The Echo Maker
  • The Echo Maker
  • The Echo Maker

The Echo Maker

3.4 17
by Richard Powers

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On a winter night on a remote Nebraska road, 27-year-old Mark Schluter flips his truck in a near-fatal accident. His older sister Karin, his only near kin, returns reluctantly to their hometown to nurse Mark back from a traumatic head injury. But when he emerges from a protracted coma, Mark believes that this woman–who looks, acts, and sounds just like his

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On a winter night on a remote Nebraska road, 27-year-old Mark Schluter flips his truck in a near-fatal accident. His older sister Karin, his only near kin, returns reluctantly to their hometown to nurse Mark back from a traumatic head injury. But when he emerges from a protracted coma, Mark believes that this woman–who looks, acts, and sounds just like his sister–is really an identical impostor. Shattered by her brother's refusal to recognize her, Karin contacts the cognitive neurologist Gerald Weber, famous for his case histories describing the infinitely bizarre worlds of brain disorder. Weber recognizes Mark as a rare case of Capgras Syndrome, a doubling delusion, and eagerly investigates. What he discovers in Mark slowly undermines even his own sense of being. Meanwhile, Mark, armed only with a note left by an anonymous witness, attempts to learn what happened the night of his inexplicable accident. The truth of that evening will change the lives of all three beyond recognition.

Set against the Platte River's massive spring migrations–one of the greatest spectacles in nature–The Echo Maker is a gripping mystery that explores the improvised human self and the even more precarious brain that splits us from and joins us to the rest of creation.

The Echo Maker is the winner of the 2006 National Book Award for Fiction.

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Editorial Reviews

From the Publisher
Praise for Richard Powers:

"Powers may be America's most ambitious novelist." —Kevin Berger, San Francisco Chronicle Book Review

"To read his work is to be wowed by his verbal muscularity. . .admirable. . .wonderfully original." —Meg Wolitzer, The New York Times Book Review

"Richard Powers is the child prodigy of American fiction . . . by 34 he had published three novels equaling the intellectual rigor and range of that '60s prodigy, Thomas Pynchon." —Tom LeClair, USA Today

"One of our few indispensable literary talents." —Charles B. Harris, Review of Contemporary Fiction

"Powers may be the smartest novelist writing today." —Albert Mobilio, The Village

The New York Review of Books - Margaret Atwood

A grand novel--grand in its reach, grand in its themes, grand in it patterning . . . If Powers were an American writer of the nineteenth century . . . he'd probably be the Herman Melville of Moby-Dick. His picture is that big.
The Boston Globe

A brilliant novel . . . A vision of wonder.
The Oprah Magazine O

Fascinating . . . In the end we see what Powers, with his beautiful language and broad reach, always wishes to have us see: the eternal mystery of human personality and how it functions in the extreme drama of the modern world.
The Washington Post Book World

A kind of neuro-cosmological adventure . . . an exhilarating narrative feat . . . Powers is a formidable talent, and this is a lucid, fiercely entertaining novel.
The New York Times Book Review - Colson Whitehead

A wise and elegant post-9/11 novel . . . The mysteries unfold so organically and stealthily that you are unaware of his machinations until they come to stunning fruition. . . . Powers accomplishes something magnificent.
Los Angeles Times Book Review

Powers may well be one of the smartest novelists now writing. . . . In The Echo Maker, Powers hopes to plumb the nature of consciousness, and he does so with such alert passion that we come to recognize in his quest the novel's abiding theme--What it means to be human will forever elude us.
Entertainment Weekly

