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River of the Brokenhearted

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Paperback
$18.00 US
5"W x 8"H x 1.15"D   (12.7 x 20.3 x 2.9 cm) | 13 oz (369 g) | 24 per carton
On sale Jun 15, 2004 | 448 Pages | 9780385658881
Sales rights: Canada and Open Mkt
In the 1920s, Janie McLeary and George King run one of the first movie theatres in the Maritimes. The marriage of the young Irish Catholic woman to an older English man is thought scandalous, but they work happily together, playing music to accompany the films. When George succumbs to illness and dies, leaving Janie with one young child and another on the way, the unscrupulous Joey Elias tries to take over the business. 

One night, deceived by the bank manager and Elias into believing she will lose her mortgage, Janie resolves to go and ask for money from the Catholic houses. Elias has sent out men to stop her, so she leaps out the back window and with a broken rib she swims in the dark across the icy Miramichi River, doubting her own sanity. 

Astonishingly, she finds herself face to face that night with influential Lord Beaverbrook, who sees in her tremendous character and saves her business. Not only does she survive, she prospers; she becomes wealthy, but ostracized. Even her own father helps Elias plot against her. Yet Janie McLeary King thwarts them and brings first-run talking pictures to the town.

River of the Brokenhearted is a multi-generational epic of rivalries, misunderstandings, rumours; the abuse of power, what weak people will do for love, and the true power of doing right; of a pioneer and her legacy in the lives of her son and grandchildren.
Prologue

The graves of the Drukens and the McLearys are spread across the Miramichi River valley. If you go there you might find them -- “run across them” is not the exact phrase one might want to use for graves -- in certain villages and towns. I don’t think we have hamlets here, but if we do, then in certain hamlets as well.

What is revealing about these graves is their scarcity. The scant way they are impressed upon the soil, dispersed here and there about the river. A river that stretches 250 miles from the heart of our province, a river of lumbering and fish and of forests running tangled to the water’s edge. Our ancestors came and founded communities, and over time abandoned them for the greater lumbering towns of Newcastle and Chatham, so that only graves are left. One might go years without stumbling upon one, and when one finally does, an immediate reaction might be to say: “Why in Christ is old Lucy Druken buried way out here?”

I suppose some of the brightest of my relatives have lain forgotten for decades in the woods, forgotten even by their own descendants, in fields that have become orchards or mushroomed into forests again, the descendants having moved on, first to the towns and then west to the cities of Montreal or Toronto, or south to the great and frantic United States. The graves’ occupants unremembered. Yet in what love and sorrow might they have been placed?

Two hundred years have passed to find what is left of us still here. Last October I came back from the train station in the debilitating gloom of a rain-soaked autumn day. He had demanded the key that morning, when I said I was leaving.

He spoke to me in his slightly limey way -- being the only memory he ever retained of his father, and so the thing he held onto, come hell or high water, for a memory gone over sixty years. A limey with a Miramichi brogue.

“Yes -- well, then -- you can just give me the key, can you not -- leave it here” His hand shook as he pointed to the table. “And we will think no more of it; I will not even call you a traitor -- just remember I could not leave people in the lurch -- as much as I wanted to -- if they were lurching I’d stay!” he said turning away at that moment.

I found it hanging upon a string outside the winter door, waiting. I came into our small house, with the broken mirror in the foyer, to find him sitting in his straight-backed chair in the absolute middle of the small den, equidistant from the memorabilia of both British and Irish roots -- the cross of Saint George and a broken Irish bagpipe, staring out at me in perplexity, his hair now thin against his fine head, his tie done up very properly, hankie in his breast pocket, dark high socks and well-polished shoes on his feet. Each shoe tied with a small bowed lace, which never really did anything but make my heart go out to him -- especially when I realized it took upward of fifteen minutes to get each shoe on. He was drinking some mixture of aftershave and vermouth -- a pleasant enough concoction, he said, to starve off his “dearth” of gin gimlet he might on occasion -- at two in the morning, or five in the afternoon–go searching for. I told him I did not have anything on me -- no Scotch or rum.

“Do you know,” he said to me, “you are absolutely right, my lad. I have been thinking of giving it all up.”

“What up?” I say, turning away so he will not see the gin I have tucked in my tweed jacket.

“This place -- this house -- sell it and go away! Is that a gin cap I spy --”

“Where?” I say, looking about the room. Trying to make no sudden moves, I pick up a cushion and hold it against my pocket.

“That cap?” He clears his throat.

“What cap?”

“Why, my son, the cap on the gin bottle -- you have glided a cushion over it.”

“Glided a cushion?”

“Is it glided -- I’m not sure --?”

His fingers tremble just slightly. He is looking around for something -- a cigarette, I suppose.

I take the gin out, hold it before me like a newborn infant.

“Yes -- there it is -- you are a saviour -- I always knew you were -- and foolish me in the process of changing my will -- wondering who to leave all of this to” -- he waved his hand abstractly. “You just went out to get me some gin --”

I go into the kitchen, get the glasses and pour out our libation.

