A PEN/Faulkner finalist for Prisoners of War, Steve Yarbrough  returns to the Mississippi Delta—seen through the historical lens of World War II in that novel, and of Jim Crow in his previous, Visible Spirits—but now in the blinding light of contemporary life.

Loring is the sort of town children dream of leaving and most adults return to only in the absence of better options. But after twenty-five years Pete Barrington—having escaped to California on a football scholarship and then established himself as a doctor, only to be brought low by scandal—has come home. Here he finds solace with his closest old friend, opens a new practice, and daily runs into memories he’d rather forget, even as his aggravated wife and unsettled daughter contend with this wholly alien society.

Meanwhile, Alan DePoyster has come to revel in his family life and his position in the church and community—the sort of idyll snatched away from him in childhood and won back only with patience and faith. Yet he now feels old grudges against the prodigal Barrington eroding his sense of accomplishment; and as their lives inevitably become intertwined, his rage against the forces chiseling away at his values and beliefs soon threatens to destroy everything he cherishes.

            The End of California is a vivid, even shocking, portrait of small-town life, where people turn to booze, gossip, and feckless sex in their struggles with provincial claustrophobia, where fates often hang in the balance of personal history, and where the sins of the fathers and mothers are visited most acutely on their sons and daughters. This is the most expansive, generous, and moving novel thus far from “a confident and elegant prose stylist,” as David Guterson has described him, “a storyteller who knows how empty spaces can resonate with power and meaning.”

"I once had an English professor who argued that Mississippi had produced more great literature than the other 49 states put together. That seemed excessive — the man clearly had a thing about William Faulkner — but it is true that in the middle of the past century Southern literature was ascendant. It boasted not only Faulkner but also Welty, O'Connor, Percy, Warren, Agee, Styron, Capote — make... Washington Post Book Review (read the entire Washington Post review) your own list, for there are many to choose from. In time the critical focus moved elsewhere: to urban, often Jewish writers such as Bellow, Roth, Mailer and Malamud; to African-Americans such as Baldwin, Ellison and Morrison; and to others. But while literary fashions come and go, down in Dixie good writers keep producing fine novels. Today's example is 'The End of California' by Steve Yarbrough, a native of Indianola, Miss., who now teaches in California and whose 2004 offering, 'Prisoners of War,' was a PEN/Faulkner finalist.

In the new novel, a 42-year-old doctor named Pete Barrington returns from California to his little home town in Mississippi. He started there as a poor farm boy, but brains, looks and football talent helped him advance to college, medical school and a good life out West. An adulterous affair with a patient ended that, and now he, his wife and their 15-year-old daughter are starting over back home. Yarbrough's story blends elements we have seen in other novels — the small-town South, the football hero grown up, passions that reach back to high school, a little incest and a lot of extramarital sex, racial tensions, hypocrisy among the pious — but it all works because Yarbrough knows his characters so well, cares for them so deeply and writes of them in prose that is graceful, precise and packed with surprises.

He has a knack for interesting and unexpected exchanges between men and women. At the outset, Barrington is stopped for speeding by a state trooper. She questions him, and they find they know people in common. She hesitates, then lets him go with a warning, whereupon he tells her she should have the spot on her face looked at. By then something has happened, a connection, and she will return.

We next meet Alan, manager of the local Piggly Wiggly, who tells a customer how lucky she is to have her grandchildren coming to visit. Her bitter reply shocks him: 'When I was twenty-one and pulling off my clothes in the Pontchartrain down in New Orleans ... I couldn't see ahead to the day when I'd be sixty and by myself and the easiest solution to somebody else's problem.' In another scene, a seduction grows out of a discussion of why a fellow keeps nervously peeling the label off his beer bottle.

Barrington's wife and daughter, spoiled by San Francisco, experience near-fatal culture shock in small-town Mississippi. The wife seeks consolation with Barrington's best friend, a hard-drinking lawyer. The daughter, called 'California' by new classmates who find her highly exotic, is drawn to the bright, decent son of the Piggly Wiggly manager. Barrington becomes a volunteer coach of the high school football team, and we learn a lot about the team's fortunes. His daughter, no football fan, watches a pep rally with mounting horror: 'The last moron to approach the microphone broke down and cried and swore to win for the sake of his grandfather who'd died six years ago last week. She'd never seen anything like it.' The deeply religious grocery store manager hates Barrington because of an incident in high school, and his son's love for the doctor's daughter maddens him.