One of the year's most engrossing.
The Seattle Times - Steve Weinberg

[Powers's] characters are unforgettable, flesh-and-blood individuals as finely drawn as those of any contemporary fiction writer.
Colson Whitehead
Part of the joy of reading Powers over the years has been his capacity for revelation. His scientific discourses point to how the world works, but the struggles of his characters, whether down-and-out misfits like Mark or well-heeled magicians like Weber, help us understand how we work. And that’s where the setting — 2002, early 2003 — comes in. As the features of life after 9/11 come into focus — the engagement in Afghanistan, "that bleak, first anniversary" of the attacks, the march to war in Iraq — Powers accomplishes something magnificent, no facile conflation of personal catastrophe with national calamity, but a lovely essay on perseverance in all its forms.
— The New York Times
Sebastian Faulks
Richard Powers's new novel—a kind of neuro-cosmological adventure—is an exhilarating narrative feat. The ease with which the author controls his frequently complex material is sometimes as thrilling to watch as the unfolding of the story itself.
—The Washington Post
The New Yorker
This novel, a finalist for the National Book Award, addresses the question of how we know who we really are. Mark, who repairs machinery at a meat-processing plant, suffers a head injury that prevents him from recognizing his sister Karin; he believes that she is a look-alike sent to spy on him. Karin, who has spent her life trying to escape their small Nebraska town, returns to old lovers and habits she thought she’d renounced. Stung by Mark’s rejection, she sends a desperate plea to an Oliver Sacks-like neurologist whose popular books have suddenly come under critical attack, causing fissures in his public persona and his seemingly perfect marriage. Powers’s smooth coincidences and cute patter can be unconvincing and leaden, and he has a tendency to lapse into distracting repetitions. Yet his philosophical musings have the energy of a thriller, and he gives lyrical, haunting life to the landscape of the Great Plains.
Publishers Weekly
A truck jackknifes off an "arrow straight country road" near Kearney, Nebr., in Powers's ninth novel, becoming the catalyst for a painstakingly rendered minuet of self-reckoning. The accident puts the truck's 27-year-old driver, Mark Schluter, into a 14-day coma. When he emerges, he is stricken with Capgras syndrome: he's unable to match his visual and intellectual identifications with his emotional ones. He thinks his sister, Karin, isn't actually his sister-she's an imposter (the same goes for Mark's house). A shattered and worried Karin turns to Gerald Weber, an Oliver Sacks-like figure who writes bestsellers about neurological cases, but Gerald's inability to help Mark, and bad reviews of his latest book, cause him to wonder if he has become a "neurological opportunist." Then there are the mysteries of Mark's nurse's aide, Barbara Gillespie, who is secretive about her past and seems to be much more intelligent than she's willing to let on, and the meaning of a cryptic note left on Mark's nightstand the night he was hospitalized. MacArthur fellow Powers (Gold Bug Variations, etc.) masterfully charts the shifting dynamics of Karin's and Mark's relationship, and his prose-powerful, but not overbearing-brings a sorrowful energy to every page. (Oct.) Copyright 2006 Reed Business Information.
Library Journal
Powers (The Time of Our Singing ), who has won a Lannan Literary Award and the James Fenimore Cooper Prize for historical fiction, here investigates the mystery of traumatic brain injury. Set in small-town Nebraska near the bird-watching spectacle of Platte River, Powers's ninth novel centers on the life of 27-year-old Mark Schluter, who is unable to recognize his sister, Karin, after suffering a near-fatal accident. Desperate for clarity, Karin turns to world-renowned cognitive neurologist and writer Gerald Weber (reminiscent of the real-life Oliver Sacks). Cleverly, this novel isn't simply about Mark's damaged brain (he appears to suffer from a rare case of Capgras syndrome); instead, it sheds light generally on the human mind and our struggle to make sense of both the past and the present. Echo Maker is both mystery and case history as Mark struggles to investigate his accident through an anonymous note and Weber attempts to sort through the nuance and plasticity of the mind in his own declining years. Powers bounces back and forth through Mark's rambling thoughts, Weber's neurological theories, Karin's insecurities, and wonderfully poetic details of the cranes on the Platte River. Recommended for large public libraries.-Stephen Morrow, Columbus, OH Copyright 2006 Reed Business Information.
Kirkus Reviews
The theme of cognitive disorder, variously explored in Powers's forbiddingly brainy earlier fiction, is the central subject of his eerie, accomplished ninth novel. An image of sand-hill cranes migrating from Nebraska's Platte River sets the scene, where 20-something slaughterhouse-worker Mark Schluter crashes his truck in an adjacent field, sustaining severe bodily and neurological injuries. Repeating an all-too-familiar pattern, Mark's older sister Karin leaves her job and life in Sioux City to be with him-stirring up memories of their shared childhood in thrall to a violent, alcoholic father and religious zealot mother. But Mark (whose inchoate, terrified viewpoint is rendered in a rich melange of semi-coherent thoughts and visions) no longer knows Karin; he is, in fact, convinced she's a stranger masquerading as his sister. Eventually, he's diagnosed as suffering from "Capgras syndrome . . . one of a family of misidentification delusions." But Mark's symptoms elude the pattern familiar to Gerald Weber, a prominent New York cognitive neurologist and bestselling author, summoned by Karin's importuning letter. Weber's "tests" fail to relieve or explain Mark's delusive paranoia, and Karin turns first to the siblings' former childhood friend Daniel Riegel, long since estranged from Mark, now a deeply committed environmental activist; then to her former lover Robert Karsh, a manipulative charmer who has risen to local prominence as a successful developer. Contrasts thus established seem pat, but Powers explores the mystery surrounding Mark through suspenseful sequences involving his raucous drinking buddies (who may know more about his accident than they're telling); compassionate caregiverBarbara Gillespie; and the unidentified observer who left a cryptic message about Mark's ordeal at the patient's hospital bedside. Issues of environmental stewardship and rapine, compulsions implicit in migratory patterns and Weber's changing concept of the fluid, susceptible nature of the self are sharply dramatized in a fascinating dance of ideas. One of our best novelists (The Time of Our Singing, 2003, etc.) once again extends his unparalleled range.

