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Bright's Passage: A Novel Paperback – May 15, 2012
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NATIONAL BESTSELLER
Henry Bright has newly returned to West Virginia from the battlefields of the First World War. Griefstruck by the death of his young wife and unsure of how to care for the infant son she left behind, Bright is soon confronted by the destruction of the only home he’s ever known. His hopes for safety rest with the angel who has followed him to Appalachia from the trenches of France and who now promises to protect him and his son. Haunted by the abiding nightmare of his experiences in the war and shadowed by his dead wife’s father, the Colonel, and his two brutal sons, Bright—along with his newborn—makes his way through a ravaged landscape toward an uncertain salvation.
DON’T MISS THE EXCLUSIVE CONVERSATION BETWEEN JOSH RITTER AND NEIL GAIMAN IN THE BACK OF THE BOOK.
- Print length210 pages
- LanguageEnglish
- PublisherDial Press Trade Paperback
- Publication dateMay 15, 2012
- Dimensions5.2 x 0.52 x 7.99 inches
- ISBN-100812981847
- ISBN-13978-0812981841
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Editorial Reviews
Review
“Shines with a compressed lyricism that recalls Ray Bradbury in his prime . . . This is the work of a gifted novelist.”—Stephen King, The New York Times Book Review
“[An] eloquent and intensely moving historical novel . . . a work of masterful, stunning prose.”—Oprah.com
“Displays Ritter’s abundant lyrical gifts . . . Rich in metaphor and surprising moments of humor . . . a dark parable in the southern Gothic tradition of Cormac McCarthy.”—The Boston Globe
“Intensely beautiful, tragic and also funny . . . a rich, beautiful story with shape: Bright’s Passage has a powerful end.”—Los Angeles Times
“A charming, sweet and highly readable novel . . . [Ritter’s] imagery is bold, tantalizing.”—Associated Press
“Propelled by short chapters that read like powerful vignettes, all of which lead to a final confrontation as haunting as any ballad Ritter could have written.”—San Francisco Chronicle
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
The baby boy wriggled in his arms, a warm, wet mass, softer than a goat and hairier than a rabbit kit. He held a blade over a candle flame for some time, then cut the cord and rubbed the baby with a wetted shirt. When this was done he laid the child in a basket near the fire and then stood at the head of the bed and looked down at his wife’s face a long moment. Abruptly, he bent low and placed his head near her mouth, staying all the while stone silent, waiting for some whisper from her lips. At last he stood straight once more, seeming to disappear into the still blackness of the low rafters as if he had become just another of the cabin’s shadows. The child began to cry, and he turned to look at it lying there by the glow of the dying fire.
The man paced the floor, biting the large front knuckle of his fist. At length he picked the child up from its basket and lifted the flap of heavy hide over the doorway, stepping out into the last of the blue twilight as the rising sun began to gild the topmost trees along the crest of the ridge.
Although he’d lived in its shadow almost his whole life, he stood there watching the sleeping leafy hulk closely as if for the first time. The forest was in the full trembling swell of high summer, the trees clamorous for sunlight, permitting only a few stray drops of gold to fall between their leaves and onto the scraggly undergrowth below. The ridge would offer nothing in the way of hindrance should men take it upon themselves to cross it. He again put his hand to his mouth and could be seen from the dark of the nearby chestnut tree to bite down hard on that knob-knuckled, much-abused fist. When the fit had passed he sat down cross-legged on the ground, his crying baby boy in his lap. The child’s eyes were shut tightly, but its paw searched the air waveringly for something until the man put his finger down and the little hand grasped it, held it. The two waited there a while.
By and by the angel spoke from the darkness by the chestnut tree. “She’s gone.”
“Course she’s gone! What am I doing out here with the baby if she ain’t gone?”
There was silence.
“Yeah,” he said after a while, his voice catching, “she’s gone.”
“That’s how it had to be.”
“You didn’t tell me that she had to die,” the man said accusingly. “You said to do whatever you told me to do and you’d keep us safe . . .”
The silence continued for so long that he knew the angel would not answer him, but he continued to sit there anyway, one arm holding the child close while the other arm worked a stick into the packed dirt. The child had red hair and cried and cried.
Nearby, a hutch held several hens clucking pointlessly at one another, and atop the hutch, white against the still-dark trees, stood the she-goat. Without his mother’s rifle he had not been able to hunt that winter, and he had been forced to slaughter the goat’s kids, and finally the billy, one by one. Now the white little widow stood atop the hutch all day every day, coming down to the dirt only to forage or to be milked.
Even when his wife was hugely pregnant she had milked the she-goat to keep the milk flowing, but yesterday morning her water had broken before she’d had the chance, and the ensuing afternoon and evening had been long and frightful. Now the goat’s udder was strained to bursting. He fetched the basket from the cabin, set it on a stump, and laid his son inside it. Then, kneeling by the stream, he washed his hands clean of blood and grime. He rose with much fatigue and made his way slowly across the bedraggled stretch of dirt to the hutch, lifted the goat down and squeezed the milk into a bucket.
