Winner of the 2014 Appalachian Book of the Year Award in Fiction
Winner of the John Gardner Fiction Book Award
Longlisted for the 2016 International Dublin Literary Award
We walk on fire or air, so Daddy liked to say. Basement floors too hot to touch. Steaming green lawns in the dead of winter. Sinkholes, quick and sudden, plunging open at your feet.
The underground mine fires ravaging Pennsylvania coal country have forced eleven-year-old Brigid Howley and her family to seek refuge with her estranged grandparents, the formidable Gram and the black lung stricken Gramp. Tragedy is no stranger to the Howleys, a proud Irish-American clan who takes strange pleasure in the "curse" laid upon them generations earlier by a priest who ran afoul of the Molly Maguires. The weight of this legacy rests heavily on a new generation, when Brigid, already struggling to keep her family together, makes a grisly discovery in a long-abandoned bootleg mine shaft. In the aftermath, decades-old secrets threaten to prove just as dangerous to the Howleys as the burning, hollow ground beneath their feet.
Inspired by real-life events in Centralia and Carbondale, where devastating coal mine fires irrevocably changed the lives of residents, The Hollow Ground is an extraordinary debut with an atmospheric, voice-driven narrative and an indelible sense of place. Lovers of literary fiction will find in Harnett's young, determined protagonist a character as heartbreakingly captivating as any in contemporary literature.
|Publisher:||St. Martin's Press|
|Product dimensions:||8.20(w) x 5.40(h) x 1.00(d)|
About the Author
NATALIE S. HARNETT is an MFA graduate of Columbia. She has been awarded an Edward Albee Fellowship, a Summer Literary Seminars Fellowship, and a Vermont Studio Center Writer's Grant, and was a finalist for the Mary McCarthy Prize in Fiction. Harnett has been published in The New York Times, The Madison Review and The MacGuffin. She lives on Long Island with her husband and toddler.
Read an Excerpt
The Hollow Ground
By Natalie S. Harnett
St. Martin's PressCopyright © 2014 Natalie S. Harnett
All rights reserved.
When Ma was seven years old her heart turned sour. She said it never turned sweet again, but I remember a time, long before the mine fires burned beneath our towns, when Ma's eyes glowed like sunlit honey, when her voice rose and fell as pleasantly as a trickling creek. While Brother was swelling up Ma's belly, or flailing around in the crib, or crawling on the brown linoleum of the trailer over by Mercher's Dump, we were happy. The thing that changed Ma wasn't there. But I remember the moment it arrived. Me and Ma were playing tiddlywinks at the kitchen table. Daddy was still in bed, watching us from his cot in the living room and telling a story about the tiddlywinks queen and princess. Back then I was so young and stupid I thought all daddies slept that way, separate from the rest of us, dozing till noon. Brother scribbled chalk on the kitchen floor, trying his best to make that cruddy linoleum look pretty.
Through the kitchen window came this light, the color of swallowtail or goldfinch wings. I've never seen a light like that again. It felt like it shot through the slats of my ribs, searing me with a kind of happiness maybe all kids feel 'cause they don't know any better. But then deep in Brother's plump little throat formed this squeal of delight. Within seconds he was up, standing all on his own, and charging toward us with his first steps.
Ma turned, spreading her arms, cooing like a mourning dove. But when he fell into her, sobs shot from her mouth like the fire itself had flamed up through the floor and singed the skin from her bones. I lunged from my chair and pulled the baby from her arms, thinking he'd hurt her. Which I guess he did. Because right then her eyes went from liquidy amber to the scratchy dull color of sassafras bark. Her voice ever afterward bobbed with nettles.
Whenever I reminded Ma of this moment, she said her heart forgot it was broken but then remembered. How can you make it forget again? I'd ask. Over and over, I'd ask. But her mouth merely pressed into that tight squiggle that made me think of the worms I dug up for fishing. The worms still lived after you cut a piece of them off. I guess that's how it was for Ma. A piece of her was gone and for a little while she forgot about it.
When I woke that February morning, the morning that changed our lives, the pinkish air pushing in the opened window told of snow. I snuggled closer underneath the covers toward Auntie and pictured the mine fire flaming along the veins of coal beneath our town, veins as numerous and intricate as the blue ones on Auntie's legs. The fire lived by sucking air through the ground and burping up gases through our walls. I sucked in and blew out to see my breath form a cloud, which made me think of the Holy Ghost. A white blob was how I pictured Him, a white blob hovering over the apostles' heads before burning them all with tongues of flame.
