On Canaan's Side: A Novel

On Canaan's Side: A Novel

by Sebastian Barry

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Overview

Longlisted for the Man Booker Prize, a mesmerizing new novel from the award-winning author of The Secret Scripture. Sebastian Barry's latest novel, Days Without End, is now available. 

A first-person narrative of Lilly Bere’s life, On Canaan’s Side opens as the eighty-five-year-old Irish émigré mourns the loss of her grandson, Bill. Lilly, the daughter of a Dublin policeman, revisits her eventful past, going back to the moment she was forced to flee Ireland at the end of the First World War. She continues her tale in America, where—far from her family—she first tastes the sweetness of love and the bitterness of betrayal.

Spanning nearly seven decades, Sebastian Barry’s extraordinary fifth novel explores memory, war, family ties, love, and loss, distilling the complexity and beauty of life into his haunting prose.

Product Details

ISBN-13: 9780143122180
Publisher: Penguin Publishing Group
Publication date: 08/28/2012
Pages: 272
Sales rank: 300,166
Product dimensions: 5.00(w) x 7.60(h) x 0.80(d)
Age Range: 18 Years

About the Author

Sebastian Barry’s novel A Long Long Way was shortlisted for the Man Booker Prize, as was The Secret Scripture, which was also a Los Angeles Times Book Prize Finalist, winner of the Costa Book of the Year award and the James Tait Black Prize for Fiction, as well as the Irish Novel of the Year, and was selected as a Best Book of the Year by The Boston Globe and The Economist. His other novels include The Whereabouts of Eneas McNulty and Annie Dunne. His plays have been produced in London, Dublin, Sydney and New York. Barry lives in Wicklow, Ireland, with his wife and three children.

What People are Saying About This

Allen Barra

“Sebastian Barry’s achievement, enhanced by his latest novel, On Canaan’s Side, may be too great to be defined by the Booker or any other literary prize. Barry, the greatest prose writer in Irish letters—which by definition makes him the greatest writer of prose in the English language…No other novelist now writing can convey as Barry does the way in which unrighted wrongs continue to reverberate down through the ages, creating new versions of old tragedies for people with no knowledge of their origins…On Canaan’s Side fits seamlessly into Barry’s unique and expanding vision, seeking to restore with language that which has been taken away by time. Its real subject isn’t politics or even history but memory, a memory which reveals that ‘a measure of tragedy is stitched into everything if you follow the thread long through.’”

Harty Irish America Patricia

“Sebastian Barry, one of Ireland’s most successful playwrights and novelists, is at his best when he is writing about those who find themselves marginalized in the new Ireland as it emerges from under the yoke of British. And in his new book, On Canaan’s Side, we once again find him dealing with characters whose lives are swept up in the changing tide of Ireland’s independence…As always with Barry, the language is beautiful. I had to slow myself down to savor the way he puts words together, for he is a master craftsman.”

From the Publisher

“Somewhere on the second page of this book, your heart will break, and you will devour every glimmering image and poetic line as if the sheer act of reading might alter the course of Lilly Bere's haunting tale. A story of love and loss, as Irish as the white heather and as big-hearted as America itself.” —Helen Simonson, author of the New York Times bestselling Major Pettigrew’s Last Stand

Laura DeMarco

“Lilly Bere is exceptional. She frees herself from one homeland and takes root in another. Her story is as American as it is Irish…elegiac…this Dubliner’s portrayal of our city feels organic. From the East Ohio Gas explosion to a run-in with racism at Luna Park, he weaves a rich, authentic backdrop. His prose is roundabout and tender…It’s a testament to the power of Barry’s quietly elegant prose that her immigrant story seems so tragic and so real.”

Roxanne Coady

“Barry takes quiet lives, in this instance Lilly Bere’s, adds the backdrop of political turmoil in Ireland after WWI, couples it with the expanse of 21st-century America, and ends up with a story that is both epic and intimate…this masterful storyteller takes[s] your breath away, after taking your hand and walking you through these lives, creating attachment and empathy for his characters yet leaving you with joy; appreciating light from the dark. You are safe and satisfied and enriched by his writing.”

Reading Group Guide

INTRODUCTION
“We may be immune to typhoid, tetanus, chicken–pox, diphtheria, but never memory. There is no inoculation against that” (p. 83).