When the bottom of the bucket was covered with milk, he took it to the baby. Dipping his finger in the froth, he held it to the boy’s suckling mouth. He sat and fed the baby like this as the last of the dark was drawn away and the dawning sky was revealed, pink and leafed with clouds. When the baby was done eating it seemed to crumble in upon itself, and for a terrible moment he thought that the infant had died, until, by the movement of its tiny fingers, it became clear that the boy was only sleeping.
He went inside and pulled a small black lacquer box off the shelf and from this box removed an ivory comb, yellowed with age and impossibly delicate. The comb’s handle was carved in the shape of a kneeling woman, her hands folded in prayer. She wore a long gown with flowers on the fringe, and her hair was plaited into two flowing tresses on either side of her face beneath a tiny crown. It was ancient, this comb, having belonged to his mother and before that to a Queen of England.
He sat near the head of the bed and began to comb the tangles from his wife’s hair. She had thrashed all night and the odor of stale sweat hung in the room, mixing with the plummy tang of blood. He spoke softly to her and touched her face often as he ran the comb through her hair, parting it at the scalp and arranging it on either side down her shoulders like the woman on the comb. Then he straightened her body in the bed, arranging her arms across her breasts so that her palms met in an attitude of prayer.
When this was done he took a dead black ember from the fire and, using a nail, mixed it with some of the goat’s milk in a tin cup. He pulled the Bible off the shelf, lifted the age-slackened cover of the heavy book, and, using the nail as a quill, beneath the names of long-dead others wrote:
Rachel Bright 1900–1920 Wife of Henry Bright
He lifted the nail from the page and surveyed the grisly black scrawl of the epitaph. Outside, the horse began to slap its tail against the trunk of the chestnut tree. He dipped the nail once more in the ink and added:
Mother to the Future King of Heaven
When this was done he held the Bible open on his knee and read the other names, but, except for his mother and father’s and his aunt Rebecca’s, they were all strangers to him. As he read, his hand worried absently through the pages and pulled a thistle from between the leaves where it had marked, like new grass over a grave, some passage that had been special to his mother. He looked now for the page, but it was lost to him, and he threw the thistle to the coals.
He went to the cabin door and looked out on the child, then gazed up to the hills again, watching them closely. Nothing but the quantity of the light upon the canvassed green trees had changed. He retrieved the long-handled shovel that he had last used for mucking out the chicken hutch and walked beneath the dark spread of the chestnut tree to where his horse stood.
“Now git,” he said. The horse was standing directly above where he wished to bury his wife. “Now git,” he said again, and pushed himself against the horse’s shoulder.
“We have to go from here,” said the horse. “We have to take the Future King of Heaven and leave.”
“Why?”
“That will be made known to you in due time, Henry Bright. First we have to leave this place. You will burn it down.” The horse bent to the patch of timothy grass and pulled up on it, munching with a broad satisfaction.
“Where are we gonna live if we burn it down?” Bright watched the plate-shaped muscles of the big jaws working.
“That will be answered once we leave,” said the angel.
Bright’s eyes wandered over the cabin he had grown up in. His father had gone away to the coal mines to earn money before Henry was born and had died in a cave-in, leaving his wife to raise their son amid a wilderness of tendrils and gnats that seemed always on the verge of devouring the little house. Much later, after his mother died and Henry had gone off to the War, the chimney had returned itself to the land, becoming a tunnel of vines and birds’ nests so thick that the first time he had tried to cook over the fire after he came back, the smoke had driven him outside and the mourning doves had thrown themselves from the eaves to the ground in confused jumbles. Sometimes, as they lay in bed at night, it had seemed to Rachel and him as if the whole cabin was hurtling at great speed through the dark, so loudly did the wind wail through the chinks in the caulking.
“Why do you want me to burn it down?” he asked again. “That’s our house. We ain’t got any other house.”
“Then stay here--”
“My boy needs a roof over his head.”
“--and let your son die.”
Bright shoved the animal again, to little effect. The horse stood its ground. “We can leave, angel, but I ain’t gonna burn it down!” he yelled. “It’s all I got left!”
On the stump behind him, the baby began to cry. Bright whirled around, shielding his own tears from the horse’s view. He stood with his back to the angel for a long time, his shoulders jerking violently at first and then slowing to a composed rise and fall. He ran the back of a hand across his face and looked at the cabin.
“Henry Bright,” the angel said, finally breaking the silence, “do as I say.”
The back of Bright’s head fell forward as his chin sank to his chest. “I can’t believe this,” he said. “All right. All right, I’ll burn it down.”
