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February, by Lisa Moore
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In 1982, the oil rig Ocean Ranger sinks off the coast of Newfoundland during a Valentine's night storm. Helen O'Mara, pregnant with her fourth child, receives a call telling her that her husband, Cal, has drowned. A quarter of a century later, Helen is woken by another phone call. It is her wayward son, John, calling from another time zone to tell her that he has made a girl pregnant and he wants Helen to decide what to do. As John grapples with what it might mean to be a father, Helen realises that she must shake off her decades of mourning in order to help. With grace and precision and an astonishing ability to render the precise details of her characters' physical and emotional worlds, Lisa Moore reveals the story that unfurls around those two moments.
- Sales Rank: #6805032 in Books
- Published on: 2013-06-25
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x 5.25" w x .75" l, .80 pounds
- Binding: Paperback
- 310 pages
From Publishers Weekly
The story of the man who never comes back from sea has been embedded in the lore of eastern Canada. Moore's third work of fiction (after Alligator) imagines the impact one such disaster—the 1982 sinking of the Ocean Ranger—has on Helen O'Mara, a mother of three small children whose husband, Cal, dies at sea. The narrative jumps in time from Helen's life with Cal, the accident itself and the years after in which Helen tries to keep her life intact. Whether it is Helen longing for companionship, designing wedding dresses or learning yoga, everything she does is done with a view to Cal. Most scenes are quietly reflective, and Moore's strength is her ability to inject evocative images and expressive tones to otherwise static and overly earnest passages (as in Is this what a life is? Someone, in the middle of cleaning the bathroom, remembers you tasting the ocean on your fingers long after you're gone.) There's no plot—the narrative consists of fragments from Helen's life—and while some readers may find the patchwork engaging, the absence of a through-line makes the work meandering. (Feb.)
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
In February 1982, the Ocean Ranger, the world’s largest submersible oil drilling rig, capsized in a fierce storm off the coast of Newfoundland. Eighty-four men perished. In Moore’s accomplished novel about the risks of love, Helen O’Mara is left behind with three small children and another on the way when Cal, her husband of 10 years, dies. The narrative shifts back and forth through time, tossing up scenes from the present as well as from Helen and Cal’s marriage, the day of the disaster, and the years of Helen raising her family alone. In the present, much of the focus is on son John, an engineer whose job (ironically, analyzing risk on oil rigs) takes him all over the world. Now he is on his way home and trying to come to terms with the fact that a woman he barely knows is carrying his child. The novel’s episodic nature somewhat diminishes its emotional impact, especially toward the end. But Moore, whose previous novel, Alligator (2006), won a Commonwealth Writers’ Prize, renders sensations with the precision of a Vermeer. --Mary Ellen Quinn
Review
"Lisa Moore's work is passionate, gritty, lucid and beautiful. She has a great gift" -- Anne Enright "Moore's wonderful fluidity of approach is noticeable right down to the level of her individual sentences. It has been a joy indeed to discover Lisa Moore" Daily Telegraph "An astonishing writer. She brings to her pages what we are always seeking in fiction and only find in the best of it: a magnetizing gift for revealing how the earth feels, looks, tastes, smells, and an unswerving instinct for what's important in life" -- Richard Ford "Heart-warming...domestic fiction at its finest... Moore depicts her characters with compassion and respect... Despite the chill of its title, February exudes the warmth and joyousness of a much sunnier world" -- Michael Arditti Daily Mail "Moore slips [small insights] in so gently you barely feel them, turning a sad story simply told into a minor-key triumph" Guardian
Most helpful customer reviews
13 of 15 people found the following review helpful.
Could not finish it.....
By Mary E. Kooistra
This book was a gift from a dear friend....so I tried. I think she chose it because, like the main character, I was suddenly widowed at a fairly young age.
I read 100 pages and then decided life is too short and there are too many other books I want to read.
This is the first book I have read by this author who has won a prize for an earlier work. Her style seems to be based on some advice she was once given to insert details and descriptions. She does have a LOT of details which are for the most part, not illuminating in any way. I remember one particular tedious section when Jane is buying a cookie at an airport ....excruciating detail on the store clerk and the difficulty she had in finding the cookie Jane wanted. I finally gave up the book when I came upon two non plausible parts. Jane has had a week long fling with John in a country foreign to both. No further contact until Jane calls him on his cell phone 6 months later. No explanation as to how she had his cell number as they were apparently pretty much inseparable during this week and parted with the understanding that it was over. BUT after Jane hangs up on John we are told that John doesn't have Jane's number to call her back. LOOK ON YOUR CELL PHONE JOHN - even I (old as I am) know that. Then we are told that in 1982 or 1983 when John (age 10 or 11) goes to a school counselor with troubling dreams after the death of his father, the school counselor asks him if he "had an orgasm" because the dreams had some sexual overtones. Please - I cannot believe any school counselor would use that word or make that inquiry....
Others seem to love this book - but I can't figure out why.
16 of 19 people found the following review helpful.
