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The year is 1929, and newlyweds George and Serena Pemberton arrive from Boston in the North Carolina mountains to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains — but she soon shows herself the equal of any worker, overseeing crews, hunting rattlesnakes, even saving her husband’s life in the wilderness.
Together, this Lord and Lady Macbeth of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she vengefully sets out to kill the son George had without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pemberton's intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning.
Review:
Serena, the Lady Macbeth of Ron Rash's stirring new novel, wouldn't fret about getting out the damned spot. She wouldn't even wash her hands; she'd just lick it off. I couldn't take my eyes off this villainess, and any character who does ends up dead. Alluring and repellant, she's the engine in a gothic tale of personal mayhem and environmental destruction set in the mountains of North Carolina during... Washington Post Book Review (read the entire Washington Post review) the Depression. We meet her as the new bride of a timber baron arriving to survey 34,000 acres of virgin land that she and her husband, Pemberton, hope to strip as quickly as possible. The other investors don't bring their wives into the mountains like this, but Serena is no ordinary wife. At the start of the novel, the newlyweds are intercepted at the train station by the father of a pregnant 16-year-old girl. Pemberton can't even remember her name, but he doesn't doubt she's carrying his baby; Serena is unfazed. "You're a lucky man," she tells the girl's father, who's seething with drunken rage. "You'll not find a better sire to breed her with." Then she turns to the girl: "But that's the only one you'll have of his. I'm here now." Yikes, is she ever. Wearing her leather jodhpurs and black boots, she strides through the story that follows with frightening self-confidence. She speaks with unquestioned authority to Pemberton's employees, rough-hewn men who've lived in these isolated hills for generations. The orphaned daughter of a wealthy timber man in Colorado, she immediately impresses even the most skeptical lumberjacks with her shrewd knowledge of the business. She can calculate board feet just by glancing at a towering tree, and though she attended finishing school in New England, she prefers the Spartan accommodations of her husband's Appalachian camp. "Money freed to buy more timber tracts," she reassures him. Drill, baby, drill! Rash portrays them as the perfect power couple, not a match made in heaven, perhaps, but someplace much lower. "Their meeting wasn't mere good fortune," Serena insists, "but inevitability." A strapping, commanding man of 27, Pemberton is thrilled to have found a woman so in tune with his spirit, even if she sometimes pushes him toward actions more deadly than prudent. Nothing heats up their bed more than rubbing out a too-cautious investor or a potential opponent. Holding Serena in his arms, feeling her "severe keenness," he's filled with "a sense of being unshackled into some limitless possibility." "Serena" is a blazing expansion of a short story in Rash's 2007 collection, "Chemistry." Among other things, the longer form gives Rash room to set the ambitions of this rapacious couple against a seminal moment in the environmental movement. Even as Pemberton and Serena dream of denuding every mountain in Appalachia, the secretary of the interior, with backing from John D. Rockefeller, is aggressively buying up and seizing land for the creation of Great Smoky Mountains National Park. Owners like Pemberton could make a fortune by raping the land before they lost or sold it to the government. Rash gracefully folds this history into his fictional drama and includes several other real-life figures, such as the nature writer Horace Kephart. The political battle that rumbles in the background of the novel is all too sadly reminiscent of the one we're still fighting over vast tracts of untouched land. Rash, who teaches Appalachian cultural studies at Western Carolina University, constantly reminds us of what's at stake: "As the crews moved forward," he writes, "they left behind an ever-widening wasteland of stumps and slash, brown clogged creeks awash with dead trout. ... The valley and ridges resembled the skinned hide of some huge animal." But Rash's description of the laborers is filled with awe for the hellish conditions they endure, working six 11-hour shifts a week, in all weather. When winter arrives, frostbite is a fair trade for snakebites. In startling, brief scenes, we see men sliced, impaled, drowned and crushed. "Some used cocaine to keep going and stay alert," he writes, "because once the cutting began a man had to watch for axe blades glancing off trees and saw teeth grabbing a knee and the tongs on the cable swinging free or the cable snapping. ... If you could gather up all the severed body parts and sew them together, you'd gain an extra worker every month." As the Depression grinds on, though, there are always cheap, willing replacements. In addition to writing short stories, Rash is also a fine poet, and he brings a poet's concision and elliptical tendencies to this novel. As a result, these scenes and conversations constantly suggest more than they show, a technique that renders them alluring, sometimes erotic, often frightening. And his restraint is a necessity to keep this gothic tale from slipping into campiness. That's a real danger when you've got a beautiful murderess striding around the forest with a pet eagle on her wrist and a one-armed