He ran a hand across his face again and then, turning back, he gave the horse a final push and the animal stubbornly relinquished his ground. Then he set about digging a grave for his wife next to that of his mother. When he was knee-deep in the ground, he heard the baby begin to cry again, and so he climbed up from the hole and moved the basket out of the sunlight. He fed the boy with the goat’s milk again and returned to digging. When he had finished the grave, he went inside and cut his wife out of her clothes.
Opening the large trunk, he looked down at what to dress her in. The white dress lay there, its stiff collar holding up determinedly against desperate age and the fungal dampness of high July. He reached beneath this garment to where the slip, with its tiny lace eyelets, waited primly. He had bought the slip for her in Fells Corner, an extravagant wedding gift that was almost the only thing she had worn until she was finally too big with child even for it to fit. It glowed out at him with a spectral whiteness in the ill-lit lowness of the cabin. After that came the brutal, delicate task of getting her stiffening body into the garment, but when he was done he again arranged her beautiful hair on either side of her shoulders, the way he liked it best. Finally, he opened the black lacquer box once more and removed a length of golden ribbon. He tied it around her head like a crown and stood up to survey his work.
He’d dug enough graves to know that she would fit perfectly into this one, but even so he stood there with her body in his arms, a rack of painful hesitation as he considered taking a few planks from the cabin in order to build her a box that would keep her from ending up so dirty.
“There’s no time!” the horse nickered behind him, as if it knew his mind, which perhaps it did. “Leave her buried deep and let’s go.”
He sat at the edge of the grave, his legs hanging into the hole, and dropped her in. He whispered something down at her, then he stood up and began to shovel in the dirt as a preacher might baptize someone in frigid water: quickly, to overcome the shock of the cold. He began to cry again. While he worked, the horse stood nearby, dark and still, perhaps gone to sleep. He filled the grave and then knelt, spreading leaves and sticks over the slight mound. The heat was coming on hard now, and sweat ran over his brow and into his eyes before continuing down his face and neck in the long, dusty canals that had already been carved by his tears.
When he stood up from the grave, he went to the cabin flap and pulled a handful of corn kernels from a sack hanging just inside the doorway where the animals could not get at it. Then he stood in the yard near the chickens. Stock-still, his arms hanging loosely at his sides, he let a few of the kernels fall from between his fingers. The three birds pecked at the kernels and then looked up, pinning him against the sky with their tiny black eyes and waiting for more. He chose the hen he would try for, and when it looked up at him again he let a few more kernels fall. When he and Rachel had been small, they used to play with the chicks in the yard of the elderly couple his mother had cooked for. Rachel liked to hold the little yellow things against the nape of her neck and would laugh as their feathers tickled her. He would lie very still on his back and they would see how many she could put on his chest.
The third time Bright let the kernels fall, the chickens did not look up but busily went about their feeding. He bent quickly, grabbed the hen by its head, and broke its neck. The goat watched on without emotion from atop her perch.
He plucked the body quickly, then went inside and placed it on a spit above the embers of the dying fire. He brought the baby in and laid it on the bed where it might survey the room it was born in. Maybe someday the Future King of Heaven would need to describe his own humble beginnings.
Product details
- Publisher : Dial Press Trade Paperback; Reprint edition (May 15, 2012)
- Language : English
- Paperback : 210 pages
- ISBN-10 : 0812981847
- ISBN-13 : 978-0812981841
- Item Weight : 6.6 ounces
- Dimensions : 5.2 x 0.52 x 7.99 inches
- Best Sellers Rank: #884,311 in Books (See Top 100 in Books)
- #1,591 in Metaphysical & Visionary Fiction (Books)
- #41,269 in Literary Fiction (Books)
- #45,949 in American Literature (Books)
- Customer Reviews:
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About the author

Josh Ritter is a songwriter from Moscow, Idaho. His albums include The Animal Years and So Runs the World Away. Bright's Passage was his first novel. He lives in New York.
Photo Credit: Laura Wilson
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Top reviews from the United States
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Although this novel probably won't be considered one of the "most important" works in American literature, this novel certainly is one of the best "first" novels I've read in quite a while.
Josh Ritter, as in his songs, certainly has a way with words and storytelling in his first novel. Josh Ritter's prose is deceptively simple yet masterful, giving glorious, exquisite and grisly details of scenes whether set in the soggy and war torn landscapes of WWI or in the harsh yet beautiful lands of a rural America.
Henry Bright is a character that will most likely stand out for most readers. As I read on I found myself wanting to know more and more of this character. Josh RItter gives you bits and pieces of Henry Bright and at the same time remains at an equitable distance from Henry Bright.
Like Hemingway, Faulkner and Fitzgerald, Josh Ritter leads the reader to doors leading up to questions. However, instead of giving the reader an answer or answers, he leaves them entirely open to the reader to decipher for themselves.
