From Publishers Weekly
Oates is not only on her authentically rendered home ground in this sprawling novel set in the city of Niagara Falls during the 1950s, she is also writing at the top of her form. Her febrile prose is especially appropriate to a story as turbulent as the tumultuous waters that have claimed many lives over the years. Widowed on her wedding night when her new husband, a young minister and latent homosexual, throws himself into the falls, Ariah Littrell, the plain, awkward daughter of a minister, henceforth considers herself damned. Her bleak future becomes miraculously bright when Dirk Burnaby, a handsome, wealthy bon vivant with an altruistic heart, falls in love with the media-dubbed Widow-Bride. Their rapturous happiness is shadowed only by Ariah's illogical conviction over the years that Dirk will leave her and their three children someday. Her unreasonable fear becomes self-fulfilling when her increasingly unstable behavior, combined with Dirk's obsessed but chaste involvement with Nina Olshaker, a young mother who enlists his help in alerting the city fathers to the pestilential conditions in the area later to be known as Love Canal, opens a chasm in their marriage. His gentle heart inspired by a need for justice, Dirk takes on the powerful, corrupt politicians, his former peers and pals, in a disastrous lawsuit that ruins him socially and financially and results in his death. Oates adroitly addresses the material of this "first" class action lawsuit and makes the story fresh and immediate. "In the end, all drama is about family," a character muses, and while the narrative occasionally lapses into melodrama in elucidating this theme, Oates spins a haunting story in which nature and humans are equally rapacious and self-destructive.
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The Falls reads like a 19th-century epic, with echoes of the gothic. Some critics saw this approach as melodramatic; others called it sublime. Both celebrated and criticized for her prolific output (she has more than 50 books to her name), Oates is well known for probing the psychological depths of her characters, as she did in
We Were the Mulvaneys and
Blonde. This novel is no exception. Despite general praise (after all, most of Oatess works
are small masterpieces), the consensus is its not her most powerful novel. While the plot may grip some readers, the book will likely appeal to those who enjoy depth of character development, interesting (if, at times, overdone) prose, and a brave, brave ending.
In our Book by Book Profile of Joyce Carol Oates in our May/June 2003 issue, Jessica Teisch wrote: Where to Start: A daunting task, as Oates has been prolific across numerous genres and media. Oates is a master of the short story, and Where are You Going, Where Have You Been? is a collection of some of her best work. For classic Oates, turn to Them. For Oates with a dash of hope, try We Were the Mulvaneys.
Copyright © 2004 Phillips & Nelson Media, Inc.
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