Hill Townsby Anne Rivers Siddons
Hill Towns is a classic novel of remarkable emotional power, insight, and sensitivity from Anne Rivers Siddons, whose books live on the New York Times bestseller list and in the hearts of millions of her adoring fans. One of the acknowledged masters of contemporary Southern fiction—the author of such phenomenally popular works as Nora, Nora;/b>/b>
Hill Towns is a classic novel of remarkable emotional power, insight, and sensitivity from Anne Rivers Siddons, whose books live on the New York Times bestseller list and in the hearts of millions of her adoring fans. One of the acknowledged masters of contemporary Southern fiction—the author of such phenomenally popular works as Nora, Nora; Outer Banks, Islands; and Sweetwater Creek—Siddons carries the reader from the mountains of Tennessee to the breathtaking Tuscany countryside as she brilliantly chronicles the unraveling of a marriage. Pat Conroy (The Prince of Tides) says, “She ranks among the best of us,” and Hill Towns is the proof.
- HarperCollins Publishers
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Read an Excerpt
When I Was Five Years Old I Made A Coldly Desperate decision to live forever in a town on a hill, and so I have, from that terrible night in June until this one, thirty-seven years and one month later. If it has been bad for me, as many people these days seem to be telling me, I can only consider that anything else at all would have been worse.
"They never saw it coming; they didn't know what hit them," everybody said after my parents were struck and killed by a speeding truck on the old chain bridge over Tolliver's Creek. After that, I knew as simply and unalterably as a child knows anything that staying alive meant always being able to see what was coming. Always knowing what might hit you. So when my father's parents, kind and substantial Virginians from the Tidewater who might have given me every advantage, made to take me home with them after the funeral, I simply screamed and screamed until, in despair, they left me behind with my mother's eccentric people, who lived on the top of the mountain where my parents had died. I had great affection for my Virginia grandparents and little for the erratic, reclusive Cashes, who were strange even in that hill country, where strangeness is king, but the ramshackle, overgrown Cash house commanded the Blue Ridge foothills in all directions. From there I would always know what was coming. From there I would see it long before it saw me.
I could not have explained this at age five, of course; I have only recently become fully aware of it. Then, I only knew that on the mountain I was safe and off it I was not. Everything in my small being strained after mygrandmother and grandfather Compton as they drove away from the sly, sunless home of my Cash grandparents in their sedate old Chrysler that sunny afternoon; I felt as if sunlight and laughter and gentleness and childhood itself were rolling away with them. But the new flatland fear was stronger. When I turned my face into the sagging lap of my grandmother Cash, she thought I wept in sorrow for my parents and said for the first of a thousand times, "That's all right. You done right. You stay here with your own kind. Your mama wouldn't be lyin' there in her grave if she'd of stayed with her own kind."
But I'm not your kind, I remember thinking as clearly as spring water. I don't need you. It's your house I need. It's this mountain.
It was, I realize, an extraordinary insight for a small child. And it did not surface again for more than thirty years. Still, the power of it served. It held me on the Mountain through everything that came afterward, all those years that seem in retrospect to have been lived in a kind of green darkness, until I met Joe Gaillard in my senior year at Trinity College and the last lingering darkness took fire into light.
When I told him about my parents' death and I remember it was long after I met him, only days before he proposed to me he cried. I stared at him doubtfully; no one had ever cried upon hearing the manner of their deaths, and some few laughed outright, nervous, swiftly stifled laughter. Even I had not cried after that first obliterating grief. I was not too young to perceive that they had somehow simply died of ludicrousness. I learned early to parrot laughter along with the children at Montview Day School, where my Compton grandparents' absentee largesse sent me, when they taunted me with it: "Cat's mama and daddy fucked themselves to death!" "Hey, Cat! Wanna go out and hump on the bridge?"