All these smoldering passions in time lead to murder, but we keep reading less to see if the killer is caught than to see if these all-too-flawed, all-too-believable people can ever make sense of their lives. They share with us such thoughts as: 'marriage was the most brutal institution of all. It demanded too much, gave too little back, both demystified and commodified longing. For him, the only mystery left in marriage was how anybody survived it.'

I found myself comparing this novel with the North Carolinian David Payne's 'Back to Wando Passo,' which was reviewed here two weeks ago. Payne's wildly readable, often over-the-top novel offered two stories, one about a burned-out, Southern-born rock star in the present, the other about his wife's ancestor during the Civil War. Yarbrough's 'The End of California' is more impressive, ironically, because it is less spectacular, because it limits itself to life more or less as we know it — which of course is no limitation at all. If I could change anything in this novel, I would cut a scene in which Barrington explains that he is rereading 'The Last Picture Show' because 'it was the last word on life in a small town. The last word on life in any town.' The tribute is not necessary. Readers who admire Larry McMurtry's 1966 classic will already have made the connection." Reviewed by Patrick Anderson, whose e-mail address is mondaythrillers(at symbol)aol.com, Washington Post Book World (Copyright 2006 Washington Post Book World Service/Washington Post Writers Group)
(hide most of this review)

"Yarbrough's story blends elements we have seen in other novels--the small-town South, the football hero grown up, passions that reach back to high school, a little incest and a lot of extramarital sex, racial tensions, hypocrisy amount the pious--but it all works because Yarbrough knows his characters so well, cares for them so deeply and writes of them in prose that is graceful, precise and packed with surprises."

--Patrick Anderson, The Washington Post

"The End of California is artfully crafted, sensitive and observant, with characters who stick with you. But what makes it really shine is the undercurrent of thoughtfulness about who we are and what we're becoming, [as] Loring becomes a kind of microcosm for the cultural divisions and moral ambiguities of contemporary America." --Charles Matthews, San Jose Mercury News

"Yarbrough's captivating novel of a prodigal son's return is written with wit, charm, and an obvious affection for the many characters that populate Loring, a place that has the same positives and negatives of any small town: people know you, and people know you . . . Pleasing and unexpectedly shocking, this work is simply very good . . . Read this book."

--Jyna Scheeren, Library Journal

"Yarbrough fulfills the novelist's chief task, by giving weight and import to human actions, [and] the momentum that builds, the increasing power the characters have to do each other good or ill, holds the reader spellbound."

--Kirkus

"Yarbrough returns to Loring, Miss., to examine the intersecting lives of two contemporary family men in this sensitive but powerful smalltown portrait of sex, religion and other human passions . . . [He] gives each character in this slow-burning drama the complex emotional scars of broken marriage and, more importantly, the space and voice with which to explore them."

--Publishers Weekly

"A tale of tested loyalties: between friends, spouses, children, and even the community as a whole [in which] small town ambience, with its conventions and crowdedness, its secrets and suspicions, is evoked with careful detail."

--Brad Hooper, Booklist

"Anybody who thinks the Mississippi Delta has given up all its secrets needs to read Steve Yarbrough, especially this new one. It's scary and wonderful, true to the bone and his best yet."

--Beverly Lowry

"For a writer, a small town is a narrow well, but an exceedingly deep one. Nobody understands this better than Steve Yarbrough does. Many of us have been wondering what became of Loring, Mississippi--Yarbrough's Yoknapatawpha. The End of California is a profoundly satisfying answer to that question.

--Jennifer Haigh

A PEN/Faulkner finalist for "Prisoners of War," Yarbrough now returns to the Delta--not seen through the historical lens of World War II nor of Jim Crow, as in his previous novels, but in the blinding light of contemporary life.