goon at her side. Frankly, it's sometimes difficult to catch the author's tone in these passages; the book seems deadly serious, but there are moments — the bizarre battle between Serena's eagle and a komodo dragon, for instance — when one suspects that Rash is rolling his eyes, too. But this is the challenge of the gothic novel: managing the accretion of excesses in a way that doesn't break the spell. The blind hag who delivers prophesies to the lumbermen, the insane preacher who warns of impending doom, even the portentous eclipse of the moon — all these details rise up just right. The only weakness may be Serena herself; as her ambitions begin to outpace her husband's, I couldn't help feeling that she was shrinking toward a caricature of evil. But by then, it's too hypnotic to break away from. Innocent people are in peril, and calamity seems as unstoppable as the millions of board feet Pemberton's men send surging down the river. And the final chapter is as flawless and captivating as anything I've read this year, a perfectly creepy shock that will leave you hearing nothing but the wind between the stumps. Ron Charles is a senior editor of The Washington Post Book World. He can be reached at charlesr(at symbol)washpost.com. Reviewed by Ron Charles, Washington Post Book World (Copyright 2006 Washington Post Book World Service/Washington Post Writers Group)
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Review:
"Ron Rash's new novel Serena catapults him to the front ranks of the best American novelists. This novel will make a wonderful movie, and the brave actress who plays Serena is a shoe-in for an Academy Award nomination." Pat Conroy, author of The Great Santini and The Prince of Tides
Review:
"Rash is a storyteller of the highest rank and Serena confirms this from the opening sentence to the final page. An epic achievement." Jeffrey Lent, author of In The Fall
Review:
"An Appalachian retelling of Macbeth, a thriller, a word-perfect evocation of an era and a people, a grim chapter in the history of conservation: if Serena doesn't finally win Ron Rash the overdue attention of the national literary (and cinematic) establishments, I can't imagine what they're holding out for." Arthur Phillips, author of Prague, The Egyptologist, Angelica
Review:
"[Rash] has outdone himself. The story of this brilliant, ambitious, seductive woman is a searing tragedy of Shakespearean proportions — or, in simpler terms, a damn good book that will keep you awake far too late and, well after you've finished it, haunt your dreams." Julia Glass, National Book Award winning author of Three Junes
Synopsis:
The year is 1929, and newlyweds George and Serena Pemberton travel from Boston to the North Carolina mountains where they plan to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains—but she soon shows herself to be the equal of any man, overseeing crews, hunting rattle-snakes, even saving her husband's life in the wilderness. Together this lord and lady of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she sets out to murder the son George fathered without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pembertons' intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning.
Rash's masterful balance of violence and beauty yields a riveting novel that, at its core, tells of love both honored and betrayed.
Ron Rash's family has lived in the southern Appalachian Mountains since the mid-1700's, and it is this region that is the primary focus of his writing.
Mary Akers, May 9, 2009 (view all comments by Mary Akers)
In the opening scene of Ron Rash’s excellent new novel Serena, George Pemberton, ruthless and land-hungry timber baron, returns by train to his holdings near Asheville, NC in 1929, with Serena, his wife of two days, in tow. There to meet them at the station are Rachel Harmon—a former camp employee who is carrying Pemberton’s unborn child—and her angry father, bent on revenge. At Serena’s urging, Pemberton quickly settles the score, leaving his opponent disemboweled, the young girl fatherless, and the witnesses at the depot speechless.
Upon returning to camp, the first thing Serena does to establish her own ruthless authority is to size up a nearby cane ash and make a public bet with the skeptical cutting-crew foreman as to the total board feet the tree will yield. Unfortunately for the foreman, he takes Serena’s bet. When the tree is cut and timbered and the results publicly revealed, his fateful bet loses him not only two weeks’ pay, but also his job—leaving no doubt among his fellow timber men as to who is in charge.
From that day forward, woe to any partners, employees, lawmen, or doctors who dare to desert, mislead, or challenge the rising Pemberton dynasty. Serena, as a sideline to her day job of overseeing the cutting and transport of timber, proceeds to import and tame a wild eagle, teaching it to hunt and destroy the area’s deadly timber rattlers, launching its aerial attacks from an imposing perch atop Serena’s forearm, while she sits astride her white Arabian stallion. When the eagle drops one of its victims, and a six-foot venomous snake falls from the sky, landing at the feet of the camp’s preacher, the man goes mad and is removed from his position, attracting unsavory interest and speculation from his fellow workers for months to follow.
The story of the Pembertons’ rise to power takes an even more violent turn when Serena—who wears jodhpurs and boots like a man—becomes pregnant, carries to term, then tragically loses the child, as well as her ability to conceive any future children; on the surface she copes, but underneath it all her vengeful and vindictive tendencies thrive.