Later, when I began to perceive the dim shape of their meaning, I stopped laughing and began fighting. By the time I was ten, I was on the brink of being expelled for aggression. Time and Cora Pierce's influence put a stop to that, but I still hear the laughter sometimes, in the long nights on the Mountain.
"I'm lucky you weren't a serial murderer or a Republican," I told Joe later. "I'd have married you anyway. It's pretty obvious I would have married the first man who didn't wince and grin a shit-faced grin and say, 'Well, at least they died happy.'"
"I wasn't crying for them; they probably did die happy, at that," he said. "I was crying for you. Nobody should laugh at a child's grief. Nobody. Ever."
"Well, it wasn't at my grief, exactly," I said. "It's just you can see why it's funny, in an awful sort of way, can't you? I mean, there they were out on that bridge, just going to town, and here comes this chicken truck "
"Nobody," Joe said fiercely. "Never. Not under any circumstance. Jesus Christ, when I think what that laughter must have taught you about the world "
"It taught me never to screw on bridges," I said, and he did laugh then, the exuberant, froggy laugh that always made people's lips tug up involuntarily at the corners. I knew he was laughing largely because I wanted him to. Joe was a lovely man then, in the supple greenness of his twenties.
My father was a tall fair boy who came to Trinity College because his father and grandfather had come before him; and before them his great-grandfather Cornelius Compton, an Episcopal bishop of modest fame in the South, had helped to found the university. There had been Comptons at Trinity since the beginning.
Meet the Author
Anne Rivers Siddons's bestselling novels include Nora, Nora; Sweetwater Creek; Islands; and Fox's Earth. She is also the author of the nonfiction work John Chancellor Makes Me Cry. She and her husband divide their time between Charleston, South Carolina, and Brooklin, Maine.
- Charleston, South Carolina and a summer home in Maine overlooking Penobscot Bay
- Date of Birth:
- January 9, 1936
- Place of Birth:
- Atlanta, Georgia
- B.A., Auburn University, 1958; Atlanta School of Art, 1958
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Most Helpful Customer Reviews
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Ms. Siddons is a gifted writer, and I was excited to find one of her books, that I hadn't yet read. It's too bad she felt it necessary to pepper crude language throughout the book. As with other reviewers, I found this distracting, and it took away from the enjoyment of the book. In the end, my high hopes were dashed. I can only give this two stars, that being for her ablities and the hard work i'm sure she put into the book.
I think Anne Siddons writes with great sophistication and has a wonderful way with vocabulary. Her descriptive material is absoltely beautiful. She chooses areas of the country; The deep South, the popular vacation seaside of the North in Maine, the poor mountains of Virginia, etc., and introduces you to the specific groups of people that will carry the story line through the book. You get insight into a culture that you might not otherwise have had an opportunity to get to know. I enjoyed this book especially in my personal ability to relive the travels thru Italy. Again, I mostly enjoyed the wonderful descriptions of the cities, the countryside, the museums, her impressions of the culture, food and art, as visitor to all the places I was familiar with. It brought back wonder memories. I read her COLONY and found the same use of language that I very much enjoyed. I also enjoyed meeting this cast as it was so different from the group in Hill Town. I find her books a relaxing and fun read. I have just started Fox's Earth. This book seems a little bit heavier. But again, the language is wonderfully flowing.
I am about 3/4 of the way through this book and have greatly enjoyed it. It is one of Ms Siddons best yet. Hill Towns has been the only one so far that has been out of print so had to order through Barnes&Noble 'used' section. Her writing makes you feel like you are in Italy with the characters.
Not only was this book a realistic story of how personal growth can upset a relationship's applecart, it made me want to go to Italy!
This was a book that tried way too hard to shock people. In fact, the author took so many cheap shots that it was kind of pathetic. The main character, Catherine, is afraid of bridges because her parents used to put her in the back seat of their car and have sex on bridges. Wow, am I supposed to be shocked? Her shrink is a lesbian. Am I supposed to be shocked again? I came away just feeling rather cheated.