How much suffering can the human heart endure? At eighty–nine, Lilly Bere’s heart has experienced enough tragedy to truly test—and arguably surpass—its limits. Her beloved grandson, Bill, has just killed himself, and Lilly decides to follow suit. Yet she “cannot do such a terrible thing without explanation” (p. 7) and takes pen to paper to chronicle the events of her incredible life.

Lilly is the youngest child of James Patrick Dunne, chief superintendent of the Dublin Metropolitan Police under the British regime. Widowed at Lilly’s birth, James never remarries and raises his four children—including Annie, Maud, and Willie—on his own. Lilly adores her formidable father, but as she approaches adulthood and learns about the charged relationship between Irish nationalists and their British rulers, she soon realizes that many of their neighbors and countrymen view him as “the enemy of the new Ireland” (p. 42).

Lilly’s brother, Willie, further diminishes the family’s standing among Irish nationalists by enlisting to fight for the British during World War I. Like so many of his generation, Willie never returns from the trenches. Instead, Tadg Bere—Willie’s friend and fellow soldier—arrives in Dublin, lured by stories of Lilly’s beauty, and begins to woo her. Tadg and Lilly might have found happiness in another place and time, but jobs are scarce and the ex–soldier is compelled to take the only work available: policing with the despised Black and Tans, an auxiliary police unit employed to suppress revolution in Ireland. When the IRA issues death sentences upon them both, the young couple flees their homeland and boards a ship bound for America.

Virtually penniless upon reaching Chicago, Tadg tells Lilly, “We have each other . . . That will be our kingdom” (p. 61). Their American story is, however, not to end happily. Over the coming decades, Lilly is by turns a beggar, servant, beloved wife, struggling mother, and surrogate parent to her ill–fated grandson, Bill. When Lilly becomes too frail to work, her longtime employer, Mrs. Wolohan, beneficently grants her a rent–free cottage on the shores of Long Island. The Wolohans are a politically prominent family of Irish–Catholic heritage who recall the Kennedys and—like Lilly—are devastated by events beyond their control. Ostensibly, Lilly’s narrative is intended for Mrs. Wolohan and their novelist friend, Mr. Dillinger. But the seventeen days following Bill’s death allow Lilly finally to contemplate the vicissitudes that swept her up in some of the twentieth century’s greatest upheavals and strained her immense capacity for forgiveness.



ABOUT SEBASTIAN BARRY

Long–listed for the Man Booker Prize and winner of The Walter Scott Prize, On Canaan’s Side is Sebastian Barry’s fifth novel and his third sojourn with the Dunne family. In prose both exquisite and humane, one of our most esteemed writers introduces an extraordinary heroine—“a bird that . . . existed in an epic landscape” (p. 14)—in a tale that is genuinely vast and heartbreaking.



A CONVERSATION WITH SEBASTIAN BARRY

Q. You first introduced Thomas Dunne—a character very similar to James Patrick Dunne—in your play The Steward of Christendom. Thomas Dunne was based on your great–grandfather, who was, in fact, named James Dunne. Would you say that your writing is driven by a desire to understand your family’s past and their place in history? How much of your work is autobiographical?

I suppose the first impulse was to try to solve a disorientation I felt myself as a person in my own country. But the second was purely novelistic: here was a group of people not much discussed by their own descendants, for various reasons, sometimes just the ordinary forgetfulness we all are subject to when we die, but also for other complicated political reasons, and religious. And in being unmentioned, naturally the true histories of these people fall gradually away. But a novelist can come and try to retrieve them, even if only by largely making them up. If you do it long enough, the difficulty is to try to remember what you invented and what was actually real. Given that the real is a slippery fish to begin with.

My books could be said to be autobiographical in that I often give my characters things from my own experiences, making them their experiences, if for no other reason than that this is often the only thing I have to give them. So that Thomas Dunne’s childhood in the play The Steward of Christendom is largely my own, in the same place but a very different time.

Q. This novel encompasses Ireland’s Troubles, but also America’s Great Depression, the Dust Bowl, the civil rights movement, and the Vietnam and Gulf wars. Were you ever intimidated by the scope of what you set out to narrate in this novel? What sparked you to engage with so many important moments in the twentieth century?

