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Last Year's River: A Novel

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Set amid the exquisitely rendered landscape of the Rocky Mountains, LAST YEAR'S RIVER is the compelling story of the romance between a young New York debutante, sent off to Wyoming to bear a child, and a cowhand recently returned to the family ranch from the trenches of World War I. In graceful, spare prose, Allen Morris Jones reveals the thoughts of these two unlikely lovers, ultimately unfolding a love story as grand as the American West. With a rare eye for detail, Jones delivers a debut novel infused with an ...

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Trade paperback. NEW unread copy; no remainder mark. In sealed plastic protection. No pricing stickers. 2002. Trade paperback.

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Overview

Set amid the exquisitely rendered landscape of the Rocky Mountains, LAST YEAR'S RIVER is the compelling story of the romance between a young New York debutante, sent off to Wyoming to bear a child, and a cowhand recently returned to the family ranch from the trenches of World War I. In graceful, spare prose, Allen Morris Jones reveals the thoughts of these two unlikely lovers, ultimately unfolding a love story as grand as the American West. With a rare eye for detail, Jones delivers a debut novel infused with an extraordinary sense of history, drama, and the West.

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Editorial Reviews

From Barnes & Noble
The Barnes & Noble Review from Discover Great New Writers
Some books are so strong that one almost feels that to try to describe just how good they are would take something away from the perfection of the prose itself. Allen Morris Jones's first novel, Last Year's River, is one such book.

The former editor of Big Sky Journal, Jones has staked out his territory in the land of Wyoming, and he paints a landscape that's as true as his characters. The plot of the novel is simple enough: a privileged New York debutante, suffering the ill effects of what we would now term date rape, is exiled to a ranch in Wyoming for her confinement. A World War I combat vet, weary and shell-shocked, returns to his family homestead to work for his belligerent father, and the two refugees become unlikely but somehow perfectly suited lovers.

"Don't you think it's true that most of us are drawn to what we're not? We spend our lives trying to fill absences. Why, after all, would anyone desire what is already possessed?...What we love most are those things without which we are incomplete."

Jones's prose brings to mind the best passages in Nicholas Evans's debut, The Horse Whisperer. Jones knows his animals and their habitats, and his descriptions are so vivid, they're almost filmic. But the quiet space in which his characters Virginia and Henry reside is what carves out a niche for this book that has formerly been occupied only by true literary greats. (Fall 2001 Selection)

Publishers Weekly
An unexpected, passionate relationship between two lonely people from strikingly different backgrounds is at the heart of Jones's luminous first novel. In 1919, 17-year-old Virginia Price is a sophisticated New York debutante. Her father's recent death has left her shaken and unmoored, feelings exacerbated when she is raped and impregnated by her louche boyfriend, Charlie Stroud. Virginia and her aunt are dispatched to Frank Mohr's Wyoming ranch to await the baby's birth. Ranch life is a vivid contrast to her life in the city; she is unaccustomed to the reticence of these Westerners Frank's abused wife, Rose, and cowboys Dewey and Adze among them and to her new status as a fallen woman and a local curiosity. She's puzzled by Frank's son, Henry: at 24, he exists in a state of ennui, brought on by a vague restlessness, abuse by his father and what he observed during his war years in France. He and Virginia begin a clandestine relationship. Then Charlie appears at the ranch, determined to marry Virginia and begin their new life in Boston. Henry remains resolute in his love for Virginia, while Virginia is openly contemptuous of Charlie. Inevitably, tensions escalate and are released in a series of suspenseful and dramatic events. Both Henry's and Virginia's thoughts unfold in graceful prose, broken into short chapters full of small moments freighted with significance. Reminiscent of Plainsong in its evocation of Western atmosphere and daily rhythms, the novel should make the reader impatient for Jones's next effort. Copyright 2001 Cahners Business Information.
Library Journal
In 1924, New York debutante Virginia Price, only 17 and pregnant after a rape by her boyfriend, is sent by her embarrassed mother to a remote Wyoming ranch to have her baby and give it up for adoption. Henry Mohr, the half-Native American stepson of the ranch's owner, is a World War I veteran haunted by his war experiences and a childhood filled with racism and physical abuse. Virginia misses her New York world of parties and speakeasies; Henry is happiest trapping wild animals alone in the mountains. Although they have nothing in common, these outsiders are drawn together by loneliness into a tentative, secret love affair. When Virginia's former boyfriend arrives, wanting to "do the right thing" and marry her, Henry pulls away and retreats to the mountains. Virginia must find the courage to decide her own fate, and that of her baby, as pressure grows for her to marry her abuser. The unconventional love story at the heart of this first novel is touching and unpredictable, the wild landscapes are indelibly described, and the characters are vividly drawn. Highly recommended. Karen Anderson, Quarles & Brady/Streich Lang, Phoenix, AZ Copyright 2001 Cahners Business Information.
Kirkus Reviews
The former editor of Big Sky Journal, not surprisingly, trudges in the sensitive/macho tradition of Jim Harrison and Cormac McCarthy in his first novel, a love story set in Wyoming during the 1920s. Still devastated by her beloved father's death the previous year, 17-year-old New Yorker Virginia Price is a mix of spoiled schoolgirl innocence and flapper sophistication. Her mother is a socialite whose relationship with her daughter is unbelievably cold-hearted. After Virginia is date-raped by her older, highly respectable boyfriend Charlie, her mother blames Virginia, choosing not to believe anything bad about the young man. When it becomes clear that Virginia is pregnant, she's sent with an elderly aunt as her only companion to hide out at a Wyoming ranch until the baby is born. There, she encounters Henry Mohr, the ranch owner's stepson, who is still traumatized by his military experience in WWI and filled with angry guilt over his inability to protect his half-Indian mother Rose from the physical abuse her husband Frank periodically inflicts on her. In contrast to chubby, wimpy, yet vicious Charlie, Henry is ruggedly sensitive, a man who "loves hunting but could do without the killing." The attraction between Virginia and Henry is (surprise) immediate. Charlie's arrival at the farm to make amends by marrying Virginia only intensifies her affair with the other. She has little to say to the suddenly caring and patient Charlie, who may or may not be aware that Virginia and Henry spend their nights together in his bunkhouse. As Virginia's pregnancy progresses and winter sets in, emotions flare, sending all into crisis. Readers more or less know the outcome early on, since Jonesintersperses his narrative with italicized glances back from the now elderly Virginia. And since her love affair has been both with man and place, Jones also devotes many long passages to lovingly detailed descriptions of ranch work and cowboy life. Slow and pretentious if occasionally affecting.
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Product Details