Auntie used to say the flames gave the apostles more than the gift of language, the flames gave them understanding. I thought if that was true, perhaps the fire eating the underground mine shafts of Centrereach was trying to tell me something — to give me its own kind of wisdom. I'm Brigid, named after Saint Brigid, who was named, some say, after the pagan goddess of fire. A saint who made the sores of a leper disappear. Smoothed the cracks in a madman's mind. A healer, like Auntie, though Auntie never allowed anyone to call her a healer. Something healed through her, she said, explaining that she was something like a messenger.
Groaning, Auntie sat up. She reached for a mug of water on the nightstand and with a spoon tapped at the film of ice that had formed during the night.
"Auntie," I asked, "how can you make a heart forget?"
Auntie took a sip from her mug, wincing at the sting of the cold water on her teeth. Slowly she shuffled to the closet where she stretched to unhook the shaggy bathrobe that hung on the door. As she slipped into the robe, a hidden smile tugged at the sides of her mouth. The story of "The Great Forgetting" was one of my favorites and Auntie savored the retelling of a town in the Carpathian Mountains where the people had been pillaged for so many centuries that they knew no joy.
Tugging the belt snug on her robe, Auntie spoke and as she did the white hairs on her chin glistened in the dresser lamp's light: "They prayed for years to forget the past until they no longer believed God listened. Then one day the youngest child in the village awoke to find a perfectly round egg in his crib. Word spread of this marvel. Within hours, the villagers forgot everything — not only their grief, but the curves of their beloved's face, their children's names. They stumbled through the streets, meeting neighbors, childhood friends, their very own father or mother, as if meeting that person for the first time. Their only memory was of the babe finding the oddly shaped egg. 'Don't hurt the child,' a big fat shiny black crow squawked."
Auntie bent her arms like wings and flapped them. We both smiled in pleasure. Auntie loved telling the story and the way she spoke I loved to listen. When Auntie came to America as a little girl, her grammar school trained the Ukrainian accent out of her, a different kind of forgetting. But if you listened carefully you could still hear the sounds of her first language lilting her words.
Auntie dropped her arms and continued: "But as soon as the snows melted, the healthiest of the young men carried the tot to a mountain crag. There, they left him to die and by the following dawn marauders conquered the village, slaying every person, young or old. Now only the story of what happened to the town remains."
Auntie touched one of the colorful wooden icons on her dresser top and made the sign of the cross backwards. Auntie was Great-uncle's wife and we loved her, but she wasn't raised Catholic. Daddy said that wasn't her fault because the place she was born was so horrible even God left it. But Auntie said her hometown in the Ukraine was a Garden of Eden until an iron curtain closed around it, making it impossible to go back. "They say home is where the heart is," Auntie often said. "That means I'll never see my heart again."
While Auntie rummaged in her top drawer for the heavy woolens she wore under her housedress, I charged out from the covers, reaching for my red woolen coat on the chair. Slipping into it, I waited for the magic of its heat as I stood by the window watching the early morning twilight give way to dawn. In the distance, hovering above the fields, was a mist that I imagined was the ghost of the family curse coming to get us, even though I knew the mist was caused by the fire burning beneath the ground. Thinking of ghosts made me think again of the Holy Ghost with its tongues of flame and I quivered with excitement at the thought that something important might happen that day.
Once the chill was off my skin, I crossed the hall to Brother's room. Brother's little body nestled cocoonlike under Auntie's brown and lime green granny-square afghan. With his back to the wall, his pink mouth sucking the cold air, Brother's slender Ma face had a kind of sweetness to it that only little kids get.
"Come on," I said, kicking at the mattress. "Take off your pajamas and put on clean underwear. Then put on your clothes." If you didn't tell him exactly what to do, it was your own fault when he screwed it up. We'd all learned that lesson.
I handed him fresh clothes, then shuffled to the opposite end of the hall to peer into Ma and Daddy's room. Ma and Daddy slept with their backs to each other, aimed for escape, exactly the way all Howleys sleep. This, I thought, was Auntie's magic. Before we moved in with her, Ma and Daddy never slept together. But as soon as Auntie invited us to move in, she started brewing a remedy to sneak into Ma's and Daddy's morning coffee. Within weeks they started not only sleeping together, but eating together too.
