BOOKIES, 9/26/2017 at Deb’s,
1st take summarizing the night’s take on Annie Proulx’s BARKSKINS–input welcome!

Though Joshua McFadden’s SIX SEASONS collection of recipes again got rave reviews, response to BARKSKINS was appreciative but mixed (and the dark-chocolate Barkthins a hit!). Granted the scope—opening in 1693 & following descendants over 300+ years, until 2013, Proulx’s achievement is remarkable. A basic complaint rests with the narrative being not quite strong enough to pull readers through the changes in time and context. The extent of Proulx’s ambition—the scope, range of subject matter: coverage of historic periods, movements, varied “acknowledgements” if not complete exploration of potent subject-areas[child abuse, capitalism, religion, feminism, ecology, Indian Boarding Schools, return from the wars, etc.] generates appreciation for the way she establishes [grim] human patterns over time & place. What could be called redundant or didactic—like the message re: manifest destiny, that 19th century belief that European settlers were destined to expand across North America and make it theirs—feels hammered home to some and to others a greedy approach strongly illustrated. The positives of innovation and progress are set next to the negative example of ALL that is lost. Comparisons are made to TEAM of RIVALS—also offering a clear historic view, & THE GOLDEN SPRUCE, admired for its accessibility & grip.

Readers seem to agree that the book captures (for better or worse) the American spirit of this being the greatest country on earth in many ways while clearly raising the question At What Cost? —leaving Americans with a lot of explaining to do. Proulx covers the many factors that brought [us our] wealth & comfort to live lives of ease or privilege, detailing the pressing movement from East to West, at a deep, lasting cost to the Native peoples, detailing their decimation and forced assimilation. We more often read about native peoples, don’t so often have full characters to know—possible imbalance acknowledged.

It was noted that to some the Forest became a main character, too—or Capitalism: all’s there for the taking: someone may eventually pay, but Now, get what’s there. Proulx’s last scene includes a replayed dialogue between Sapatisia Sel & her ex-: “Can’t we try again/ Can’t we fix what we broke?. . . “ Onehube responds “Some broken things can’t be fixed.” That’s a tough, resonant final note that –like the book—applies on numerous levels: personal relationship, global treatment of natural resources, exploitation of native peoples. Proulx also grants the dangers faced by those who resist, & their vulnerability.

Some skimmed the middle two-thirds or quit the book, wanting stronger women characters sooner or a more compelling narrative. Others were carried by the generational progression & fine writing—seeing it as a strong historical, ecological, feminist novel, thin in spots but not to the point of diminishing the achievement. For sure the genealogical charts of the Duke and Sel families at the back of the book help mightily. Also, those who read excerpts in The New Yorker observed that sections read like little novellas, an easier approach that may be suited to cinematic treatment, too!