Star Wars Sale
 
 

Special Offers see all

Enter to WIN!

Weekly drawing for $100 credit. Subscribe to PowellsBooks.news for a chance to win.
Privacy Policy

More at Powell's


Recently Viewed clear list


Original Essays | June 20, 2014

Lisa Howorth: IMG So Many Books, So Many Writers



I'm not a bookseller, but I'm married to one, and Square Books is a family. And we all know about families and how hard it is to disassociate... Continue »
  1. $18.20 Sale Hardcover add to wish list

    Flying Shoes

    Lisa Howorth 9781620403013

spacer
Qualifying orders ship free.
$5.50
List price: $15.00
Used Trade Paper
Ships in 1 to 3 days
Add to Wishlist
Qty Store Section
2 Beaverton Literature- A to Z
1 Hawthorne Literature- A to Z

Finn

by

Finn Cover

 

 

Excerpt

Chapter 1

Under a low sun, pursued by fish and mounted by crows and veiled in a loud languid swarm of bluebottle flies, the body comes down the river like a deadfall stripped clean.

It proceeds as do all things moving down the Mississippi in the late summer of the year, at a stately pace, as if its blind eyes were busy taking in the blue sky piled dreamily deep with cloud. There will be thunder by suppertime and rain to last the whole night long but just now the early day is brilliant and entirely without flaw. How long the body has been floating would be a mystery if any individual had yet taken note of its passage and mused so upon it, but thus far, under that sky of blue and white and upon this gentle muddy bed aswarm with a school of sunfish and one or two smallmouth bass darting warily as thieves, it has passed only empty fields and stands of willow and thick brushy embankments uninhabited.

A crow screams and flaps off, bearing an eye as brown and deep as the Mississippi herself.

Sunday morning, early, and the river is without traffic.

An alligator gar, eight feet if its an inch, rises deathlike from the bottom and fastens its long jaw upon a hipbone, which snaps like rotten wood and comes away. The body entire goes under a time or two, bobbing and turning, the eggs of blowflies scattering into the water like thrown rice. The urgent sunfish eddy. The bluebottles hover, endlessly patient, and when the body has recovered its equilibrium and resumed its downward course they settle once more.

Boys note its passage first, boys from the village taking the long way to Sunday school, and their witness is as much natures way as is the slow dissolution of the floating body into the stratified media of air and water. The corpse is not too very far from shore and clearly neither dog nor deer nor anything but man.

“Ill bet its old Finn,” says one of them, Joe or Tom or Bill or perhaps some other. On this Sunday morning down by the riverbank they are as alike as polished stones. “My pap says theyll fish him from the river one day for sure.”

“Go on,” says another.

“Yes sir. A worthless old drunk like that.”

“Go on,” says the other again. He picks up a flat stone and tests it in his hand, eyeing the crow, which has returned and sunken its beak into a pocket of flesh. “Shows how much you know. That aint even a man.”

“I reckon you think its a mule.”

“Its a woman, no question.”

The lot of them go jostling together and squinting into the sunrise and blinking against the glare on the water as if the only thing superior to the floating corpse of a man would be the floating corpse of a woman, as if seeking in unison for a lesson in anatomy and never mind the cost.

Finally, from one of them or another but in the end from the childish heart in each save the learned one, this confession: “How can you tell?”

“Men float facedown. Anybody knows that.” Skipping the stone across the water to flush the crow, ruining his good trousers with the offhand brush of muddy fingers.

They draw straws, and as the unlucky boy lights out toward the village to enlist an adult the rest of them locate a skiff and cast off and make for the body. They hook her with a willow switch, these boys inured to dead things, and they drag her like bait to shore. One of them has been keeping a dead cat on a string for a week now, a kitten really, just a poor stiff dried husk won exactly this way, string and all, in a game of mumblety-peg.

The corpse floats low in the water, bottoming out in the mud that sucks at heel and buttock and drooping wrist. During its journey down the river it has failed to swell in the common way of corpses left in the sun. It lacks for skin, all of it, from scalp to sole. Nothing remains but sinew and bone and scraps of succulent yellow fat that the crows have not yet torn free.