  • ISBN-13: 9780618257492
  • Publisher: Houghton Mifflin Harcourt
  • Publication date: 8/13/2002
  • Edition description: None
  • Pages: 336
  • Product dimensions: 5.25 (w) x 8.00 (h) x 0.75 (d)

Meet the Author

Allen Morris Jones has lived and worked in Montana most of his life. At age twenty-five, he became the editor of one of the West's most highly regarded periodicals, Big Sky Journal, where he published such writers as Annie Proulx, Jim Harrison, and Thomas McGuane. Jones recently resigned this post, after five years with the magazine, in order to devote his full energies to completing Last Year's River, his first novel. He is also the author of Hunting and Ethics in the Missouri River Breaks and the coeditor, with Jeff Wetmore, of Where We Live: The Best of Big Sky Journal. Jones is an avid fisher and hunter and frequently returns to his family ranch in the Missouri Breaks.

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Read an Excerpt

"It's not an easy thing to tell a true story," she said.

She was a tiny, dried woman, still limping over last year's bad hip. A woman who managed to maintain a kind of self-contained elegance, even under her cornhusk skin, the swollen marbles of her joints. It was in her unvarying posture, the meticulousness with which she placed a fork over her plate. A toughness to recall certain wildflowers: how you can twist at them and the fibers in their stalks will hold them together.

She displayed her wealth in tasteful, understated flourishes: Molesworth cabinetry, an exquisite little Maynard Dixon landscape above her writing desk, a tiger skin draped over the back of her couch, its back split by a brief, hardened cut. "That first shot went high," she said.

She had taken to giving away some of her treasures -- photographs, charm bracelets, well-historied watches -- as if possession were a burden from which she was asking to be delivered. We walked through her emptying apartment, room to room, the woman hobbling over a man's overlarge cane.

"I'm fine from here up," she said, easing down into her chair, holding a level hand to her throat, "but this body has been giving me no end of trouble."

I asked my first question and she looked at me with eyes light and quick as bees. "I was not so naïve," she said, "as to think that stepping onto that train had not been experienced a dozen times, a hundred times before: the young lady goes west. I was not so unexposed, not so unread as to suppose that those mountains had not always existed as a potential. But how many people go west not to find hope but to put an end to it? My mother's reaction when I caught pregnant? Ship her off. The first significant betrayal of my life was not my father's death but my mother's insouciance."