I give this novel 5 stars because, as a first novel from an already outstanding musician, it clearly is quite an accomplishment.
I recommend this book and it is worth reading, especially if you're a fan of Josh Ritter.
Josh's writing style is excellent. His thematic ideas, his similes and metaphors-- this book can be breathtaking in places (read just the first chapter, and you'll see...) However, my problem is when you stand back and take a look at the book and the plot as a whole, it is utterly ridiculous. I understand that Ritter is trying to create some kind of fable here- a story that the old folk in the mountains of Appalachia passed down orally from one generation to the next. I see that as what he was shooting for. But when you pair that with his flare for the stylistic, it doesn't work. There are no erudite fairy tales.
Honestly, I think he can write something compelling. He could be Phillip Roth if he takes a deep breath, stands back, and takes some time with his next book. Choose a realistic plot, and find the magic in the mundane, in the everyday 'spaces between' people and things.
This book, Bright's Passage, probably would have been another 5-star Josh Ritter SONG, but as books go, it gets a regrettable 'skip it' from this Josh Ritter devotee.
But somewhere over half of the way through, I suddenly realized that I had been fully sucked in. (I couldn't say where. I think it happened gradually.) The writing itself was interesting, beautiful, and thought-provoking in a way. The story, at some point, became captivating and certainly made me think.
At the end of the book, it had an interview with Josh Ritter and the interviewer commented on how one of his favorite things about Ritter's songwriting was that he had a way of allowing an audience to fill in their own story to the bits of a story that he provides in the song. The interviewer said that he didn't think that Ritter would be able to apply that trait of his writing/story telling to a novel, but that he somehow did. I really agree with that. The story isn't really open ended, but it lets you, as a reader, really add what you want to it (and not just in general things like the meaning/interpretation of the angel) in a way that makes it more enjoyable to experience.
Perhaps in that same interview, I also read a comment on Ritter's ability to observe and report on little details that make for really great, interesting moments in a story. I too noticed this all through out reading the book. He manages to add these little details that really bring you into what he is describing, but not to the point that you get bored.
It was also interesting to read that he spent a lot of time pouring through first-hand accounts of the war from other people and that a lot of these moments came from those books/stories/letters etc. With this book (and these little details that he provides) it's almost like Ritter serves as a translator to bring us these interesting (and often times disturbing) moments if we don't care to pour through all those accounts of WWI ourselves.
In particular I remember this passage: "They entered the War like men stepping out from beneath an awning into a torrential thunderstorm. The first man that Bright saw die fell back down into the very trench from which he'd just climbed. His uniform was still fresh and the tops of his boots had been shined. Only the soles looked muddy."
The book is full of little paragraphs like that - mentioned almost in passing, but hard to shake and very meaningful.
I initially gave this book a three. I had read it very quickly and I guess still had that lingering feeling of not being too sure about it in the beginning. After a couple days of not being able to stop thinking about it, I realized that I had to bump it up to at least a four. I really liked it and can't wait for his next novel.
It's an odd mix of realism/historical fiction and fantastical fable or folk tale, but for me that really worked.
The story was well written. His descriptions of what life was like in the mountains in the early 1900's; how devestating the war was; and, its effect on the soldiers was excellent. How he was able to make one "see" the horrible effects of being on the battle field and death is amazing. I felt as if I were there!I think as he writes more novels, he will develop his characters even more deeply. I was left with the desire to know more about them. For example, I would have enjoyed knowing how the more about the early relationships of the Colonial, his wife, and Bright's mother. Yet, the mystery of it kept me reading to hopefully find out the answers. The ending left me hopeful that a sequel would be in the works as I am courious about Bright, his cousin, and the baby.
Top reviews from other countries
The story is moving, as you'd expect from a story set in the First World War. The characters are believable and fully developed, and Ritter deftly moves forwards and backwards between time periods, as the story progresses. I am not an expert in Appalacian or WWI culture or history, but clearly Ritter has researched both, and adds detail to images and flourishes to language, which seem to fit the time period well.
The story is relatively straightforward, but compelling nevertheless. I wont detail it here. I was initially concerned with references to 'the king of heaven' and use of an 'angel', to which 'Bright' (the lead character) looks to for advice and reassurance. However, Ritter utilises his artistic licence skillfully, and once buried in the story, they are worthy additions. Desolation, loneliness, sadness, heartbreak, but ultimate salvation is the backbone atmosphere, but there is no wallowing in self pity, and the prose is lively and gently witty in places.
I am not well read enough to compare this work to other great works of literature, but the talent Josh Ritter has as a storyteller is unequivocal, and his prose is both stylish, imaginative and finely realised.
A fully justified five stars from me!
I liked the way it was structured, and the way he developed the characters.
It's quite easy to read, the chapters are quite short.
I would recommend this book for yourself or for a gift to anyone who likes reading!



