The unexpected conceit devised by the author of the Deptford trilogy will surprise but likely not disappoint his fans. Shortly into the first chapter, narrator Connor Gilmartin, entertainment editor for a Canadian newspaper, is killed by his wife's lover, the paper's unctuous film critic, after coming upon the pair in his marital bed. Gil is astonished to find himself invisibly present at the scene, observing the craven retreat of the critic and his wife's subsequent tale to the police about her husband's fight with a burglar. Gil's next shock is learning that his fate is now tied to his murderer's and requires his joining the critic at an archival film festival. The films Gil sees, however, depict his personal history, powerfully presenting the lives of many of his ancestors. Notable among them are Anna Gage from 18th-century New York City, who takes her three children up the Hudson River in a canoe to Canada after her husband, an English officer, is killed at Breed's Hill; and a story-telling Methodist preacher in Wales. Gil's growing admiration for these flawed, courageous people reminds him of conversations with a metaphysically inclined friend who once advised him, "Feel before you think!" Relating this murder story with his customary wit, Davies resolves it to the reader's satisfaction, but the real treat is in Gil's posthumous growth to compassion and understanding. "We live and learn, yes," he observes. "But we die and learn, too, it appears."
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Robertson Davies (1913–1995) was born and raised in Ontario, and was educated at a variety of schools, including Upper Canada College, Queen’s University, and Balliol College, Oxford. He had three successive careers: as an actor with the Old Vic Company in England; as publisher of the Peterborough Examiner; and as university professor and first Master of Massey College at the University of Toronto, from which he retired in 1981 with the title of Master Emeritus.
He was one of Canada’s most distinguished men of letters, with several volumes of plays and collections of essays, speeches, and belles lettres to his credit. As a novelist, he gained worldwide fame for his three trilogies: The Salterton Trilogy, The Deptford Trilogy, and The Cornish Trilogy, and for later novels Murther & Walking Spirits and The Cunning Man.
His career was marked by many honours: He was the first Canadian to be made an Honorary Member of the American Academy of Arts and Letters, he was a Companion of the Order of Canada, and he received honorary degrees from twenty-six American, Canadian, and British universities.
A jovial but haltingly uneven tale of how several generational strands came to form one eccentric family. In rural Wales, a devout Methodist family rises slowly from poverty to 19th-century mercantile respectability, only to be spiritually and financially broken through a combination of hubris and bad luck. Davies's depiction of how the descendants of Samuel Gilmartin came to emigrate to British North America convincingly blends gritty humor--including a hilarious Welsh cursing contest- -with sympathetic portrayals of his characters. But operating at several registers below this Welsh plotline is the earlier, and much more thinly drawn, episode of how the Loyalist Gage family emigrated to Upper Canada following the American Revolution. The Gages never fully come to life, and when they paddle a canoe up the Hudson River all the way to Ontario, we've departed from familiar Davies territory and entered the realm of historical romance. Moreover, the two family episodes are organized around the kind of premise that is great fun at first, but that quickly begins to look irrelevant: the spirit of a recently murdered man finds himself attending a film festival alongside his murderer, a persnickety arts-critic nicknamed ``the Sniffer.'' While the Sniffer reviews official festival fare, his murder victim, Connor Gilmartin, is captivated by documentary footage covering his family history, which he alone can see. Strapped to this structural frame, the two plotlines inevitably begin to wobble. And though the trademark Davies preoccupations are here--skeletons creaking in the familial closets, money, spirituality--they're pitched far below the high- water mark the author achieved with What's Bred in the Bone (1988) and Lyre of Orpheus (1989). Minor work from a major talent--though there are enough flashes of former glory here to make this a must for serious fans. -- Copyright ©1991, Kirkus Associates, LP. All rights reserved.
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