She stared past the iron railing of her concrete landing, past the green, manicured skirt of lawn and into the kiln-fired reds of the desert.

"Virginia?"

"Wyoming," she said, starting. She leaned forward to touch my knee. "Let me tell you about Wyoming."

1924

1
The woman, the girl. Restless in a Pullman sleeping car.

A night late in her seventeenth year, a night in the middle of the high plains. Glass rattles in its frame to a constant, quick rhythm, dust cobwebbed in its corners. The passing of the dark, leaf-dry prairie has come to match, in some oddly appropriate way, the hitching clack of the train. The tilled fields. The cottonwoods isolated in the lowest, moist pleats of the plain. Then it comes to her: the landscape has been running past her window like film through a projector.

Her aunt asleep in the next bunk, she slips out of her nightgown and into yesterday's chemise, naked under the silk and cotton. She makes her way through the sleeping car to the observation lounge, eleven cubicles empty around her, a black porter dozing in the closed vestibule between cars, chin on chest. He makes no motion, no noise. Beyond the drum of the wheels on their tracks, beyond the hollow clank of steel, it is so quiet. She steps onto the observation platform and stands with the cold railing under her hands, an inch of fabric trim flapping over her head, yellow sparks spraying away from the wheels, arcing to either side.

North Dakota. In all the world, there is no light. A war and a flu epidemic and a hard winter in 1919. A time and a place with empty chairs still set around a thousand supper tables, pieces of each family as absent as teeth from a smile.

She leans to the side, beyond the shelter of the car, and closes her eyes against the wind. The sleeping cars were so stifling. To the east, the first light of morning bruises the horizon. She reaches back into the car and pulls out a camp chair, sitting down on the platform to prop her bare feet on the rail. The infinite scroll of tracks catches the morning's new light and cuts the world with it, paring at the plains until they fall away in halves. Pages split by a binding.

The train pulses beneath her. She drops her feet off the rail and bends over her knees. Something in her would like to cry. Needs to cry. But she won't allow herself. She's already decided. Perhaps the first entirely adult decision of her life. And after a moment she sits up straight, cradling her stomach with her palms, her eyes dry and red.

No fingertip touches her cheek, no hand strokes her hair. In her breasts, in her chest, loneliness spreads like an infection. The ash-dead, baling-wire snarl of her heart. Except for the eyeless child in her womb -- a pea's worth of dividing cells - she is so alone. A thumbnail with no name, no country, no language. That's all she has.

Boy or girl? she asks herself for the first time.

2
The boy, the man. Alone above the North Fork of the Shoshone. Digging inside a grave, head and shoulders rolling against the setting sun.

West of Cody, this hardscrabble, mosquito-bit valley. Fifty miles of clay riverbank gnawed by the teeth of the world, torn by erupting knobs of quick-cooled volcanoes. Foothills like bunched muscle, blistered to red, andesite bones. Fecundity is sparse and treasured, limited to a few acres of good hay ground in the bottoms and a hundred thousand miles of coarse wilderness back behind.

Here is a valley that displays its history, its brief succession of tiny tragedies and triumphs, as conspicuously as crumbs on a table. Human advance and retreat to be seen in each abandoned soddy, every honeysuckle windbreak blooming around a bare foundation. If this isn't home, it's as close as he's likely to get. He has always been drawn to the idea that he might be important to this country. Against the ancient cathedrals he saw in Europe, the brick-lined banks of the Seine, there is a lack of record here. His own small surface scratchings have a chance of becoming remarkable, if only for the dearth of other participants. There have been no kings here. No generals.

But three weeks back and they've already got him digging a grave, for Chrissake.

Maybe he's never left. If it weren't for the lines of tourist autos on the road -- as many as a dozen to the hour, filling the recesses of the valley with dust and exhaust -- he could be eighteen again, scornful still.

He digs, falling into the old rhythms. The rotation of spud, mattock, spade; a mound of fresh clay and gravel over his left shoulder. In France, the earth tossed out of a rifle pit had been nearly as important as the pit itself, and one quickly grew into the habit of placing each shovelful, patting it down with the back of the spade. At night, the tick of rats on the duckboards, running bay to bay, had sounded like tapping fingernails. The bodies over the crest of the parapets, the ones within sniper range of the Boche, had had to be left out in the sun until you started resenting them their stench.

He resists the idea that he could be eighteen again. His father doesn't know it yet, but things are set to change. It won't be like it was. If he took anything at all away from the war, it is this determination. It won't be like it was. No kings here, he thinks with satisfaction. No generals. He smoothes the walls of the grave with the spade reversed in his hands, chiseling at the corners, scooping out the loose scree. Six years after armistice, the magazines are still carrying ads for the most comfortable prosthetics.