Head cocked, I listened until I was certain I heard Ma's breezy sighs in between Daddy's rasps. Then I rushed down the hall to pound on Brother's door. "It's Saturday, stupid," I growled. "My favorite day. If you mess with me, I'll let you-know-who into your bedroom tonight."
I waited. He had a morbid fear of the boogeyman. Being a little kid, Brother believed the family curse made him more susceptible to monsters and ghosts coming into his room at night. I was five years older and knew the curse usually came from somewhere you'd never expect.
"Breakfast, Auntie," I called as I pounded down the stairs. I set the oatmeal to boil and by the time Auntie came down, I had her apple sliced and her hot water with lemon ready.
Auntie squeezed my shoulder. "What a good girl," she said, bending near enough so that her wiry hair brushed my cheek, the closest she ever came to a hug or cuddle. As much as I craved to be near her, Auntie's love didn't come by way of touch.
I poured Brother and me two glasses of milk and as we settled down to eat, Auntie told stories, real ones about gruesome farming accidents, starving winters, rivers that made towns into lakes. Stories from before she came to this country and after. Long ago, before World War I, Auntie married Gramp's brother. She married into the curse, yet you wouldn't know it to hear her tales of woe. Still, her stories usually ended with the town paying some cripple's doctor's bills or repairing some widow's house. "It was a time," she'd say, always with a whistle of regret, "when everyone helped everyone. When things were getting better, not worse."
After finishing her stories, Auntie left to deliver a remedy to the Clarks — our neighbors who'd nearly died from carbon monoxide poisoning while watching TV with the windows shut — and minutes later, Ma and Daddy made their way downstairs. Barely awake, Ma didn't even nod at me as she passed through the kitchen to step out onto the sun porch for her first smoke of the day. Through the glass door I watched her, the pom-pom on top of her striped knit hat bobbing, her long stringy light brown hair snagging the watery February sunlight and shimmering golden. Golden was the color Ma said her hair used to be when she was little, the color I always wished mine was. Mine was a color neither blond, red, or brown. Mouse color, Ma said. But I would have done anything to have hair the rich brown of the field mice who darted through our cupboards.
Daddy sat on one of the wooden kitchen chairs with his bad arm resting on the table. When Daddy was young his arm got smashed in the Devil Jaw mining disaster and it ached him ever since. When I pictured Daddy in that disaster I thought of the tunnel as a gaping mouth and the chunks of coal jutting like teeth closing down on him. Daddy's brother was killed that day and Ma said a part of Daddy died with him. I used to like to think about that dead part of Daddy and what Daddy would be like if all of him was whole and alive the way he must have been before the disaster. Daddy rarely talked about dead Uncle Frank or the disaster but when he did his eyes darkened over like dusk fell inside them.
That morning Daddy complained about the cold, wondering when the government would give us the gauge meters they'd promised so we could monitor the gas levels in the house and not need to leave the windows open. Then he nodded toward the porch and said, "Time to get moving, princess." It was in everyone's best interest for me to get Ma's breakfast ready fast. Ma was a heavy smoker and could barely function till she had her first smoke, but she was already coming out of her haze, sharpening her tongue on the icy air.
"Don't go giving her no swelled head, Adrian!" Ma shouted. "She ain't no princess and the world won't treat her like one. You just make things harder on her thinking it will."
"Ah, what a bite on that Irish tongue," Daddy said, kidding because that tongue was nothing like it usually was, dulled by the nicotine coating her mouth and the exhaustion she always felt by the week's end.
Ma swung open the door and tramped to the table. Dutifully I heated up the pan, thinking how the way people liked their eggs matched their personalities. Ma all folded with the center golden part cooked and flattened. Daddy, raw and drippy, running all over with just a flick of a fork's tine.
"Goddamn it, Brigid," Ma shouted, pointing at where I'd glopped egg onto the stove. "That's what happens when you don't pay attention. When I was your age, they wouldn't give me nothing to eat for the whole day if I'd wasted good food like that. Accident or not!"
