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3.0 out of 5 stars
Read it for the gorgeous writing, August 31, 2004
Carolyn Chute can write, no doubt about that. With rich, spicy, earthy prose she brings to life her rural Maine setting and a whole town full of characters in this third novel.
The setting is the same as for her first two books: Egypt, a small town on the edge of the woods in western Maine, a place where impoverished natives and rich folks "from away" live side by side, but seperate existences.
The characters in this 695-page novel include most of the population, with emphasis on LLoyd Barington, of working-class/farming stock, Forest Johnson, Jr., whose backhoe and 'dozing business employs many of the town's poorest, and Gwen Curry, whose horrid mother proves that money and Connecticut gentility are no proof against cruelty.
The plot, well, here the novel runs into trouble. There is no plot, so to speak. While her characters do cross paths with one another, there is no unifying progression of events- except the slow generalized denigration of a rural way of life. That, it turns out, is Chute's point. "Merry Men" is a documentation of hard times getting harder, of the corporate mindset grinding down the individual.
Not that all her Maine folk are saints, although Lloyd Barrington comes close. Forest Johnson, Jr., for instance, takes advantage of his employees' desperation at every opportunity.
As the book opens, Forest has called out the constable on a bitter winter night. A prank -the fifth in as few days. "Forest, Jr.'s frozen breath bunches and bounces around his face so now there's no face. When his face reappears, it's just this dark sovereignty of eyes behind steel-rimmed glasses and a fierce close shave." Faced with the constable's impotence, Forest vows to lie in wait and kill the merry prankster.
The book then jumps back 30 years, although this is not apparent unless you glance at the top margin of the page. We meet Lloyd Barrington, age 8 3/4, fat, earnest, sensitive, a writer of poetry, a lover of shade trees. This lengthy section is breezy, humorous, affectionate and deeply touching.
Lloyd's mother has died. He lives with his taciturn, incomprehensible father, Edmund, and a houseful of uncles, including Unk Walty, who cooks fabulous meals for them all, unless he's absorbed in one of his papier mache projects, like his masterpiece - lifesized reproductions of all the local women Edmund has slept with, seated around a table dressed in beautiful last-century costumes.
At night Lloyd sneaks out of bed and flits around town in his Super Tree Man costume. "A fat boy by day, maybe so. But tonight and many nights to come, he's a thing of glory." Lloyd plants baby maples. "If they make it, in thirty years, the fat lady's yard will be in deep cool splendorous shade."
Next we meet Gwen Curry on the day her father, Dr. Curry, has died. Gwen is a fearful, lonely child, her mind flickering between the awful events following her father's death and jagged memories of her short life with Phoebe, her mother. Every night Phoebe sings under the grate to Gwen's bedroom. A few times her father had remonstrated. "So Phoebe sang louder. Show tunes. Pop tunes. Rock and Roll. Television jingles. And once a shattery tinkling splat! A glass thrown into the sink."
Chute's portrait of manic cruelty and bewildered child is heart rending. Yet when Grandma packs them off to Connecticutt that's the last we see of Gwen for hundreds of pages.
In between there are numerous vignettes - Forest Johnson, Jr., fires an illiterate man and Forest's dissolute son returns from California bringing a grandson who's soon embroiled in family strife. The Soules, Lloyd's wife's people, lose their family farm to the bank. A young Soule falls in love with a middle-aged cousin of Lloyd's, a man on parole, suffering from clinical depression. They marry and as the husband loses his job, she becomes pregnant. Many of these stories end badly; some Chute simply abandons. Each absorbs the reader; none are fully resolved.
Finally Gwen Curry comes back, a rich, very rich, widow of an industrialist, a symbol of all the things gone wrong in Egypt. Her attaction to Lloyd, educated former hippie, man of all work, crusader, prankster, is instant. He is more ambivalent.
How Chute resolves this final conflict adds to the reader's frustration. Such magnificent writing, so often leading nowhere. And towards the end, Chute cannot resist long preachy passages explaining what's wrong with America even though she just spent 500 pages showing us. But Chute is worth reading for the breadth and beauty of her language and characters - even if you turn the last page and throw the book across the room.
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