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The story of the man who never comes back from sea has been embedded in the lore of eastern Canada. Moore's third work of fiction (after Alligator) imagines the impact one such disaster—the 1982 sinking of the Ocean Ranger—has on Helen O'Mara, a mother of three small children whose husband, Cal, dies at sea. The narrative jumps in time from Helen's life with Cal, the accident itself and the years after in which Helen tries to keep her life intact. Whether it is Helen longing for companionship, designing wedding dresses or learning yoga, everything she does is done with a view to Cal. Most scenes are quietly reflective, and Moore's strength is her ability to inject evocative images and expressive tones to otherwise static and overly earnest passages (as in Is this what a life is? Someone, in the middle of cleaning the bathroom, remembers you tasting the ocean on your fingers long after you're gone.) There's no plot—the narrative consists of fragments from Helen's life—and while some readers may find the patchwork engaging, the absence of a through-line makes the work meandering. (Feb.)
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In February 1982, the Ocean Ranger, the world’s largest submersible oil drilling rig, capsized in a fierce storm off the coast of Newfoundland. Eighty-four men perished. In Moore’s accomplished novel about the risks of love, Helen O’Mara is left behind with three small children and another on the way when Cal, her husband of 10 years, dies. The narrative shifts back and forth through time, tossing up scenes from the present as well as from Helen and Cal’s marriage, the day of the disaster, and the years of Helen raising her family alone. In the present, much of the focus is on son John, an engineer whose job (ironically, analyzing risk on oil rigs) takes him all over the world. Now he is on his way home and trying to come to terms with the fact that a woman he barely knows is carrying his child. The novel’s episodic nature somewhat diminishes its emotional impact, especially toward the end. But Moore, whose previous novel, Alligator (2006), won a Commonwealth Writers’ Prize, renders sensations with the precision of a Vermeer. --Mary Ellen Quinn
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