Sweetland

Sweetland is both a place—a small island off Newfoundland—and a person—Moses Sweetland—and both have seen better times. The provincial government is offering resettlement money to Sweetland residents, but only if everyone agrees to leave. Moses Sweetland is 69 years old and has been disfigured by an industrial accident. When the story opens, he is the only person—aside from the man considered the island idiot—who opposes the government’s proposition. He’s under plenty of pressure to accept, but the island named for his ancestors, where he takes his great-nephew rabbit hunting and hands down family legends, is the only place Moses can imagine living. Crummey, whose last book, Galore, won the Commonwealth Prize, does both man and place justice: Moses is a memorably strong-willed character, whose manner of thinking and speaking are dying out. The novel also conveys the way that a sense of place is the product of relationships—among the living, with the dead, and, in Moses’s case, arising from intimate connections to land and sea. At the end of the story, Moses remains alone on the island, his supplies dwindling, beset by injury, cold, and memories—the question isn’t what will happen, but how. Having nearly trapped himself in a narrative corner, Crummey writes himself out of it, concluding the book in a way that recalls Aristotle’s maxim from the Poetics: the best endings find a way to be both surprising and inevitable. (Jan.)