"The Farmer's Son: Calving Season on a Family Farm" by John Connell; Houghton Mifflin Harcourt. TNS
John Connell’s memoir “The Farmer’s Son” opens with Connell in a barn on the family farm in Ireland, both arms shoulder-deep inside of a cow.
He’s helped with births before, but this is the first time he’s done it alone. “My father has been in charge of the calving for twenty-five years, and when he wasn’t, my brother took over, but now that I’m home, it’s me,” he writes.
After nearly 10 years abroad — in Australia and in “the concrete embrace” of Toronto — Connell has returned to County Longford to heal and to write. His years away have given him a new appreciation for a life he thought he’d left behind forever. Farmers, he realizes now, are “poets of the field, bards of the land.”
“The Farmer’s Son” is part memoir, part classic father-son battle and part history (of Ireland and of cows), and all of those pieces work quite well together; it is a fascinating read.
His memoir is infused with his love of nature (“It is now that I think that life was meant to be shared with animals, not just other people,” he writes), but it is devoid of sentimentality. There are wee lambs and calves, but there is also death, and most of these animals are meant for the slaughterhouse.
There is also a fear of tempting fate. When a beautiful calf is born, “We do not praise him too much, for fear that he might be taken from us by death, or that our luck might turn.”
In Connell’s eyes, the past and the future are fused with the present, and he writes about local gossip, ancient myths and legends, Ireland’s years of rebellion, and neighbors both long gone and recently gone as easily as if all of it happened yesterday.
In 1798, British soldiers hanged Irish rebels from trees near his farm; when, 40 years ago, the farmer cut down those trees, “the shackles were still upon the branches; they had become part of nature itself.”
As calving season progresses, Connell slowly unwinds his own story, hinting at darkness and deeper problems, and it is not a surprise when he reveals, toward the end of the book, the depression that had engulfed him and prompted his return.
A best-seller in Ireland, “The Farmer’s Son” is a powerful, beautiful story about the tug of land, the meaning of home and one man’s place in the world.
Tribune News Service
Often, they’re satisfying neither as novels nor as story collections, but Julia Phillips’ debut, “Disappearing Earth,” is an exception.
Spring, the third instalment in Ali Smith’s series of novels about modern Britain, bursts with the bruised hope of redemption.
“Jillian” author Halle Butler, a Granta best young American novelist, offers a darkly comic view of contemporary life in the highly readable “The New Me,” about a Chicago temp with a good education and a bad attitude.
Bollywood couple Deepika Padukone and Ranveer Singh started celebrations of their first wedding anniversary on November 14 by visiting Tirumala Tirupati Temple in Chittoor, Andhra Pradesh, to seek the blessings of Lord Venkateswara.
The title would appear to play on Jack London's "The Call of the Wild," the story of a sled dog in the Yukon. The dog on the cover sure looks a lot like the one on London's cover.
The Good Liar’ pairs Helen Mirren and Ian McKellen but seldom lives up to the sheer pleasure of seeing its two leads together, for the first time as co-stars.