He climbs out of the new hole in the earth and squats on his heels, thin enough himself, narrow enough, to rest without prominence among the crooked gravestones. There you go, he thinks, looking into the grave.

A sear wind blows at his back, drying his sweat. The same wind that's been blowing for weeks. An endless unspooling of air, straight out of the sun. The parched odor of woodsmoke, a yellow evening haze from the fires in the Washakie. He rolls a cigarette and lights it, unwinding his loose-hinged legs to sit half in the grave.

The boy, the man. At twenty-four, a man without qualification, although there is something in him, some hard and buried kernel, that won't allow him access to his own manhood. A mother who's half Indian and more than half crazy for religion. A father with a cast-iron eye forever set on the next scheme. Between them, the kind of quiet that comes from adjusted expectations. He thought he'd left for good in 1918, but he'd been wrong. Seems like the grooves this place had worn into him had been deeper than he thought.

There's a change coming. He can feel it. A throb in him like a second pulse. The Shoshone dam. All those tourist cars on the road. The slow consolidation of homesteads. This valley's getting ready to hold people, like it or not. He's just not sure if it's meant to hold him. He's just not sure where he should be.

It sure got ahold of old Buskin, he thinks, flicking his cigarette into the grave.

Buskin hadn't been so old as he'd looked. Fat like his mother, with his gray scrub-pad hair cut close. An index finger missing at the first knuckle. Not being much good for anything else, he'd been the one to deliver Mohr's hooch. Taking a day or two to wend his way through the mountains, approaching neighbors' farms from the most unexpected directions. Turns out he hadn't been very good at that either. His horse trailed back to the ranch three days ago, saddlebags empty, blood smeared across the pommel. If Henry's father has obvious regrets, it's only that he'll be having to deliver his booze himself. A riskier proposition than just making it.

Henry stands and gathers his tools and walks the path down from the cemetery, his shadow stretching thin-legged beside him. A dark and following absence. Up the valley, the sun edges below the horizon, rolling evening over the ground like quick oil. He'd smelled cinnamon this morning. His mother and that Chinese cook must be baking today. The thought of a good apple pie reminds him how hungry he is.

Below him, his father's Pierce-Arrow churns a tail of dust out of the valley's gravel road. Must be that girl from back east. Damn if he hadn't already forgotten.

3
Seventeen years old, with the narrow hips, the developing chest of an adolescent. The conspicuous absence of flesh between skin and ribs. A neck thin for her body.

She lies facing away from her aunt, both of them still dressed from the trip. Staring at the hand-hewn, dovetailed logs, at the loosening lengths of concrete chinking and exposed fretwork of nails and, behind the nails, twisted rolls of newspaper insulation. The single crooked window curtained in crinoline, pieced from some old petticoat. She stares at the ceiling, at the roughly milled boards with their warped edges and the roofing tin showing through the cracks, and tries to tell herself that this is an adventure. That this is a story she's within.

The old woman stirs beside her, dry flesh rustling against the blankets, and reaches up to brush her hand over the back of Virginia's head, flattening the bobbed hair against the girl's neck. Her marcelled curls still hold the shape of her Gimbel Brothers cloche.

I miss braiding your hair, the aunt says.

The girl shrugs, feeling her aunt's hands drop to her shoulders.

Short hair makes you look cheap, the aunt says. Girls with their lives ahead of them should wear their hair long.

What was it they said about a funeral tomorrow?

The aunt removes her hands. I think it's one of their help. A cowboy. They would call themselves cowboys, wouldn't they?

Mother said I might get sick. The girl rolls over to face the aunt.

Women on your mother's side always seem to get the morning sickness.

Mother said I'll need new clothes.

That town where the train dropped us off, where they picked us up? What was it called?

Cody.

There must be a place for a lady to buy clothes in Cody. We'll go shopping.

Mother said it was my fault.

The aunt exhales heavily, filling the room with the baked apples they'd had for dessert.

A bird lands on the peak of the roof, claws scratching against the tin, wings shuffling.

The aunt says, Charlie's a good boy.

The girl rolls abruptly away, tousling the smoothness out of her hair. I'll be outside, she says.

But she goes only as far as the rough steps, the half-rounds of logs nailed in an uneven tier below the door. She sits there with her elbows cupped in her hands, shivering despite the night's dry heat. It occurs to her that this is the first time she has traveled without her father. Even now, a year later, she finds his absence startling. He had been the one to decide things for her. He had been the one to take responsibility. Her entire life, the odor of cigar smoke will mean security and warmth to her. A vague sense of loss eventually disassociated from its source.