Writing a book is always, well, not quite intimidating, perhaps overwhelming is the word. The big wave of the unwritten book stands over you as if poised to fall. You have to find a way to surf that wave but at the same time to describe it in all its mathematical complexity—on the wing, as it were. Oddly enough, the pins of history in the novel, such as the Dust Bowl, helped me greatly, rather than hindered, because the other challenge in writing a book set over a lifetime is knowing not only where the character is, but also where you are in the making of the landscape. Nothing exists till you write it down! The Vietnam War, which is a smallish part of the book in a way, was the war my generation in Ireland “experienced” one way or another, but of course didn’t experience, because we were far away in Ireland, picking up only the signals and traces of its hardships, tragedies, and terrible ambiguities. I hitched around the United States when I was seventeen, and in every little town were those young men at street corners, veterans of a war, and yet little older than myself. I have never forgotten them. I would say that anything mentioned in the book, the American things, are the things I have thought about for a long, long time—heart things. It was a sort of unexpected if secret pleasure to be, temporarily, unofficially and no doubt dubiously, an American writer for a while, in that sense.

Q. Tadg and Lilly visit the Art Institute of Chicago, “where for nothing at all, not two cents asked, you could see room after room of paintings, windows of beauty, he called them” (p. 73). Do you view novels in a similar way? How, if at all, does visual art inspire your writing?

The scene that happens there in the novel was, for me anyway, a crucial one. I had to go to the trouble of writing it from the shooter’s point of view, in a little radio play called A Play with Two Joes in it. I had the same experience looking at the Van Gogh painting myself—just a sense of the artist’s continuing presence near his painting. And because Tadg thinks he looks like the painting, he is stilled by it, and his attention is claimed by it. A novel is a whole world, and it is invented very like a painter invents a picture, or series of pictures. If you learn to paint, as I did myself as a young man under the guidance of my painter grandfather, you have to understand that what you mark on the paper will only make visual sense when the viewer is standing some six or ten feet from the painting. So the close–in work is not the actual painting, but the marks that will suggest the painting in the viewer’s mind. This is quite useful for writing, or rather rewriting. Many details may be interesting in themselves, but have to be taken away, because in the end they muddle or distort the actual picture itself.

Q. Mrs. Wolohan’s mother—a third–generation Irish woman—hires Lilly because she wants an Irish cook. Lilly writes, “people love Ireland because they can never know it, like a partner in a successful marriage” (p. 127). Why do you think it is that Irish Americans, in general, feel such strong ties to their homeland?

Why do Irish people feel such a bond with Ireland? Why do Americans feel their bond with America? There is an Irish saying, “The calf returns to where it got the milk.” Love of country is somewhat inexplicable and maybe even unavoidable! But yes, then there is the bond that immigrants, or the descendants of immigrants, feel for the country they left behind. The bond between an Irish American and Ireland is I think a very complicated, sometimes mysterious, thing. It may depend on when their ancestors left, maybe during the famine, or during the period after independence in the 1920s—half a million left Ireland during the fifties and sixties, for instance. Considering the traumas involved, considering the actual country they left, it is really remarkable, and in the final analysis admirable, that this love of Ireland dominates the Irish American memory.

Q. After Martin Luther King, Jr., and Mrs. Wolohan’s unnamed brother are assassinated in 1968, “Ed said it was the death of hope, and many people said that too, everywhere you went” (p. 204). As a young person in Ireland, how did the cause of Dr. King and the news of his death affect you? Do you believe the feeling of despair from the shooting’s aftermath still lingers?

It is a truism that everyone remembers when John F. Kennedy was shot. I was a little boy in London, where my father had sought work. I came home from school and my sister was weeping. She was I think six and had maybe never heard of JFK. I was four. I was soon weeping myself. The sequence of ferocious murders that happened in America during the sixties had effects that touched everywhere. Sometimes you have to ask, how could that have been? How could the best hearts alive in that time, from Evers to Dr. King and beyond, have been murdered? Who thought that was a good idea? What caused it? What is the shape of human hope now, after it has been so assailed? What alteration was made in the very DNA of hope and has it been altered back? Dr. Martin Luther King, Jr., was so blatantly a good man, clearly one of the best men that ever lived. To eradicate that goodness, which was a gift to the earth and so utterly essential to the age—what sort of impulse was that? Where does that impulse reside now?

Q. Twice in the novel, a volume of Homer is given as a gift. What affinity do you feel to this early storyteller? Is Lilly an Odysseus figure?