"Lores," Daddy said as if he'd swallowed the "Do" of Ma's name. Dolores means sorrow and Daddy always tried to take some of that sorrow from her and hold it inside him. As he sat across from her at the table, you could see it in him — the sadness with Ma's name on it. Brother probably saw the sadness too because he came over from where he was playing with his cars on the kitchen floor and nestled his head to Ma's chest, her breasts just as pointy as all the features of her face, and it struck me that this was all Brother probably remembered — Ma and Daddy joking and eating together. He was only six years old so he probably didn't remember the trailer over by Mercher's Dump or home being anything but Auntie's house.
I flipped two eggs and served Ma. Then I did Daddy's breakfast. The two yolks on the plate looked up at him like gleaming eyes in a ghost's face. Daddy slopped with his toast at the yolks, letting the yellow ick drip down his chin — a family joke. We always pointed and gagged, watching him perform this disgusting feat like he was a circus performer. This time he played it up special and my stomach clenched like so many fists. He was supposed to take Brother to Katz's Department Store for their end-of-winter coat sale, but afterwards he must have been planning to go to Pete's Pub. Ma must have been able to tell too because she said, "Take your time today, Adrian. I'm thinking of having some of the girls over to play cards."
I knew Ma didn't want Daddy around when her girlfriends came over because she was ashamed that he had no job, which was crazy because most of the daddies around had no job. I guess Daddy knew too because he said, "I'll take all the time I want." And then he looked her dead in the eye so she knew not to start with him. For me, I didn't mind if Ma had some of her friends over, even though it meant I'd have to clean up and serve coffee and cake. I didn't mind because while she was at work and while Daddy and Brother were shopping, me and Auntie would have the house all to ourselves. And whenever me and Auntie were alone together we'd sit on the couch, sucking on candies, Auntie reading her mysteries and me reading whatever historical romance I was into at the time.
When Brother and Daddy were finally ready to go, Brother swung open the front door and rushed out into a choke of cloud caused by the fire heating the wet ground. Daddy shrugged into his peacoat, grimacing with pain. When he got back home, I told him, Auntie would make him a remedy to get the damp out of his bones. "Okay, Daddy?" I said.
But Daddy said nothing. His eyes were that icy blue they got when they were looking off to that other place, the place that turned him empty inside. The place he thought he could fill with dice and whisky.
When he stepped out onto the porch, he turned first one direction, then another, squinting into the gathering fog like something was out there to get him. Brother beckoned from where he stood near one of the boreholes in the street, the long pipe smoking as it vented out of the ground. Brother waved his little knit hat that he'd crushed in his hand, but Daddy jogged down the steps, hands thrust deep into his coat pockets, and walked away from him.
Ma thrust her head over my shoulder and yelled, "And pick up some milk for god's sake," but her words sunk in the heavy air. Sighing the way she always did before heading off to the mill, she tilted her head. Gleaming in her eyes was something as timid as a baby deer. Every now and then the shy, tender part of her surfaced. "I know you want to go reading with Auntie," Ma said to me. "But don't forget your chores. Don't go having no fun first."
Excerpted from The Hollow Ground by Natalie S. Harnett. Copyright © 2014 Natalie S. Harnett. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Most Helpful Customer Reviews
Reading the publisher-submitted reviews of Natalie Harnett’s The Hollow Ground is surprising after reading the book. Some compared it to Eugene O’Neill and others to “A Tree Grows in Brooklyn" and “To Kill a Mockingbird.” While it’s not a bad effort for a first novel, it falls far short of those works. The Hollow Ground is melodramatic with characters that are more like caricatures and a plot that’s almost funny in a dark comedy melodramatic way (but I won’t spoil it.) The dialect is often unintentionally funny, because it’s way off and not even close to northern speech patterns. Sometimes characters sound like such uneducated rubes it’s hard to take them seriously. The father’s a drunken Irish miner, a type straight from central casting, and the impoverished and mean family Harnett describes as Irish-American—though it’s clear throughout the book that she has little to no interest in or understanding of Irish history or culture. Nor is it clear why she pinned an Irish identity on them. Her mythical Irish family just seems to float in a vacuum, untethered from the larger world, the world, say, of racial and class prejudice where the dispossessed are left to struggle and where great works of art concern themselves. This alone prevents The Hollow Ground from rising to the stature of works by Eugene O’Neill or Harper Lee. The Hollow Ground is formulaic despite throwing in a murder, a curse, The Molly Maguires, incest, and mine fires for good measure. They’re more like distractions and can’t conceal the book’s other weaknesses. The characters remain flat throughout, like people sleepwalking through a psychodrama. The only character who evokes sustained feeling is the young girl who narrates. Experienced writers usually avoid having a child narrator carry an entire novel because it can too easily become a substitute for good writing and manipulative of the reader. Instead of good writing the author uses sustained pathos, sentimentality (schmaltz)—in this case trying to balance the novel’s cynicism and lack of character development with the innocence of a child—in an attempt to keep the reader’s interest. Finally, it’s hard not to feel the author looks down on this poor family in some way. Maybe it’s in her inattention to the details of getting the dialect right, or in failing to place the family somewhere in the larger picture of workers exploited in an economy driven by greed and the depredations of the wealthy in the coal fields of Pennsylvania, as well as in the towns and villages of Europe from which many immigrants fled to end up as coal miners in America. Some will likely be offended by the insulting caricaturing of the Irish and miners that was both unnecessary and ineffective and mars what might have been a much better book.