She leans back, hands crossed over her stomach. Same old stomach. Her breasts might be a little larger, though. And sore. She pushes herself off the steps, brushing at the seat of her skirt, catching her fingers on a fresh smear of sap. A walk, she thinks, tasting the sap. She turns north toward the river. From this distance, she can just see the undercut banks, the burgundy thumbsmears of willow, the flickering sweep of water. Water so different from the slow, wide rivers of home. Those are proper rivers, to her mind; their age measured by width and depth rather than erosion. Below the dam downstream, this water sprays through the rock walls like a thumb over a hose. Straight out of the mountains. That's what Adze had said: That water only melted yesterday, Miss.

She turns right, around the northern edge of the ranch, walking between the river and the main lodge, past the firepit toward the barn and corrals. On the north side of the barn, barely visible even from this angle, she can make out the steeply pitched roof of an attached jog, a shanty. Bunkhouse for some kind of hired man, probably. Smoke unravels from a black stovepipe and warm yellow lantern light sifts through the filthy windowglass, spreading weak and diluted on the riverbank gravel. A shadow passes in front of the light, then back.

She stands quiet, allowing herself a brief moment of envy for the figure in the shed, gifted with such warmth and light. Security. But what kind of warmth? What kind of light? Look at all the dirt on that window.

From the empty blue air above the river, she hears the deep burp of a feeding nighthawk. From the opposite bank, a deer rattles through the willows, coming down to water. But she is unable to put a name to either of these sounds and can imagine only bears, mountain lions. Red in teeth and claws. She turns and starts walking back to the guest cabin, holding herself to a measured, controlled pace, a pace that quickly uncoils into long, hurried strides, then an awkward run. Bears just behind, lions.

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Sort by: Showing all of 6 Customer Reviews
  • Anonymous

    Posted November 22, 2008

    Male writer takes on challenge of writing as a female, and fails

    In Last Year's River, Allan Morris Jones takes on the challenge of making his main character a woman, but he has a hard time putting himself there as he follows her life through the course of a few months during her pregnancy and affair during her banishment to Wyoming.<BR/><BR/>While he touches on big issues of the heart and tries to portray the emotional journey Virginia is traveling (but unable to get at because she is only 17 herself), he misses by a mile. Further, he has failed to do his due diligence. Just a little research and he would have learned, for example, that knitting is not a mass of knots...<BR/><BR/>As a woman (and a knitter, coincidentally), I found this lack of rigor most disappointing. What I DID like was the contrast of Wyoming life to NYC life. The description of Henry's foray into the woods to trap, while bearing little relation to the story, was a delight to read.<BR/><BR/>Painful.

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  • Anonymous

    Posted July 10, 2006

    What Happened Next?

    I loved this book. This era is one of my favorites and the setting in Wyoming was wonderful. However, at the end I wondered what their married life was like: did they have children? how did Henry die? where was Virginia when she was telling the story? Maybe I am being unrealistic - I'm always sorry when a good book ends and want it to go on!

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  • Anonymous

    Posted May 9, 2004

    Last Year's River

    I thought this book was beautiful and contained a magical plot that kept me reading for hours at a time. I have always loved the west, and Allen Morris Jones took that and added dramatic, touching characters and created a story that I feel like was written just for me. Great book.

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  • Anonymous

    Posted March 7, 2003

    an unlikely love story

    i like love stories like this, stories that dont always fold together evenly but keep you wanting to read more to find out how it ends. the ending was a little weird, but i still liked it. i found myself wishing that i knew a Henry Mohr

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  • Anonymous

    Posted November 19, 2001

    Mixed feelings

    I was eager to read this after seeing the review in the new writers section, but found it a little disappointing. The language is beautiful, but after a time, the whole thing seemed to drag- it could have been about 100 pages shorter and kept the pace a little more lively. Also, the author writes as though the affair between these two is so passionate and consuming, but there is nothing that really convinces the reader of this-- it actually seems pretty lonely and sad (which could be an interesting story, but you are supposed to keep believing it is intense and powerful) until the end, where you finally get a little sense of connection between the two. Still worth reading.

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  • Anonymous

    Posted October 10, 2001

    A Beautiful Book

    This is a beautifully-crafted story that transports the reader into the world of Henry Mohr and Virginia Price. I became fully-immersed in this book, its characters and setting. Treat yourself to a great read and buy this book now.

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