2000 Drue Heinz Literature Prize Winner Selected by Frank Conroy In the Gathering Woods contains a cast of characters who hail from the same Italian ancestors, but whose stories come at us unbounded by time and space. The book opens early in the twentieth century, with a narratoras boyhood recollections of gathering mushrooms with his grandfatheraa narrator who seems still haunted by a terrifying local legend that tormented him as a boy. We skip backward to a young shepherd-artist in the Apennine mountains in the 1500s, who yearns to be discovered, as Giotto was. Later, a preverbal baby accumulates bits of the conversation carried on by adults at the table above her head; a neurologist from Chicago returns to the Apennines to deposit shards of glass at a grave. Whether they speak in the lost dialect of an immigrant, of infancy, or of an adolescent girlas school lessons, these stories call up fragments of language in a struggle to understand and attempt to console through the act of reassembling. The language of these stories is both lyrical and comic, providing insight through the details of Bernardias writing.The chair slid back in underneath the table along with my grandmothera#39;s knees. Then it slid back out again, another quick trip to the kitchen. Scordo iljello mold. I forgot the jello mold. Jello mold le nAu mica un cibo. Jello mold is not food.
|Title||:||In the Gathering Woods|
|Publisher||:||University of Pittsburgh Press - 2000-10-15|