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Product Details

Farrar, Straus and Giroux
Publication date:
Edition description:
First Edition
Product dimensions:
6.30(w) x 9.10(h) x 1.50(d)

Read an Excerpt

Part One

Cranes keep landing as night falls. Ribbons of them roll down, slack against the sky. They float in from all compass points, in kettles of a dozen, dropping with the dusk. Scores of Grus canadensis settle on the thawing river. They gather on the island flats, grazing, beating their wings, trumpeting: the advance wave of a mass evacuation. More birds land by the minute, the air red with calls.

A neck stretches long; legs drape behind. Wings curl forward, the length of a man. Spread like fingers, primaries tip the bird into the wind's plane. The blood-red head bows and the wings sweep together, a cloaked priest giving benediction. Tail cups and belly buckles, surprised by the upsurge of ground. Legs kick out, their backward knees flapping like broken landing gear. Another bird plummets and stumbles forward, fighting for a spot in the packed staging ground along those few miles of water still clear and wide enough to pass as safe.

Twilight comes early, as it will for a few more weeks. The sky, ice blue through the encroaching willows and cottonwoods, flares up, a brief rose, before collapsing to indigo. Late February on the Platte, and the night's chill haze hangs over this river, frosting the stubble from last fall that still fills the bordering fields. The nervous birds, tall as children, crowd together wing by wing on this stretch of river, one that they've learned to find by memory.

They converge on the river at winter's end as they have for eons, carpeting the wetlands. In this light, something saurian still clings to them: the oldest flying things on earth, one stutter-step away from pterodactyls. As darkness falls for real, it's a beginner's world again, the same evening as that day sixty million years ago when this migration began.

Half a million birds--four-fifths of all the sandhill cranes on earth--home in on this river. They trace the Central Flyway, an hourglass laid over the continent. They push up from New Mexico, Texas, and Mexico, hundreds of miles each day, with thousands more ahead before they reach their remembered nests. For a few weeks, this stretch of river shelters the miles-long flock. Then, by the start of spring, they'll rise and head away, feeling their way up to Sas-katchewan, Alaska, or beyond.