One boy panics and loses his balance and falls into the water, his clothes spoiled for Sunday.

The bootlegger stirs his fire, oblivious to the sparks that circle upward into the night sky. He hears everything, every whisper in the dry grass of the pathway that leads from behind his shack, every snapping twig in the surrounding woods, every wingbeat of sparrow or jay or owl. “You cant steal whiskey from old Bliss,” he likes to say, as if anyone would stoop so low as to steal whiskey from a blind man.

He repeats this reassurance now to Finn, who has proven him wrong before. “Thats so,” says Finn.

Pleased with himself, Bliss cackles until he coughs. Then he spits between his crooked teeth into the fire, where the sputum lands with a satisfying sizzle. “You got a jug?”

“ Course I got a jug.” Finn is as regular around these premises as the weather, even more regular than Bliss knows. But tonight his first purpose is neither to buy whiskey nor to steal it but to dispose of something in Blisss perpetual fire. He has a tow sack between his feet, filthy even in the firelight and slowly leaking something into the dust. He bumps the blind mans knee with his jug, a signal.

“Go on get it yourself,” says Bliss. “Cant you see Im occupied?”

“Ill tend. You pour. Give me that stick.”

Bliss wont let it go. “Leave an old man be. I reckon you know where I keep it.”

“I reckon I do, if I could find it in the dark.”

He has a point, so Bliss hands over the stick and limps off into the woods muttering to himself like an old priest.

Finn unties the tow sack and lays out its contents, long strips dark and dimly glistening, pieces of flayed flesh identically sliced save one. Their regularity in width and length and thickness speaks of a huntsmans easy skill and a plotters furtive patience and something else too. He chooses one and throws it upon the fire, where it sizzles and smokes and curls in upon itself as sinuously as a lie.

“Hope you brought some for me,” says Bliss from the depths of the woods.

“Theres plenty.” Throwing another piece into the fire to blacken. “Bring a couple of them jars when you come back. Well have ourselves a time.”

Bliss, weighed down with Finns crockery jug of forty-rod, adjusts his course and shuffles down the path toward the cabin. Halfway along he uses his head at last, plants the jug midpath like a tombstone, and makes for home unencumbered, counting off the paces so as not to stub his unshod foot during the journey back.

By firelight Finn locates the piece hes set aside for his host. He clears hot ash from a rock and places it there in the manner of an offering.

“I aint had nothing but beans all week,” says Bliss as he squats on his log. He swirls whiskey to cleanse a pair of canning jars. One of them is cracked about the rim and fit to tear someones lip, and this one Bliss chooses for himself as long as Finn is paying. He minds the crack with his thumb. Bliss is a poor drinker and he knows it. Not mean like Finn, but morose and persistent and beyond satisfying. “A little of your fatback wouldve gone good with them beans.”

“Youll like it well enough plain,” says Finn.

Bliss sniffs the air with satisfaction and mutters something unintelligible, pours himself another whiskey.

“You be sparing with that.” But Finn doesnt mean it and he knows that Bliss will pay him no mind anyhow. Once you get Bliss started theres no slowing him down until the jug is empty. “Besides, I aint paid for it yet.”

“Dont worry none. Ill put it on your account.” Tapping the side of his head with a finger.

They sit in silence while the meat cooks.

“Ive broken it off with that woman,” says Finn.

“Youve made such a claim before.”

“This time I mean it.”

“Well see.”

“I reckon we will.”

Bliss points his nose toward the spot where the meat sizzles on the fire just as surely as if he had two good eyes to guide it. “Whenll that be ready, you suppose? I dont want it burnt.”

“Soon.” Tossing in another strip or two.

“Aint no good to me burnt.”

“Hold your water.”

“Im just saying. Yours must be about black by now. The one you put up while I was in them woods.”

“I aint having any. Shes all yours, on account of how good youve always been to me.”

“Aww. Taint nothing.”

“A token of my gratitude.”

Bliss smiles in the odd unself-conscious way of one who has never looked into a mirror and learned thus to confine his expressions to the social norm. “So how long was you with her, Finn?”

