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With WE WERE THE MULVANEYS Joyce Carol Oates, an author known for her difficult, symbolic novels and short stories, penned another classic, this time exploring the American family. In her latest novel, THE FALLS, she examines similar subject matter: relationships, family dynamics, secrets adding a bit of conspiracy, corporate greed, environmentalism, and even a murder.
THE FALLS begins with scenes familiar to Oates's readers: half-veiled action, charged emotionalism, strange and interesting characters, an abundance of description and metaphor. It is June 1950 and a young man throws himself into the churning, hypnotic waters of Niagara Falls. Meanwhile his bride of one day wakes up frantic, sickened and confused in their honeymoon suite. The physically and emotionally bruised Ariah Erskine hides her new husband's suicide note, refusing to believe what has happened and begins a seven-day vigil waiting for Gilbert to return to her, hopefully alive, most likely dead.
The daughter of a minister, Ariah never imagined she would be in a honeymoon suite at all. Nearing spinsterhood, she knew deep down the marriage to Gilbert Erskine was a sham but was willing to play along. The wedding night, however, proved traumatic for them both. The marriage and experience of the bridal bed was too much for Gilbert and compelled him to take his own life rather than live a lie.
It is during this tragic week that Ariah, known now as the "widow bride of the Falls," meets Dirk Burnaby. Dirk is enthralled by the mysterious Ariah, but she doesn't seem to notice him at all. Later, when they meet again, she is drawn to him as well. And soon they begin a life together that, three children later, seems ideal. So this is the story of love's redemption and second chances? Not so fast. Soon the novel takes a new turn.
Quickly the story of Ariah and Dirk's marriage finds her again a widow. Again she loses a husband to cold waters. Dirk Burnaby is the only lawyer willing to take on a case that challenges the area's elite and threatens the economic foundation of the community. For years the truth was hidden, but Burnaby is willing to bring to light the fact that entire neighborhoods were built on toxic land and that now the children are sick and dying, adults are aging before their time, and women are miscarrying again and again. Burnaby goes on a compulsive and dangerous crusade for justice. Now we have a novel about the environment and corporate responsibility. Well, not exactly.
After Dirk Burnaby is murdered, Ariah is left alone with their three children and an over-exaggerated sense of pride. Or maybe she is just crazy. She does her best to erase their father and his memory from their lives, presumably to spare herself from more hurt. It is, instead, a horrible emotional abuse. Each of the three children grows up having to deal with the legacy of their father and live with their damaged mother. They cope in their own way and eventually learn about their parents' past. Is this the story of children overcoming a sad and painful childhood to become successful adults? No, not really.
By the end of THE FALLS it seems we have read several books, and not just one, and not only because of its wordiness. Oates seems unable or unwilling to stick to one theme too long at all. While this is an ambitious novel with much to recommend it (the characters are intriguing and Niagara Falls itself is a menacing and interesting presence throughout), it is not wholly successful.
THE FALLS is a complex and shadowy book, not always a page-turner. So little is resolved or explained despite its tidy conclusion that it is frustrating.
It is hard to identify with or even like Ariah. She is portrayed as less than attractive, cruel to her children and more than a little bit crazy. Yet she is who Oates chooses to drive the plot of the novel.
THE FALLS may please Oates's dedicated fans, and it is not a bad novel. But if one is looking for an engaging, enjoyable book, her previous family saga, WE WERE THE MULVANEYS, is a more recommendable read.
--- Reviewed by Sarah Rachel Egelman
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