When Serena’s quick tourniquet saves the life of a loner/worker whose hand is accidentally severed, she wins the blind loyalty of both him and his mantic mother, gaining a devoted henchman to do her diabolical bidding. Twenty-six months after the honeymoon train ride from Boston, Serena sets out to kill the child her husband fathered before they met. Her first foray into the surrounding hills fails to reveal the child’s whereabouts, but Serena manages to carry out her first longed-for murder: the innocent Widow Jenkins who had been caretaker of the boy. “We’ve both killed now,” Serena tells her husband urgently. “What you felt at the depot, I’ve felt, too. We’re closer, Pemberton, closer than we’ve ever been before.” And for the first time, we get a glimpse of the Lady Macbeth she has become, and the latent tendency that had been there all along. After her sinister pronouncement, her husband muses thusly:
"Madness, Pemberton thought, and remembered the first evening back in Boston, the walk down the cobbled streets to Serena’s lodging, the hollow sound of their footsteps. He remembered the moment he’d stood on the icy step as Serena unlocked the door and went inside, pressed the front room light on. Even when Serena had turned and smiled, Pemberton had lingered. Some dim troubling, almost visceral, keeping him there on the step, in the cold, outside the door. He remembered how he’d pulled off his gloves and stuffed them in his overcoat pocket, brushed some snow flurries off his shoulders as he delayed his entrance a few more moments. Then he’d stepped inside, stepping toward this room as well, into this moment."
When her latest obsession reveals itself (“just us” she says, passionately kissing Pemberton before setting out under cover of darkness) her husband’s own desire to save the child who already bears such a striking resemblance to his father, initiates the slow unraveling of their marriage leading, ultimately and cataclysmically, to a conclusion so shocking that even though we sense it coming we think “no!” as we read—“no, surely not.” But readers can rest assured, under Ron Rash’s masterful pen and meticulous unfolding narrative, the dramatic conclusion is both thematically and cinematically right for the story. We arrive there breathless, incredulous, but strangely and supremely satisfied.
This is a finely crafted, beautifully rendered, and classically tragic tale of human ambition run amok. I have been a fan of Rash’s work for years, but this surely is his best, most artful novel yet.
Was this comment helpful? | Yes | No (5 of 8 readers found this comment helpful)
wewells, March 3, 2009 (view all comments by wewells)
Unflinching narcissism and unadulterated malevolence - this is what you’ll find in spades from the characters in Ron Rash’s book “Serena”. There are characters with redeeming qualities as well, but as you might imagine, those that are not strong and sure, quickly fall.
Using the historic backdrop of a Depression era lumber camp in 1929, “Serena” is largely an Appalachian retelling of Macbeth with a few twists of its own, so expect a tragic tale with a lot of wickedness and you’re ready for one enjoyable read!
Was this comment helpful? | Yes | No (5 of 6 readers found this comment helpful)
"Review"
by Pat Conroy, author of The Great Santini and The Prince of Tides,
"Ron Rash's new novel Serena catapults him to the front ranks of the best American novelists. This novel will make a wonderful movie, and the brave actress who plays Serena is a shoe-in for an Academy Award nomination."
"Review"
by Jeffrey Lent, author of In The Fall,
"Rash is a storyteller of the highest rank and Serena confirms this from the opening sentence to the final page. An epic achievement."
"Review"
by Arthur Phillips, author of Prague, The Egyptologist, Angelica,
"An Appalachian retelling of Macbeth, a thriller, a word-perfect evocation of an era and a people, a grim chapter in the history of conservation: if Serena doesn't finally win Ron Rash the overdue attention of the national literary (and cinematic) establishments, I can't imagine what they're holding out for."
"Review"
by Julia Glass, National Book Award winning author of Three Junes,
"[Rash] has outdone himself. The story of this brilliant, ambitious, seductive woman is a searing tragedy of Shakespearean proportions — or, in simpler terms, a damn good book that will keep you awake far too late and, well after you've finished it, haunt your dreams."
"Synopsis"
by Harper Collins,
The year is 1929, and newlyweds George and Serena Pemberton travel from Boston to the North Carolina mountains where they plan to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains—but she soon shows herself to be the equal of any man, overseeing crews, hunting rattle-snakes, even saving her husband's life in the wilderness. Together this lord and lady of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she sets out to murder the son George fathered without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pembertons' intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning.
Rash's masterful balance of violence and beauty yields a riveting novel that, at its core, tells of love both honored and betrayed.
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