Plainsong // Un mundo de pasiones y silencios (Spanish Edition) - Softcover

Plainsong, according to Kent Haruf's epigraph, is "any simple and unadorned melody or air." It's a perfect description of this lovely, rough-edged book, set on the very edge of the Colorado plains. Tom Guthrie is a high school teacher whose wife can't--or won't--get out of bed; the McPherons are two bachelor brothers who know little about the world beyond their farm gate; Victoria Roubideaux is a pregnant 17-year-old with no place to turn. Their lives parallel each other in much the same way any small-town lives would--until Maggie Jones, another teacher, makes them intersect. Even as she tries to draw Guthrie out of his black cloud, she sends Victoria to live with the two elderly McPheron brothers, who know far more about cattle than about teenage girls. Trying to console her when she think she's hurt her baby, the best lie they can come up with is this: "I knew of a heifer we had one time that was carrying a calf, and she got a length of fencewire down her some way and it never hurt her or the calf."

Holt, Colorado, is the kind of small town where everyone knows everyone's business before that business even happens. In a way, that's true of the book, too. There's not a lot of suspense here, plotwise; you can see each narrative twist and turn coming several miles down the pike. What Plainsong has instead is note-perfect dialogue, surrounded by prose that's straightforward yet rich in particulars: "a woman walking a white lapdog on a piece of ribbon," glimpsed from a car window; the boys' mother, her face "as pale as schoolhouse chalk"; the smells of hay and manure, the variations of prairie light. Even the novel's larger questions are sized to a domestic scale. Will Guthrie find love? Will Victoria run away with the father of her baby? Will the McPherons learn to hold a conversation? But in this case, the whole is greater than the sum of its parts, and Plainsong manages to capture nothing less than an entire world--fencing pliers, calf-pullers, and all. Kent Haruf has a gorgeous ear, and a knack for rendering the simple complex. --Mary Park

"A novel so foursquare, so delicate and lovely . . . it has the power to exalt the reader." -- The New York Times Book Review

"Resonant and meaningful . . . . A song of praise in honor of the lives it chronicles [and] a story about people's ability to adapt and redeem themselves, to heal the wounds of isolation by moving, gropingly and imperfectly, toward community." --Richard Tillinghast, The Washington Post Book World

"A compelling and compassionate novel. . . . [With] his sheer assurance as a storyteller, [Mr. Haruf] has conjured up an entire community, and ineluctably immersed the reader in its dramas." --Michiko Kakutani, The New York Times

"A work as flawlessly unified as a short story by Poe or Chekhov." --Jon Hassler, Chicago Tribune

"Haunting, virtuosic, inimitable." --Sarah Saffian, San Francisco Chronicle

"If the novelist invents a world, then Mr. Haruf has shaped a place of enormous goodness... The story itself--spare, unsentimental, rooted in action--honors the values of the community it describes." --Lisa Michaels,

"A moving look at our capacity for both pointless cruelty and simple decency, our ability to walk out of the wreckage of one family and build a stronger one where that one used to stand." --Jeff Giles, Newsweek

"A work as flawlessly unified as a short story by Poe or Chekhov." --Jon Hassler, Chicago Tribune