“Gin’s the drink,” he says, smacking his lips and looking at the two glasses to see if they are perfectly symmetrical. He takes his, shakes just a bit getting it to his lip and, confident his immediate plight is over, downs it in a draught.

“You found the key all right?” he says.

“Absolutely.”

I came back once to find 223 newborn baby chickens in the house. I believe it occurred when he upset a crate of chicks somewhere in his travels. He was imprinted on them and they followed him home. He came in the house, the front door left ajar, picked up the letter opener to open his increasingly oppressive pile of bills, and saw 223 little yellow chicks staring at him. He opened the door and told them to go. They did not. He then tried to hide them in the dresser drawers, and keep this from me when I came in.

“Do not say one damn thing about what you see in this house,” he said.

I found them walking the halls, sitting on his lap, as he pretended not to notice. In fact, he remained until I bundled them up and took them away, ruefully dismissive of us all.

“I will not go,” I say to him after our gin.

“And why not?” he asks. “Why won’t you go wherever it is you are wanting to -- go?”

“Because you’re my father and someone needs to stay with you.”

“Oh -- well then -- I see -- very noble of you -- Wendell my boy. Lets drink to nobility.”

I guess I can drink to that as much as anyone.

My father Miles King once told me that some are damned by blood, by treason, by chance or circumstance, some even by the stars themselves, or as Shakespeare, denying that, said, by ourselves. This in a way is a journey back in time to see how I was damned.

My name is Wendell King, and I have looked for these forgotten places, and found them in their quietude and hope, and have gone to the archives, reading old tracts, deeds, family history, searching out what I can, to try to dislodge the secrets that have plagued my father’s life.
River of the Brokenhearted is a distinguished addition to a body of work that has to be considered the equal of any other in Canadian literature.”
National Post

“Richards is a painfully sharp observer, who possesses one of the most distinct and compelling voices in contemporary literature.”
Toronto Star

“[A] century from now readers will discover in Richards’ novels the same heartbreaking treasures we find in the novels of Thomas Hardy.”
Kitchener-Waterloo Record

“Richards is as Shakespearian in his tragicomic humour as in his elemental themes of good and evil, hatred and love . . . . a magnificent tale of forgiveness . . . ablaze with . . . gnarled, powerful and unblinking prose that follows his characters down to their innermost circles of personal hell—and the deep, unfashionable, moral vision that underlies the writing.”
Maclean’s

“As a pure storyteller, Richards has it all over . . . just about every male writer in this country . . . River of the Brokenhearted delivers a highly readable study in kinds of damnation that are as common in the towers of Bay Street as on the banks of the Miramichi.”
The Globe and Mail

River of the Brokenhearted is a wonderful, sad novel that reflects our capacity for strength, loyalty and forgiveness. With its strong sense of justice, this book is also a testament to the power of faith—in all its many forms.”
Edmonton Journal

“It’s hard to believe that a single imagination can produce characters as large as these, but it has been done here.”
The Hamilton Spectator
© Bruce Peters
Born in 1950 in Newcastle, New Brunswick, David Adams Richards was the third of William and Margaret Richards' six children. He found his calling at the age of fourteen, after reading Oliver Twist, and embarked on a life of extraordinary purpose, one which he says didn't help his finances: "Sometimes . . . I thought it would be better if I were a plumber, but I wouldn't be very good."

At the age of twenty and after finishing his first novel, The Keeping of Gusties, Richards went in search of a community of writers. His quest ended when he met a group of academics at the University of New Brunswick. Richards would hitch-hike from his home in Newcastle to Fredericton every Tuesday night to meet with them and read from his work. The literary evenings were held on campus at McCourt Hall, in an outbuilding formally used to store ice. The group quickly became known as the Ice House Gang. There he received encouragement from established writers, including the late Alden Nowlan, whom he names as important influences along with Faulkner, Pushkin, Dostoevsky and Emily Brontë. It was during his time with these writers that Richards wrote two-thirds of his second novel, The Coming of Winter, which was published by Oberon Press in 1974.

In 1971, Richards married Peggy McIntyre. They spent the first years of their marriage travelling throughout Canada, Europe and Australia. It was on these long sojourns away from the Mirimachi that Richards found he could write about the home he loved, regardless of where he lived. As he continued to write, Richards took postings as writer-in-residence at universities in New Brunswick, Ontario, Alberta and at Hollins University in Roanoke, Virginia. In 1997, they moved to Toronto with their sons John Thomas and Anton.

The Miramichi region has continued as the heart of Richards' fiction throughout his career. As he explained in an interview with January Magazine, his connection to the area and to the rural lives of its inhabitants is central to his fiction, yet does not reflect a limited scope: "It's very important, because the characters come from the soil. They're like the trees, in a certain respect. They cling to that river and that soil, but as Jack Hodgins once said about my writing—which was one of the kindest things any writer has said about my writing—he said: 'David, you aren't writing about the Miramichi Valley, you're writing about Campbell River where I come from. Because every character you talk about is a character I've met here in Campbell River.' And that's basically what I'm doing. Of course my people are Miramichi. Of course they come from the fabric and the soil of the Miramichi but if that was the only thing that was interesting about them, I wouldn't bother writing about them."