This year's flight has always been. Something in the birds retraces a route laid down centuries before their parents showed it to them. And each crane recalls the route still to come.

Tonight's cranes mill again on the braided water. For another hour, their massed calls carry on the emptying air. The birds flap and fidget, edgy with migration. Some tear up frosty twigs and toss them in the air. Their jitters spill over into combat. At last the sandhills settle down into wary, stilt-legged sleep, most standing in the water, a few farther up in the stubbled fields.

A squeal of brakes, the crunch of metal on asphalt, one broken scream and then another rouse the flock. The truck arcs through the air, corkscrewing into the field. A plume shoots through the birds. They lurch off the ground, wings beating. The panicked carpet lifts, circles, and falls again. Calls that seem to come from creatures twice their size carry miles before fading.

By morning, that sound never happened. Again there is only here, now, the river's braid, a feast of waste grain that will carry these flocks north, beyond the Arctic Circle. As first light breaks, the fossils return to life, testing their legs, tasting the frozen air, leaping free, bills skyward and throats open. And then, as if the night took nothing, forgetting everything but this moment, the dawn sandhills start to dance. Dance as they have since before this river started.

Her brother needed her. The thought protected Karin through the alien night. She drove in a trance, keeping to the long dogleg, south down Nebraska 77 from Siouxland, then west on 30, tracking the Platte. The back roads were impossible, in her condition. Still shattered from the telephone's stab at two a.m.: Karin Schluter? This is Good Samaritan Hospital in Kearney. Your brother has had an accident.

The aide wouldn't say anything over the phone. Just that Mark had flipped over on the shoulder of North Line Road and had lain pinned in his cab, almost frozen by the time the paramedics found and freed him. For a long time after hanging up, she couldn't feel her fingers until she found them pressed into her cheeks. Her face was numb, as if she had been the one lying out there, in the freezing February night.

Her hands, stiff and blue, clawed the wheel as she slipped through the reservations. First the Winnebago, then the rolling Omaha. The scrub trees along the patchy road bowed under tufts of snow. Winnebago Junction, the Pow Wow grounds, the tribal court and volunteer fire department, the station where she bought her tax-free gas, the hand-painted wooden shingle reading "Native Arts Gift Shop," the high school--Home of the Indians--where she'd volunteer-tutored until despair drove her off: the scene turned away from her, hostile. On the long, empty stretch east of Rosalie, a lone male her brother's age in a too-light coat and hat--Go Big Red--tracked through the roadside drift. He turned and snarled as she passed, repelling the intrusion.

The suture of the centerline drew her downward into the snowy black. It made no sense: Mark, a near-professional driver, rolling off an arrow-straight country road that was as familiar to him as breathing. Driving off the road, in central Nebraska--like falling off a wooden horse. She toyed with the date: 02/20/02. Did it mean anything? Her palms butted the wheel, and the car shook. Your brother has had an accident. In fact, he'd long ago taken every wrong turn you could take in life, and from the wrong lane. Telephone calls coming in at awful hours, as far back as she could remember. But never one like this.

She used the radio to keep herself awake. She tuned in to a crackpot talk-radio show about the best way to protect your pets from water-borne terrorist poisonings. All the deranged, static voices in the dark seeped into her, whispering what she was: alone on a deserted road, half a mile from her own disaster.

What a loving child Mark had been, staffing his earthworm hospital, selling his toys to stave off the farm foreclosure, throwing his eight-year-old body between their parents that hideous night nineteen years ago when Cappy took a loop of power cord to Joan. That was how she pictured her brother, as she fell headlong into the dark. The root of all his accidents: too caring by half.

Outside Grand Island, two hundred miles down from Sioux, as the day broke and the sky went peach, she glimpsed the Platte. First light glinted off its muddy brown, calming her. Something caught her eye, bobbing pearl waves flecked with red. Even she thought highway hypnosis, at first. A carpet of four-foot birds spread as far as the distant tree line. She'd seen them every spring for more than thirty years, and still the dancing mass made her jerk the wheel, almost following her brother.

