insightful latest. The story opens with the arrival of the first settlers, among them a pragmatic English woman, Hallie, and her profligate, braggart husband, William. Hallie makes an immediate and intense connection to the wilderness, and the tragic severing of that connection results in the creation of the red garden, a small, sorrowful plot of land that takes on an air of the sacred. The novel moves forward in linked stories, each building on (but not following from) the previous and focusing on a wide range of characters, including placid bears, a band of nomadic horse traders, a woman who finds a new beginning in Blackwell, and the ghost of a young girl drowned in the river who stays in the town's consciousness long after her name has been forgotten. The result is a certain ethereal detachment as Hoffman's deft magical realism ties one woman's story to the next even when they themselves are not aware of the connection. The prose is beautiful, the characters drawn sparsely but with great compassion. (Jan.) (c)
(c) Copyright PWxyz, LLC. All rights reserved.
From
Starred Review The lush and haunted wildlands of Massachusetts provide fertile ground for Hoffman’s endlessly flowering imagination. Like The Probable Future (2003) and Blackbird House (2004), The Red Garden, a sequence of beguiling, linked stories, is rooted in colonial times and reaches into the present. The first foolhardy white folks—the Motts, Partridges, Starrs, and Bradys—to settle in this land of blackflies, bears, eels, and harsh winters in 1750 only survive because Hallie Brady, the first of a line of determined and adept women in what becomes the small town of Blackwell in Berkshire County, goes out into the snowy wilderness to find sustenance. As spring allows the founding families to cultivate the strange red soil in the village’s first garden, Johnny Appleseed stays for a spell, and, later, Emily Dickinson happens by. Generation by generation, humans and animals form profound bonds; women’s lives change, somewhat; men go to war; people are poor and in despair; illness and violence rage; strangers find refuge; and love blossoms impossibly, extravagantly, inevitably. In gloriously sensuous, suspenseful, mystical, tragic, and redemptive episodes, Hoffman subtly alters her language, from an almost biblical voice to increasingly nuanced and intricate prose reflecting the burgeoning social and psychological complexities her passionate and searching characters face in an ever-changing world. --Donna Seaman