“Ten, twelve years maybe. Fifteen, off and on.”

“Offer and onner, like they say.” He puts down his empty jar and rubs his hands together in a fit of glee, his whole brain a lovely jumble of women and fatback bacon. “Whatll the Judge think?”

“Cant say.” Stabbing the flesh with a sharp stick and flipping it over.

“Youve steered him wrong before.”

“I know it.”

“Me, I dont believe youll ever make a dent in that Judge. He knows what he knows.”

Finn grunts.

“Your daddys one judge thats got his mind made up.”

“Hes been that way all my life.”

“He was that way before you was born, Finn. It aint none of your doing.” He hawks and spits into the fire, and Finn throws in some more pieces. “Sure it aint done yet?”

“Just about. Have some more whiskey.”

“Dont mind if I do.”

After a while Finn stabs the meat and places it upon a flat stone that he bumps against the bootleggers knee a time or two. “Can you set down that whiskey long enough to eat?”

“Ill do my best,” says Bliss. Which he manages, just barely. And until half past midnight, while the silence in the woods deepens and the white moon looms and recedes and the owls grow weary at last of pursuing their prey through black air, the fire consumes Finns secret. Come noon Bliss will awaken on the hard ground, and in his mind Finns presence will have taken on the quality of a ghostly visitation.

He is between worlds, this boy. Between the river and the town, between the hogshead and the house, between the taint of his mother and the stain of his pap. He knows some things that he can never say, not even to himself.

He has trained his companions well—these boys forbidden to associate with him on account of his mothers suspected stigma and his fathers famed trouble with whiskey, these boys who associate with him nonetheless and perhaps all the more intently for being forbidden his company although they do not generally encounter him at school or at church or at any of the other places ordinarily deemed suitable for boys of the village. They find his dark history as dizzying as a leap from some great bluff into a Mississippi pool and his scrapes with his violent pap as thrilling as a narrow escape from Injun Joes cave and his deep broad knowledge of woodsmans lore and slaves superstition as enchanting as a spell of protection against nightwalking spirits or werewolves, these boys forbidden to play with him yet drawn into his wake like needles to a lodestone, these boys whom he has trained well enough that at least one of them knows what hell say before he says it and indeed has said it already, that the body is not a mans at all on account of it floats faceup.

When he can extricate himself from the widows he sleeps in a great barrel nearly as tall as a man and twice as big around, a sugar hogshead washed up among the rushes at the edge of the village. The barrel lies upon its side and he lies upon his side within it. Sometimes he locates a place between the staves where the rain and the riverwater and the barrels former purpose have conspired to leave behind a concealed crusty ridge of old sugar solidified, and with his clasp-knife he pries it loose for the pleasure of sucking upon it while he drifts off to sleep.

In the end it falls to the undertaker to load the corpse upon a wagon and remove it from the indignity of public display. Except perhaps for OToole, the giant who owns the slaughterhouse in the next county, there is none other who might possess the stomach for it. So here he is, rolling the sticky fly-blown thing into a square of old canvas and wrangling it up onto the bed of his wagon as if it were the featureless corpse of a slug and he an ant, strong beyond his size. His name is Swope, he is rail-thin and dressed in rusty black, and he has been a fixture in the village of St. Petersburg for longer than anyone can remember. From long association he has acquired both the air of death and some of its permanence, and his pale hair bursts from under the brim of his slouch hat like a pile of sunbleached straw.

The corpse for its part is well mannered, patient, and perfectly amenable. Leached clean of all fluids, it barely stains the canvas tarpaulin.

Swope mutters to himself as he works, complaining about the hour and the uncharacteristic heat and the unfairness of the world. He has long made a habit of talking to himself, since no one else will do it. The children believe that he speaks to Death, which hovers invisibly over one of his shoulders or the other, although their parents believe instead that he addresses his harmless old horse, Alma.