He'd waited until the birds returned to spin out. He'd been a mess already, back in October, when she drove this same route for their mother's wake. Camping out with his beef-packing friends in the ninth circle of Nintendo hell, starting in on the six-packs for liquid brunch, fully loaded by the time he headed in to work on the swing shift. Traditions to protect, Rabbit; family honor. She hadn't had the will then, to talk sense to him. He wouldn't have heard her, if she had. But he'd made it through the winter, even pulled himself together a little. Only for this.

Kearney rose up: the scattered outskirts, the newly extruded superstore strip, the fast-food grease trough along Second, the old main drag. The whole town suddenly struck her as a glorified I-80 exit ramp. Familiarity filled her with a weird, inappropriate calm. Home.

She found Good Samaritan the way the birds found the Platte. She spoke to the trauma doctor, working hard to follow him. He kept saying moderate severity, stable, and lucky. He looked young enough to have been out partying with Mark earlier that night. She wanted to ask to see his med school diploma. Instead she asked what "moderate severity" meant, and nodded politely at the opaque answer. She asked about "lucky," and the trauma doctor explained: "Lucky to be alive."

Firemen had cut him out of his cab with an acetylene torch. He might have lain there all night, coffined against the windshield, freezing and bleeding to death, just off the shoulder of the country road, except for the anonymous call from a gas station on the edge of town.

They let her into the unit to see him. A nurse tried to prepare her, but Karin heard nothing. She stood in front of a nest of cables and monitors. On the bed lay a lump of white wrapping. A face cradled inside the tangle of tubes, swollen and rainbowed, coated in abrasions. His bloody lips and cheeks were flecked with embedded gravel. The matted hair gave way to a patch of bare skull sprouting wires. The forehead had been pressed to a hot grill. In a flimsy robin's-egg gown, her brother struggled to inhale.

She heard herself call him, from a distance. "Mark?" The eyes opened at the sound, like the hard plastic eyes of her girlhood dolls. Nothing moved, not even his eyelids. Nothing, until his mouth pumped, without sound. She leaned down into the equipment. Air hissed through his lips, above the hum of the monitors. Wind through a field of ready wheat.

His face knew her. But nothing came out of his mouth except a trickle of saliva. His eyes pleaded, terrified. He needed something from her, life or death. "It's okay; I'm here," she said. But assurance only made him worse. She was exciting him, exactly what the nurses had forbidden. She looked away, anywhere but at his animal eyes. The room burned into her memory: the drawn curtain, the two racks of threatening electronic equipment, the lime sherbet-colored wall, the rolling table alongside his bed.

She tried again. "Markie, it's Karin. You're going to be all right." Saying it made a kind of truth. A groan escaped his sealed mouth. His hand, stuck with an IV tube, reached up and grabbed her wrist. His aim stunned her. The grip was feeble but deadly, drawing her down into the mesh of tubes. His fingers feathered at her, frantic, as if, in this split second, she might still keep his truck from wiping out.

The nurse made her leave. Karin Schluter sat in the trauma waiting room, a glass terrarium at the end of a long corridor smelling of antiseptics, dread, and ancient health magazines. Rows of head-bowed farmers and their wives, in dark sweatshirts and overalls, sat in the squared-off, padded apricot chairs alongside her. She figured them: Father heart attack; husband hunting accident; child overdose. Off in the corner, a muted television beamed images of a mountain wasteland scattered with guerrillas. Afghanistan, winter, 2002. After a while, she noticed a thread of blood wicking down her right index finger, where she'd bitten through her cuticle. She found herself rising and drifting to the restroom, where she vomited.

