I was born in 1948, Richards in 1950, so his writing career and my reading one have certainly overlapped. I don’t count him as one of my favorite authors but over the decades I have read a number of his books (I can’t say exactly how many), although Crimes Against My Brother is the first since the KfC blog started 5 1/2 years ago. Let’s just say that I am willing to venture into the Miramichi valley every now and then, but the fictional version is not one of my favorite destinations.
Richards’ Miramichi is not a particularly pleasant place. At the top end of the scale, it is an environmentally stunning one — a world-famous salmon river surrounded by incredible stands of timber. That produces the mid-level conflict — lumbering companies who strip the land, endanger the river and its tributaries and cruelly exploit their workers. And right at the bottom, we have the people who struggle to live there. As is the case with so many people who are born and live their lives in resource-rich areas, they are pawns in the global economy and that powerless status becomes amplified in the way they relate to each other.
Crimes Against My Brother features all of those elements. If you haven’t yet ventured into Richards’ Miramichi it would not be my recommendation as the place to start (Mercy Among The Children would be my choice) — if as a reader you have been here before (and appreciated the experience), you will want to explore this latest part of the ongoing saga.
Here is the author introducing this latest Miramichi volume:
Ian Preston had some good times with his two cousins, Evan Young and Harold Dew.
There were two or three things that united them, as if they were tethered together in the hold of a ship.
One, each boy grew to manhood on the Bonny Joyce-Clare’s Longing stretch of the river.
Two, all three know Joyce Fitzroy and Lonnie Sullivan, all of them had to work for Sullivan and all had a chance at getting Joyce Fitzroy’s inheritance. But the one who didn’t seek it got it. That fact is a strange anomaly in the heavens, one that might make us believe or disbelieve. That is, no matter how things happen, some will say yes, there is a God, and others will say no, this proves no God exists. As for God himself — he has already made up his mind.
The narrator of the novel is himself a product of the Miramichi from the same era. He is from the same generation as Ian, Evan and Harold but “escaped” to college in New York, went on to Yale and is now a tenured professor but his heart and soul (and this is typical of Richards’ work) remain in the Bonny Joyce-Clare’s Longing stretch of the river:
I spoke to my students often — all of whom had written their interminable essays, their left-leaning theories on the dispossessed, their brilliant studies of our disenfranchised, every piece so polished you would think it is publishable in The Globe and Mail — about these three. Yet I realized that not one of my students had ever slept in a room with rats walking across the floor like Ian Preston had. Not one of them, at fourteen, had stood up against men coming in at night drunk to fuck his mother, like Evan Young. Not one had carried a water bucket up a gangplank, or tossed wood all day until dark, like Harold Dew. Not one had cut his own wood for the winter, trapped beaver against a black brook, killed an animal with a stick. Or gone at twelve years of age to work for Lonnie Sullivan. That is, even as I taught these students, these pleasant, affable upwardly mobile young men and women, I wondered what could their inestimable essays ever say beyond what I myself had known in my blood by the time I was ten years old? And why did my mother and father want this for me — this world where I had become something of a figure of merit? To fuss and preen over me when I came home?
In the world that Richards creates, the powerless people in this valley — not just the three cousins and the narrator, but everyone who appears — have three options about the fundamental source they will choose as a guide for their lives:
Crimes Against My Brother will follow the three boys through to adulthood — a concise summary of the story would describe it as “relentlessly bleak”. Two of them, in fact, will “succeed” in conventional economic terms; they do not in any way “succeed” in finding an enjoyable life. The narrative stream pretty much moves from one upheaval to another, following the stories of each of the three.
Like the other Richards’ novels that I have read, this is a look at the inherently powerless, how life treats them and how they respond. There are truly despicable creatures in the novel (Lonnie) and there are sadly misguided ones (Annette), but for the most part it features decent people doing their best to find a decent life — and almost always failing, sometimes from their own weaknesses, more often because of external forces.
From my experience, that seems to be consistent with Richards ongoing exploration of the Miramichi and its people and one can hardly fault him for returning to this world and those who live there. If Alice Munro looks at her part of Canada through sepia-toned glasses as some have observed, Richards looks at his with razor-sharp, penetrating precision — life in his Miramichi Valley is definitely not pleasant, but it is a story that deserves to be told.