“As if I werent busy enough without goddamn half-pay charity cases come floating downstream. Wont barely cover my expenses, may God damn the goodness of my goddamn bleeding heart, but who in hell else is going to do it? And at this time of the morning, as if the old gal couldnt have kept till noon. A feller gets himself the idea to go skin somebody like a goddamn rabbit at least he ought to have the decency to set something by for the proper obsequies, mail it anonymous to the paper or the marshal or some such. A goddamn crime is what it is. The feller what done it deserves to be tried as much for one as for the other. Pitiful goddamn half-pay charity case.”

From the Hardcover edition.

Product Details

ISBN:
9780812977141
Author:
Clinch, Jon
Publisher:
Random House Trade
Subject:
Literary
Subject:
Boys
Subject:
Race relations
Subject:
Male friendship
Subject:
Literature-A to Z
Copyright:
Edition Description:
Trade paper
Publication Date:
20080331
Binding:
TRADE PAPER
Grade Level:
A.&#8221;<br>&#8211;<i>ENTERTAINMENT WEEKLY<br></i
Language:
English
Pages:
320
Dimensions:
7.94x5.28x.66 in. .50 lbs.

Other books you might like

  1. The Lying Tongue: A Novel Used Hardcover $1.95
  2. Thirteen Moons: A Novel
    Used Hardcover $2.50
  3. The Adventures of Huckleberry Finn...
    Used Trade Paper $3.95
  4. The Dead Fathers Club New Mass Market $13.50
  5. Tom Sawyer Detective Used Book Club Paperback $1.95
  6. Heyday: A Novel
    Used Trade Paper $1.95

Related Subjects


Featured Titles » Literature
Fiction and Poetry » Literature » A to Z
History and Social Science » American Studies » Popular Culture

Finn Used Trade Paper
0 stars - 0 reviews
$5.50 In Stock
Product details 320 pages Random House Trade - English 9780812977141 Reviews:
"Review" by , "The Mississippi River is a character in its own right, prominently featured in each chapter. Every fan of Twain's masterpiece will want to read this inspired spin-off, which could become an unofficial companion volume. Highly recommended."
"Review" by , "A brave and ambitious debut novel....It stands on its own while giving new life and meaning to Twain's novel, which has been stirring passions and debates since 1885...triumph of imagination and graceful writing....Bookstores and libraries shelve novels alphabetically by authors' names. That leaves Clinch a long way from Twain. But on my bookshelves, they'll lean against each other. I'd like to think that the cantankerous Twain would welcome the company."
"Review" by , "Ravishing....In the saga of this tormented human being, Clinch brings us a radical (and endlessly debatable) new take on Twain's classic, and a stand-alone marvel of a novel. (Grade: A)"
"Review" by , "Meticulously crafted....Marvelous imagination....The Finn of Clinch's novel is certainly a racist villain but also psychologically disturbed and disconcertingly compelling."
"Review" by , "Shocking and charming. Clinch creates a folk-art masterpiece that will delight, beguile and entertain as it does justice to its predecessor....In Finn, Clinch expands the bloodlines and scope of the original story and casts new light on the troubled legacy of our country’ s infamous past."
"Review" by , "Gripping...he inventively remaps known literary territory...the descriptive riffs are lucent."
"Review" by , "Considering the heady literary terrain Clinch hopes to master, the novel succeeds better than anyone other than its author could have expected."
"Synopsis" by , In this masterful debut by a major new voice in fiction, Jon Clinch takes us on a journey into the history and heart of one of American literature’s most brutal and mysterious figures: Huckleberry Finn’s father. The result is a deeply original tour de force that springs from Twain’s classic novel but takes on a fully realized life of its own.

Finn sets a tragic figure loose in a landscape at once familiar and mythic. It begins and ends with a lifeless body–flayed and stripped of all identifying marks–drifting down the Mississippi. The circumstances of the murder, and the secret of the victim’s identity, shape Finn’s story as they will shape his life and his death.

Along the way Clinch introduces a cast of unforgettable characters: Finn’s terrifying father, known only as the Judge; his sickly, sycophantic brother, Will; blind Bliss, a secretive moonshiner; the strong and quick-witted Mary, a stolen slave who becomes Finn’s mistress; and of course young Huck himself. In daring to re-create Huck for a new generation, Clinch gives us a living boy in all his human complexity–not an icon, not a myth, but a real child facing vast possibilities in a world alternately dangerous and bright.