Later, she ate, something warm and sticky from the hospital cafeteria. At one point, she stood in one of those half-finished stairwells of poured concrete meant to be seen only when the building was on fire, calling back to Sioux City, the massive computer and home electronics company where she worked in consumer relations. She stood smoothing her rumpled bouclé skirt as if her supervisor could see her over the line. She told her boss, as vaguely as she could, about the accident. A remarkably level account: thirty years of practice hiding Schluter truths. She asked for two days off. He offered her three. She started to protest, but switched at once to grateful acceptance.

Back in the waiting room, she witnessed eight middle-aged men in flannel standing in a ring, their slow eyes scanning the floor. A murmur issued from them, wind teasing the lonely screens of a farmhouse. The sound rose and fell in waves. It took her a moment to realize: a prayer circle, for another victim who'd come in just after Mark. A makeshift Pentecostal service, covering anything that scal-pels, drugs, and lasers couldn't. The gift of tongues descended on the circle of men, like small talk at a family reunion. Home was the place you never escape, even in nightmare.

Stable. Lucky. The words got Karin through to midday. But when the trauma doctor next talked to her, the words had become cerebral edema. Something had spiked the pressure inside her brother's skull. Nurses tried cooling his body. The doctor mentioned a ventilator and ventricular drain. Luck and stability were gone.

When they let her see Mark again, she no longer knew him. The person they took her to the second time lay comatose, his face collapsed into some stranger's. His eyes wouldn't open when she called his name. His arms hung still, even when she squeezed them.

Hospital personnel came to talk to her. They spoke to her as if she were brain-damaged. She pumped them for information. Mark's blood alcohol content had been just under the Nebraska limit--three or four beers in the hours before rolling his truck. Nothing else noticeable in his system. His truck was destroyed.

Two policemen took her aside in the corridor and asked her questions. She answered what she knew, which was nothing. An hour later, she wondered if she'd imagined the conversation. Late that afternoon, a man of fifty in a blue work shirt sat down next to her where she waited. She managed to turn and blink. Not possible, not even in this town: hit on, in the trauma-unit waiting room.

"You should get a lawyer," the man said.

She blinked again and shook her head. Sleep deprivation.

"You're with the fellow who rolled his truck? Read about him in the Telegraph. You should definitely get a lawyer."

Her head would not stop shaking. "Are you one?"

The man jerked back. "Good God, no. Just neighborly advice."

She hunted down the newspaper and read the flimsy accident account until it crumbled. She sat in the glass terrarium as long as she could, then circled the ward, then sat again. Every hour, she begged to see him. Each time, they denied her. She dozed for five minutes at a shot, propped in the sculpted apricot chair. Mark rose up in her dreams, like buffalo grass after a prairie fire. A child who, out of pity, always picked the worst players for his team. An adult who called only when weepy drunk. Her eyes stung and her mouth thickened with scum. She checked the mirror in the floor's bathroom: blotchy and teetering, her fall of red hair a tangled bead-curtain. But still presentable, given everything.

"There has been some reversal," the doctor explained. He spoke in B waves and millimeters of mercury, lobes and ventricles and hematomas. Karin finally understood. Mark would need surgery.

They slit his throat and put a bolt into his skull. The nurses stopped answering Karin's questions. Hours later, in her best consumer-relations voice, she asked again to see him. They said he was too weakened by the procedures. The nurses offered to get something for her, and Karin only slowly realized they meant medication.

"Oh, no thanks," she said. "I'm good."

"Go home for a while," the trauma doctor advised. "Doctor's orders. You need some rest."

"Other people are sleeping on the floor of the waiting room. I can get a sleeping bag and be right back."

"There's nothing you can do right now," the doctor claimed. But that couldn't be; not in the world she came from.

She promised to go rest if they let her see Mark, just for a moment. They did. His eyes were still closed, and he responded to nothing.

Then she saw the note. It lay on the bed stand, waiting. No one could tell her when it had appeared. Some messenger had slipped into the room unseen, even while Karin was shut out. The writing was spidery, ethereal: immigrant scrawl from a century ago.