You’re going to be seeing a lot more of Natalie Harnett. With The Hollow Ground she has already established herself as one of America’s great young writers. Contemporary fiction often features what the industry calls “high concept.” In addition to the writer’s other creative duties (exotic settings, larger than life characters, high stakes, etc) is writing something that matters. Ms. Harnett does everything well but where she swings for the fences in this novel is in its high concept. This concept is captured in a bit of the young protagonist’s interior monologue combined with an observation of her “Gram’s.” “My life was so screwed up because my parents were so screwed up because of what their parents had done to them.” “But comes a point when a person’s got to take ‘sponsibility for who they is, no matter what their parents done to them.” This emerging awareness of personal responsibility in a young girl in the third dysfunctional generation of a hardscrabble coal-mining family is inspirational. She suffers greatly and thanks to Ms. Harnett’s skill we feel her pain. “Mostly it was easier living without Ma but that didn’t change the hurt me and Daddy felt.” A great deal of the tension in the novel derives from the disequilibrating acrimony between members of the girl’s extended family, forced by circumstances into prolonged close contact. The reader is thrust into successions of these uncomfortable situations and becomes strongly empathetic with the innocent protagonist. Things go from bad to worse for the girl, with nature conspiring along with human antagonists in the form of an inexorably encroaching underground fire. Because of Ms. Harnett’s craft, the reader, too, feels trapped between these literal hellfires and a compelling third generation family curse. Rarely has a protagonist’s future looked so pitifully bleak going into the final pages. Don’t put anything on your calendar for the first hour or so after you finish this novel. It’s going to take a while to decompress.
A great coming-of-age story with real-feeling characters, set in a unique time - the coal mine fires in Pennsylvania, during the 1960s. A great read, definitely recommend.
Brigid is the narrator of this story, set against the backdrop of the Appalachian coal mine fires of the 1960's. I had never heard of these fires and found them fascinating, devastating and unbelievable. Brigid tells how her Aunt's house, where they had been living, becomes uninhabitable as the fire nears and literally hollows out the ground beneath their feet. Her family is forced to move to a nearby town and move in with their Grandma and Grandpa. The fires are raging beneath this town as well. I liked Brigid as a narrator. She didn't sugar coat anything and she also did not feel sorry for herself or her circumstances. Her family is very dysfunctional and she if basically raising herself. As secrets continue to be revealed, including the answers to a murder mystery, what she thought she knew about her family also continues to change. I really liked this book. The background was such a stark contrast to the voice of Brigid. I read this book awhile ago and the story has really stayed with me. This was a debut book for Natalie Harnett and I look forward to seeing what else she writes in the future. "Auntie?" I shouted through the sliver of screen visible where the window was open. There was no answer. The flecks of snow had thickened to flakes that had a tinge of yellow to them. The color was odd and pretty all at once and I couldn't decide if it reminded me of something sick or of something lit up just barely by sun. Dying light, I decided, remembering a poem Auntie had read to me. And then I got afraid. (The Hollow Ground, p20)
Natalie S. Harnett delivers a soulful narrative in her debut novel, The Hollow Ground. In the 1960s, the coal mines of Centrereach, Pennsylvania began to burn. The underground fires turned the once solid footing beneath the community’s feet into a wasteland of hollow ground. Brigid, named after Saint Brigid, was barely twelve when she experienced her first of many losses in her young life. One moment, her Auntie was standing at the edge of the pit near their Centrereach home and the next she was gone forever. Her parents, Delores and Adrian, gathered Brigid and her younger brother ‘Brother’ along with their Spartan possessions and left Centrereach. They were going to Barrenville; a place Ma vowed never to go again. Barrenville, Pennsylvania was Adrian’s childhood home. It was a (somewhat) safer area where the underground fires had yet to make their mark. In the 60’s most of western Pennsylvania was noted for its coal mining commerce. It was the only livelihood the majority of the hill population knew. Sadly, returning to Barrenville was more than a