An earlier novel, The Whereabouts of Eneas McNulty, was very, very loosely modeled on The Aeneid by Virgil, which I read while studying Latin at Trinity College Dublin. It of course was written as a sort of founding myth for Rome. Homer did the same for Greece, or rather his work was used for that. I didn’t take Greek at college, so all my Greek reading, such as it was, was done through English. The handing of a book from one person to another always seems to me to have magical properties. You don’t give a book of no value to yourself. The book you chose also in some way represents how you feel about the person you are giving it to. By giving Lilly this book, the finest book ever written, Mr. Dillinger is expressing his respect for her, just as Mr. Eugenides does the same by giving the book to Bill, although in that instance it is also being given as a talisman against hurt and danger in war. Of course, Lilly, like Eneas and his namesake Aeneas, is a wanderer, but unlike Odysseus there is no question of her ever being able to return home.

Q. On Canaan’s Side is your third chronicle of the Dunne family. Between Annie Dunne, A Long, Long Way, and On Canaan’s Side, which novel do you feel closest to? Would it be wrong to expect Maud’s story next? Or are you working on something entirely different now?

Maud was my actual grandmother, and strangely enough I have never had much of a fix on her in my imagination. She died when I was two. When I was born, though, my mother was unwell, and I was given to Maud for the first six weeks, so she must have been the first person I bonded with. This occurred to me only recently. A sort of lost mother, as well as a grandmother. I don’t know if I will ever be able to write a book about her, or for her. But I still have a couple of these odd family books to write, I suspect. The other two novels already written are about the McNultys, which would be the other side of the family, as they say. For symmetry if nothing else I might have to go back to them.



DISCUSSION QUESTIONS
  • Most of Mr. Dillinger’s family died in Dachau. Why do you think Barry chooses to contrast this information with Lilly’s more recent tragedy?
  • When the Dunnes are moving into Dublin Castle, Lilly contemplates “the Wicklow lighthouse when at last it turns in its great arc towards you. What use was the lighthouse’s light to those on land, I never knew” (p. 19). What does the lighthouse symbolize?
  • Besides his own image, what is it that Tadg sees in Van Gogh’s self–portrait?
  • Did Cassie suspect Joe’s secret? If she had, would she have approved of his relationship with Lilly?
  • As Lilly and Joe drive past the Bellows’ house, Joe says, “the past is a crying child, that’s for sure . . . but it will all be made up to him in the coming times” (p. 141). How do you read his statement in light of later events?
  • Why do you think Barry includes the story of Mr. Dillinger’s visit to China?
  • Why is Martin Luther King, Jr.’s assassination more poignant because it’s “on Canaan’s side itself” (p. 203)? How does the novel’s title affect the way you read the events it relates?
  • Do you think that Lilly will go through with her plan to kill herself? How would you feel if she did or if she didn’t?
  • On Canaan’s Side interweaves Lilly’s deeply personal story with major historical events. How did this narrative technique affect your reading of the novel as well as your understanding of the twentieth century as a whole?
  • Have you read Annie Dunne or A Long, Long Way? How does this novel fit into that trilogy? If you haven’t already, are you compelled to learn the rest of the Dunnes’ story?