I am No One but Tonight on North Line Road
GOD led me to you so You could Live and bring back someone else.

A flock of birds, each one burning. Stars swoop down to bullets. Hot red specks take flesh, nest there, a body part, part body.

Lasts forever: no change to measure.

Flock of fiery cinders. When gray pain of them thins, then always water. Flattest width so slow it fails as liquid. Nothing in the end but flow. Nextless stream, lowest thing above knowing. A thing itself the cold and so can't feel it.

Body flat water, falling an inch a mile. Torso long as the world. Frozen run all the way from open to close. Great oxbows, age bends, lazy delayed S, switch current to still as long as possible the one long drop it already finishes.

Not even river, not even wet brown slow west, no now or then except in now and then rising. Face forcing up into soundless scream. White column, lit in a river of light. Then pure terror, pealing into air, flipping and falling, anything but hit target.

One sound gets not a word but still says: come. Come with. Try death.

At last only water. Flat water spreading to its level. Water that is nothing but into nothing falls.

Excerpted from The Echo Maker by Richard Powers. Copyright © 2006 by Richard Powers. Published in October 2006 by Farrar, Straus and Giroux, LLC. All rights reserved.

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The Echo Maker 3.4 out of 5 based on 0 ratings. 17 reviews.
Guest More than 1 year ago
This is the most accessible Powers novel to date, but that does not mean it is for the casual reader. His use of the Nebraskan plains and subtleties of character cadence sink under your skin. The eerie mystery of Mark's death is also suspenseful enough to keep you hooked until the ending. The Echo Maker is mostly a statement about changing individual identity under the burdensome atmosphere of a post 911 America. Though more thematically subtle than in his other novels, it's certainly a looming presence, the way it is in our real lives.
Anonymous More than 1 year ago
Does anyone know this book's lexile?? I cannot find it anywhere on the internet, and it is not listed on this page. Please help if you know!!
Anonymous More than 1 year ago
Sorry, but I thought this book was a real struggle. There are some interesting things to learn about the brain but the plot could have been done in half the page quantity and was predictable. The characters were annoying so it was difficult to sit through page after page of them arguing and whining.
Maximillian More than 1 year ago
This is a novel by a wonderful author; this is the first book I have read by Powers. It does take serious concentration at times and the book was perhaps a tad too long. I did enjoy the topic and the setting. I must say it is a very unique novel. Powers is a gifted, serious writer.
Anonymous More than 1 year ago
A remarkable novel in which a main character suffers an automobile accident, after which he thinks familiar people are in fact someone different. Among the specialists treating him is an Oliver Sachs-like popularizer who wonders whether his case histories transgress an ethical border of more use to him than the people described. A subplot describes the danger posed by developers to the ancient flocks of migrating birds using meadows prominent in the countryside. A long novel of beautiful prose and challenging ideas.
Anonymous More than 1 year ago
sugarpy18 More than 1 year ago
This book has a very original plot, but some of the characters could have been more endearing. The writing is mostly laid-back but it picks up the closer we get to the end, where the writing feels almost feverishly fast. I like it but I'm not going to keep it in my permanent library.
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DW1 More than 1 year ago
THis brilliant book stays with you long after you put it down. It is fascinating just from a scientific point of view but when you add the literary element is becomes really special. I could not recommend this book enough for those who appreciate literature.
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Guest More than 1 year ago
The story line of a sister and her psychologically injured brother was lost in the psycho-babble of one character, and the bird-babble of another. For those that are interested in such things, I can imagine the book would be a home run. And, my compliments to the author for weaving together such complex themes into one book - it actually worked. But in the end, the book took too much effort to be enjoyable to the casual reader.
Guest More than 1 year ago
First off, I realize that there are numerous recognitions for this book. However, I found it a bit tedious to finish. The unfolding of the characters was a bit long and when finished, I felt that it wasn't too interesting. I actally found the brilliant, detailed descriptions of migratory birds to be the highlight of the book.