place of refuge for Ma, Daddy, Brigid and Brother. It was a new beginning, but not the kind filled with hopes and dreams. Rather, what lay in wait was an unfinished life filled with digging up skeletons and allowing them to rise to the surface—a life meant to force them all to face challenges only the strongest could possibly overcome. Natalie Harnett has intentional presence with her narrative style. When I began to read The Hollow Ground, I immediately recognized a style I hadn’t read since I had read some of the long-standing classics. Hemmingway came to mind, in particular. Similar to him, Harnett has a haunting quality toward the way she places words upon the page. What grabbed me consistently throughout this body of work was the depth of feeling and inherent sorrow each character assumed as the story evolved. Harnett latches on to her main character, Brigid, from the onset and fully develops a young girl with more soul than a ninety-year-old war veteran. She remains true to the concept of writing a story through the eyes of a twelve-year-old child, but embodies deep-seeded situations of dire poverty and hopelessness. We see what it is like to start life with nothing, travel through that same life—still with nothing, yet there is a persistent quality the main character voices through little more than sublime and coveted hope that life is good even with its layer upon layer of hardship. I could hear Harnett’s voice often. One scene that comes to mind is when Ma and Brigid are talking. Brigid’s Ma is more than hardened from the life she has lived; yet she imparts her hope for a different life for Brigid when she tells her she has a heart big enough for everyone to live within. This is a pinnacle moment in the story and even though there was less than a handful of words to deliver such a powerful message, Harnett was able to resurrect that sense of hope this reader wanted to latch onto throughout the story. A minor criticism, however, would be to suggest Ms. Harnett consider paring the story down. For me personally, when power words open the scene and instantly hook the reader, it’s time to move to the delivery which alleviates a sense of belaboring the moment with too many words. Overall, Ms. Harnett has written a compelling novel and I look forward to her next body of work.
A powerful and extraordinary debut novel! THE HOLLOW GROUND dives into total dysfunction of The Howleys, a wounded family of three generations, with special focus on one special adolescent girl, Brigid, taking upon herself-- burdens of her immediate family, and those of generations past. As the characters come alive---more than the “fires of the community” are out of control; the lives of this family are raging! THE HOLLOW GROUND is inspired by real-life events in Centralia and Carbondale, Pennsylvania (renamed Barrendale in the book), where devastating coal mine fires irrevocably changed the lives of residents. Set in the 1960s in the Pennsylvania coal mining country, a novel of a Black Irish Catholic family, experiencing more than a little bad luck; perhaps a curse by a priest, from decades prior during a Molly Maguire incident, involving the grandfather. (or, so they think). However, is the curse really what lies inside your heart and soul? Brigid wants her family to be happy--she has no financial security or stability, nor any role models. Her family moves from place to place, as her dad is unable to hold down a job, combined with the fires and destruction. She is unable able to make friends and if she does, something happens which involves her crazy family, or their past. (You have Gram praying to the saints, while the girls seeking answers from a Ojai board.) Ma and Daddy are greatly influenced by their pasts, as well as grandparents. Memories and repressed memories—what they remember, what they don’t remember, as well as what they do not recall—shape who they are. Even with the terrifying backdrop of the fire beneath their feet, what takes prominence in the novel-- is Brigid's desire for her family to stay together and have a better life. Will Brigid break the cycle, as secrets unravel? Can saints, curses, or secrets determine happiness or misery? The grounds beneath these mining towns is unsafe—a true metaphor for Brigid’s life—no foundation, parents out of control, and damaged by their disappointments. She will need to find her own inner strength, instead of being bitter, to find a way beyond her family’s past and misfortune. Fans of T. Greenwood, Carla Buckley, and Jodi Picoult would appreciate THE HOLLOW GROUND. Highly recommend--looking forward to reading more from this newfound and talented author! A special thank you to St Martin's Press, Thomas Dunne Books, and NetGalley, for providing an ARC for an unbiased and honest review.