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On Canaan's Side 3.6 out of 5 based on 0 ratings. 28 reviews.
nocto on LibraryThing More than 1 year ago
I liked this but I didn't enjoy it nearly as much as I enjoyed The Secret Scripture. It was well written from a sentence and paragraph point of view but didn't really hang together as a book for me. The plot seemed to stumble from one thing to another and never quite came together. I'd have preferred the book without the 'twist' at the end which just seemed silly. All the same I'd be surprised if it's not on the Booker Prize shortlist, but I wouldn't back it to win myself.
JimElkins on LibraryThing More than 1 year ago
If you like this book, you know nothing about Ireland. There isn't any other option. The book has some real empathy and emotion, and it is written tenderly, as Colm Tóibín says. But the onslaught of clichés begins on the first page and never lets up. At first I thought it was ironic, and later I hoped it might be an attempt to create a period feeling, but the clichés are unremitting. There are entire pages made up of nothing but clichés about old Ireland, Irishness, the Irish landscape, the Irish character. I wouldn't mind an evocation of the clichés of the past, since this is, after all, a narrative about an 89-year old woman. But Barr himself swims in this stuff. There is no authorial distance. A reader wades in thickened nostalgia for ideas that were old even in their generation.There are arch references and explanations for some of the more local usages; at one point Barry informs us that people in Dublin call packages "messages." Sometimes the sheer number of clichés is itself astounding: it's amazing an entire book can be made out of things so worn and used, so treacly, so illegitimately nostalgic, so inappropriate, so hopeless removed from any sense of Ireland that has developed since the 1930s. The line that stopped me -- I will never finish this book, or read anything else of his! -- is on page 128, when he brings the hoariest of all clichés onstage, the wirra-wirra. But the way he does it makes it clear that he doesn't think he needs to frame it, take any distance from it, or treat it with any kind of circumspection:"Wirra-wirra cried the old keeners around the coffins in vanished Wicklow days."It's the phrase, "vanished Wicklow days," that did it. If you can read that without an uncontrollable shiver, then you aren't aware of anything since 1921.
Laura400 on LibraryThing More than 1 year ago
A good book, but one that will appeal most to those captivated by consciously lyrical, even flowery, prose. The author obviously relishes moments of beauty in ordinary life: he revels in writing those. But the book wants to go further, to its credit. It ambitiously attempts to show the effects of a 20th Century of wars on one woman's life, in Ireland and America. Unfortunately this broad scope turns her life into a long skein of tragic events, from birth to old age. At times it feels like we're moving from town to town, tragedy to tragedy, war to war, assassination to assassination.The story is set mostly in America, but it doesn't feel like an American book. It feels, or reads, like an Irish book. The narrator's move to America is set in motion by the Irish War of Independence, an event that, characteristically, is only alluded to, and which the main character herself doesn't really understand. But it is the wellspring for what comes after. The book may have its flaws, but it is powerfully felt. The characters come alive. The story resonates. The prose can seem too extravagant at times, but some of the images are beautiful and haunting.
Schatje on LibraryThing More than 1 year ago
The narrator is 89-year-old Lily Bere. Over seventeen days after the death of her grandson, she recounts the major events of her life beginning with her childhood in Ireland and continuing through her adulthood in America.America does not prove to be Canaan, the Biblical Promised Land. America is not a place of refuge since Lily's life and the lives of her loved ones are dominated by violence. Her story includes many of the historical events of the twentieth century (war, racial tensions). These events are not detailed; the focus is on the damage they leave in their wake. Her presence in the wings of so many momentous events might seem far-fetched, but there is an emotional truth in Lily's narrative.Lily is a character who will long remain with the reader. Her life story is full of hatred and vengefulness, but it is told by a humble, kind, non-judgmental, and compassionate woman. Her stoicism and indomitable will in the face of multiple bereavements and separations and hardships is remarkable, as is her joy in small pleasures. Lily attributes all of these qualities to Mrs. Wolohan, her long-time employer, not realizing she herself possesses them in abundance.Obviously, this is a novel of memory and remembrance. Early in her "confession" Lily mentions that "There is no inoculation against [memory]" (83). It is this very remembering that brings her deliverance: "To remember sometimes is a great sorrow, but when the remembering has been done, there comes afterwards a very curious peacefulness. Because you have planted your flag on the summit of the sorrow. You have climbed it" (217). Barry's language is wonderfully poetic. The figurative diction is reminiscent of T. S. Eliot: "The sea sat out on the beach like a thousand patients at a surgery, still, vexed, worrisome" (253) and "the sun was falling away under the table of the world, like a drinking man" (254). The book is worth a re-read just to savour the lyricism. Sebastian Barry has appeared on the Man Booker lists three times. I predict that someday he WILL win this award or the Nobel Prize for Literature.
Smiler69 on LibraryThing More than 1 year ago