Finn is a novel about race; about paternity in its many guises; about the shame of a nation recapitulated by the shame of one absolutely unforgettable family. Above all, Finn reaches back into the darkest waters of America’s past to fashion something compelling, fearless, and new.

Praise for Finn

“A brave and ambitious debut novel… It stands on its own while giving new life and meaning to Twain’s novel, which has been stirring passions and debates since 1885… triumph of imagination and graceful writing…. Bookstores and libraries shelve novels alphabetically by authors’ names. That leaves Clinch a long way from Twain. But on my bookshelves, they'll lean against each other. I’d like to think that the cantankerous Twain would welcome the company.”

–USA TODAY

“Ravishing…In the saga of this tormented human being, Clinch brings us a radical (and endlessly debatable) new take on Twain’s classic, and a stand-alone marvel of a novel. Grade: A.”

–ENTERTAINMENT WEEKLY

“A fascinating, original read.”

–people

“Haunting…Clinch reimagines Finn in a strikingly original way, replacing Huck’s voice with his own magisterial vision–one that’s nothing short of revelatory…Spellbinding.”

–WASHINGTON POST

“Meticulously crafted…Marvelous imagination…The Finn of Clinch’s novel is certainly a racist villain but also psychologically disturbed and disconcertingly compelling.”

–SAN FRANCISCO CHRONICLE

“From the barest of hints in Mark Twain's Huckleberry Finn, Clinch has created a fully believable world inhabited by fully realized characters. Clinch treads dangerous ground in making one of America’s greatest novels his jumping-off point, but he brings it off magnificently…The language of this book is one of its great beauties…Finn is far from one-dimensional, and that is another beauty of the book. Clinch has a knack for putting us squarely inside the heads of his characters….Clinch draws as compelling and realistic a picture as any we’re likely to find…Finn stands on its own. The richness of its language, the depth of its characters, the emotional and societal tangles through which they struggle to navigate add up to a portrait of life on the Mississippi as we’ve never before experienced it.”

–dallas morning news

“His models may include Cormac McCarthy, and Charles Frazier, whose Cold Mountain also has a voice that sounds like 19th-century American (both formal and colloquial) but has a contemporary terseness and spikiness. This voice couldn’t be better suited to a historical novel with a modernist sensibility: Clinch’s riverbank Missouri feels postapocalyptic, and his Pap Finn is a crazed yet wily survivor in a polluted landscape…Clinch’s Pap is a convincingly nightmarish extrapolation of Twain’s. He’s the mad, lost and dangerous center of a world we’d hate to live in–or do we still live there?–and crave to revisit as soon as we close the book.”

–newsweek

“I haven’t been swallowed whole by a work of fiction in some time. Jon Clinch’s first novel has done it: sucked me under like I was a rag doll thrown into the wake of a Mississippi steamboat…Jon Clinch has turned in a nearly perfect first book, a creative response that matches The Adventures of Huckleberry Finn in intensity and tenacious soul-searching about racism. I wish I could write well enough to construct a dramatic, subtle and mysterious story out of careful, plodding and unromantic prose, but for now I’m just happy to have an alchemist like Jon Clinch do it for me.”

–BOOKSLUT

“Finn strikes its most original chords in its bold imagining of possibilities left unexplored by Huckleberry Finn.”

–austin american-statesman

“An inspired riff on one of literature’s all-time great villains…This tale of fathers and sons, slavery and freedom, better angels at war with dark demons, is filled with passages of brilliant description, violence that is close-up and terrifying…Everything in this novel could have happened, and we believe it… so the great river of stories is too, twisting and turning, inspiring such surprising and inspired riffs and tributes as Finn.”

–new orleans times-picayune

“A triumph of succesful plotting, convincing characterization and lyrical pros

spacer
spacer
  • back to top
Follow us on...




Powell's City of Books is an independent bookstore in Portland, Oregon, that fills a whole city block with more than a million new, used, and out of print books. Shop those shelves — plus literally millions more books, DVDs, and gifts — here at Powells.com.