A Powerful Novel Brilliantly Written
By Eric Selby
Just beyond the middle of this incredible novel, the central character, Helen, is part of a yoga class. And it serves as the perfect metaphor for the theme of the novel. The yoga instructor, as they do, is uttering those ��yoga��clicheVs about finding inner peace, blah, blah, blah. And Helen thinks, ��I am supposed to achieve balance.�� This might well have been the opening of the novel.
In 1982 The Ocean Ranger, a vessel owned by an oil company, sinks in the North Atlantic. And everyone aboard drowns, including Cal, Helen's husband, leaving her with three young children and, unknown to her at the time, another on the way. In 2008 Helen has yet been unable to come to any resolution about his death and the impact it has had upon her life while she waits for her oldest and only son, John, to arrive from his world travels with a woman who is pregnant with his first baby, a woman with whom he had a one-week affair in Iceland seven months earlier. So in a sense this novel is about that one moment in time except, of course, it isn't.
We are provided with up-close and personal grief and what it has done to the central character and, in turn, her four children, most especially the older three. It is very powerful and so artistically handled in the hands of Lisa Moore, the author of Alligator. (I had been ill-informed about February being a sequel to Alligator. If it is�Xand I read Alligator before getting into this one�XI certainly don't see any connections except they both take place in Newfoundland.) Alligator is very well written, very engaging. This one is even more so.
Helen has spent her adult life being ��grateful for all the brief escapes�� offered her, often escapes she creates by allowing her mind to imagine what happened and how others responded and thought. If ever there was a postmodern existential novel that reaches out and grabs, this is it. There is no end to grief. None.
Lisa Moore is a master at point of view, skillfully allowing us into Helen's head (and occasionally other characters' heads, especially her son John's) with what essentially are scattered thoughts that all of us have, seemingly disconnected ones. She bounces back and forth in time, giving us little pieces, almost like doing a picture puzzle but without the package cover to guide us. And that is the beauty of the writing; it is so lacking in a linear plot line. So as a reader you say, ��Wow. So that is what happened back...��
The style fascinates me. But it could take some ��getting used to�� for readers who have not experienced what I will call a collage style, one in which thoughts from the present and past exist together, often in the same paragraph. But it is a wonderful style if the reader gives the first few pages a chance. There are no quotation marks for dialogue, not even question marks when a question is ask. But it works brilliantly and makes this such a unique reading experience.
Helen's has been a rudderless life. She is clearly depressed, a woman who refuses any of the drugs suggested to her, a woman who parents with a because I told you to attitude. Now in her mid-fifties she wonders if she might find love somehow, somewhere. I will not disclose how she goes about doing so. But we know nothing will work out because it is a world where essentially love seems not to exist much, at least not for Helen who truly did love Cal. And he apparently loved her as well.
I can honestly say this is one of the most moving novels I have ever read.
4 of 4 people found the following review helpful.
Emerging from Grief
By Roger Brunyate
This book by Canadian novelist Lisa Moore is on the long list for the 2010 Man Booker Prize. It is a curious choice, because it is a quiet book, entirely domestic in scale, in which very little actually happens. I suppose that Anne Enright's THE GATHERING (the 2007 winner) would be the closest comparison. Lisa Moore's novel is similar in being centered around a single family in the aftermath of a death, and moving freely through several decades. But Moore does not have Enright's hysteria or obsessive sexuality, and I appreciate her for that. What she does have is sheer good writing, rich characters, and a sense of truth.
At fifty-six, Helen O'Mara is the mother of four grown children and the grandmother of two. She had only just become pregnant with her last child when her husband Cal was drowned in the collapse of the Ocean Ranger oil rig off the coast of Newfoundland in 1982 (a real historical disaster). For more than a quarter-century, she has mastered her grief, seeing her children grow to adulthood, and building up a business for herself as a dressmaker. But she feels unfulfilled and lonely, and will remain so until she comes to terms with Cal's death. The book jacket suggests that there may be undisclosed secrets here, but that is not Moore's way. The facts are as they always were, but the unexpected homecoming of her son John (who also works in the oil industry) triggers a series of memories in Helen, jumping freely in meticulously-labeled short sections between 1972 and the present, which eventually lay out her entire adult life in some kind of a pattern, and enable her to think towards a future.
When reading (and not especially liking) Ayelet Waldman's recent RED HOOK ROAD, another novel about a family in a coastal town dealing with grief, I put down my disenchantment to a personal dislike for novels that were small-scale and domestic, rather than dealing with large themes. But FEBRUARY is even smaller in scale, and I enjoyed it greatly. Mostly because Moore writes so well. Little descriptive touches such as "the scrudge-squeak of a naked foot on the royal blue gym mats" in a yoga class, or a tired woman sitting down in a coffee shop who "unzips her jacket and sighs so deeply she falls into herself like a cake." But more than that -- she writes the way people think and talk, in interrupted phrases and non-sequiturs, illuminated by sudden flashes of insight. Yes, there are flaws in the book: it tends to meander a little, some promising ideas go nowhere (such as the fact that John works for a company that perpetuates the same risks that killed his father), and the conclusion is perhaps too pat. But the sense of being inside the mind and heart of such a well-observed character counts for a great deal.
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