"Part 1: First Day Without BillBill is gone. What is the sound of an 89 year-old heart breaking? It might not be much more than silence, and certainly a small, slight sound."*Lily Bere has just lost her grandson Bill. She is 89 years old and, having lived a long life filled with heartbreak and loss, she has decided that she no longer wants to go on. She is determined to take her life, but first, she decides to write her memoirs, with each chapter's heading counting off the days since the loss of her grandson. During seventeen days and seventeen chapters, she recalls the events of her life which have led her to the present circumstances; from her girlhood with her family in Ireland, to a pressing escape to America with her beloved, and all the many people and and adventures and experiences she has accumulated. Though her story is filled with sorrow, the telling of it is by turns quite amusing. Though she writes in what could be considered a conversational tone, there is also much poetry in the choosing of her words. To say I loved this book does it little justice. I was completely immersed in it, and felt like I was living life right alongside Lily. I'm sure one of the things that made it such an unforgettable experience, was the fact that the audiobook I listened to is narrated by the excellent Wanda McCaddon, aka Nadia May, whose sensitive reading along with the slight Irish accent she uses made Lily seem that much more real. Wholeheartedly recommended, and I predict: one of my favourites of the year."To remember sometimes, is a great sorrow. But when the remembering has been done, there comes afterwards a very curious peacefulness¿because you have planted your flag on the summit of the sorrow, you have climbed it. And I notice again in the writing of this confession that there is nothing called "long ago" after all. When things are summoned up, it is all present time, pure and simple. So that much to my surprise, people I have loved are allowed to live again." ¿Fifteenth Day Without Bill*quotes are transcripts from the audio version, and as such aren't fully consistent with the original, though I've tried to render them as meticulously as possible.
janismack on LibraryThing More than 1 year ago
I just couldn't get interested in the book. Author kept going off in different tangents.
Beamis12 on LibraryThing More than 1 year ago
Beautiful writing and so descriptive with the narrator a 89 yr. old woman, heartbroken after the suicide of her grandson. Very slow paced though and a lot of back and forth between her early childhood in Ireland and her present life. Don't think I was in the mood for a slow paced book and think this affected my rating.
lit_chick on LibraryThing More than 1 year ago
¿I am cold because I cannot find my heart.¿ (Ch 2)Now eighty-nine years old, Lilly Bere fled Ireland as a young woman with her first love, Tadg, after the first World War. She has lived out her life in domestic service to wealthy patrons on the east coast of the US, ¿Canaan¿s Side.¿ Lilly is recording her life¿s memories as she reels with grief at the recent loss of her grandson, Bill. Lilly has endured far more than her share of loss: brother, husband, father, son, grandson. Keenly aware of the terror of grief, she knows that at last ¿there is solace in nothing.¿ (Ch 1) Still, the power of human memory dictates that one is never free from revisiting cumulative losses:¿We may be immune to typhoid, tetanus, chickenpox, diphtheria, but never memory. There is no inoculation against that.¿ (Ch 7)Beautifully written and achingly beautiful, On Canaan¿s Side moves seamlessly between past and present. Chapters are named for the number of days which have passed since Bill¿s death. For me, the prominent theme in the novel is the hollowing out of the soul ¿ as Lilly¿s brother and son are hollowed out by the experience of war, Lilly is hollowed out by grief. Undoubtedly, the novel is immersed in great sadness, almost too much, but I don¿t remember writing more fluid, more lovely.
ccayne on LibraryThing More than 1 year ago
The language alone is worth the trip. Barry moves back and forth in time as the narrator, Lilly Bere, reflects in the day's after her grandson's death. Hers was not an easy life and Barry weaves her story skillfully and without editorializing. He is a beautiful writer who has the rare gift of combining lyrical prose with a good plot.
michaelbartley on LibraryThing More than 1 year ago
I liked the idea of the book, a older woman looks back at her life in an attempt to understand how she is where she is. I liked the writing but I thought it was too clever. too cute
kidzdoc on LibraryThing More than 1 year ago
illy Bere is a retired Irish immigrant living in a small cottage on Long Island, who reflects on her life after the death of her beloved grandson Bill. She grew up in Dublin as the beloved daughter of a respected policeman, but was forced to flee to the United States with her first love Tadg, after he was targeted for harm by Irish nationalists during the Troubles. The two settled in Chicago, living initially as brother and sister under hidden identities, but they eventually married. Unfortunately tragedy falls upon the two lovers, and Lilly travels undercover to Cleveland. There she remains homeless and jobless, until she collapses and is rescued by a black man who comes upon her. He takes her into his home, and she becomes best friends with his daughter, whose physical size is exceeded by her generous and warm heart. Lilly's life in Cleveland continues to be filled with pain and grief, which follows her to the nation's capital, where she is employed by a wealthy woman, and Long Island, where the woman's daughter allows her to spend her retirement in physical comfort, although she is unable to escape the ghosts that have haunted her past.On Canaan's Side is a captivating and heartbreaking novel, perhaps too much so, which I enjoyed more than Barry's previous Booker Prize shortlisted novel The Secret Scripture. It certainly deserved to be on the longlist, and I'm surprised and disappointed that it wasn't selected for the shortlist this year.
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An old Irish woman's musings on her life, both in Ireland and then the U.S. = beautifully written.
HenryR58 More than 1 year ago
This is an enthralling story portraying an incredible life filled with hope, sadness, and joy. Some paragraphs are so breathtaking they require immediate rereading. It is my first Sebastian Barry book, but not my last. Wonderful.
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