The relocation to Toronto was not without its difficulties, though. As Richards documented in the memoir Lines on the Water, he loves fly-fishing on the Miramichi River. Yet once he was no longer a resident, he was unable to get a fishing licence for the region. Thankfully, said Richards, the local government proclaimed him an "honorary Miramichier"—"So I can go fishing. It was very nice of them and very touching." He has also written a non-fiction book on the place of hockey in the Canadian soul, called Hockey Dreams.

Richards has received numerous awards and prizes throughout his career. Most notably, he is one of few writers in the history of the Governor General's Literary Awards to win in both the fiction (Nights Below Station Street) and non-fiction (Lines on the Water) categories. In addition to these two wins, he was nominated for Road to the Stilt House (in 1985), For Those Who Hunt the Wounded Down (in 1993) and Mercy Among the Children (in 2000). Considered by many to be Richards' most accomplished novel, Mercy was co-winner of the Giller Award in 2000, and was shortlisted for the Trillium Award and the Thomas Raddell Award. It also won the Canadian Booksellers Association author of the year and fiction book of the year awards. Over the years, Richards has also won countless regional awards for his novels and was awarded the prestigious Canada-Australia Literary Prize in 1992. More recently, The Lost Highway was shortlisted for the Governor General’s Literary Award and longlisted for the Scotiabank Giller Prize and The Friends of Meagre Fortune won the Commonwealth Writers’ Prize for Best Book and was longlisted for the Scotiabank Giller Prize. 

Despite all of these successes, it was years before Richards made money at writing. He laughs at the sales of his early work: "For a long while if I sold 200 books, I'd be saying: Oh, great! And, you know, a $50 advance! That's great. I only worked three years, I don't know if I can spend $50."

Also a screenwriter, Richards has adapted a number of his novels for the small screen. In 1990, he adapted his novel Nights Below Station Street, and in 1994 he penned the teleplay "Small Gifts," for which he won his first Gemini. He won his second for his screen adaptation of For Those Who Hunt the Wounded Down, and later co-wrote the screenplay for The Bay of Love and Sorrows, released as a feature film in 2002.

In addition to his novels and non-fiction books, Richards' short stories and articles have been published in literary magazines and anthologies. His literary papers were acquired in 1994 by the University of New Brunswick. View titles by David Adams Richards
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About

In the 1920s, Janie McLeary and George King run one of the first movie theatres in the Maritimes. The marriage of the young Irish Catholic woman to an older English man is thought scandalous, but they work happily together, playing music to accompany the films. When George succumbs to illness and dies, leaving Janie with one young child and another on the way, the unscrupulous Joey Elias tries to take over the business. 

One night, deceived by the bank manager and Elias into believing she will lose her mortgage, Janie resolves to go and ask for money from the Catholic houses. Elias has sent out men to stop her, so she leaps out the back window and with a broken rib she swims in the dark across the icy Miramichi River, doubting her own sanity. 

Astonishingly, she finds herself face to face that night with influential Lord Beaverbrook, who sees in her tremendous character and saves her business. Not only does she survive, she prospers; she becomes wealthy, but ostracized. Even her own father helps Elias plot against her. Yet Janie McLeary King thwarts them and brings first-run talking pictures to the town.

River of the Brokenhearted is a multi-generational epic of rivalries, misunderstandings, rumours; the abuse of power, what weak people will do for love, and the true power of doing right; of a pioneer and her legacy in the lives of her son and grandchildren.

Excerpt

Prologue

The graves of the Drukens and the McLearys are spread across the Miramichi River valley. If you go there you might find them -- “run across them” is not the exact phrase one might want to use for graves -- in certain villages and towns. I don’t think we have hamlets here, but if we do, then in certain hamlets as well.

What is revealing about these graves is their scarcity. The scant way they are impressed upon the soil, dispersed here and there about the river. A river that stretches 250 miles from the heart of our province, a river of lumbering and fish and of forests running tangled to the water’s edge. Our ancestors came and founded communities, and over time abandoned them for the greater lumbering towns of Newcastle and Chatham, so that only graves are left. One might go years without stumbling upon one, and when one finally does, an immediate reaction might be to say: “Why in Christ is old Lucy Druken buried way out here?”

I suppose some of the brightest of my relatives have lain forgotten for decades in the woods, forgotten even by their own descendants, in fields that have become orchards or mushroomed into forests again, the descendants having moved on, first to the towns and then west to the cities of Montreal or Toronto, or south to the great and frantic United States. The graves’ occupants unremembered. Yet in what love and sorrow might they have been placed?

Two hundred years have passed to find what is left of us still here. Last October I came back from the train station in the debilitating gloom of a rain-soaked autumn day. He had demanded the key that morning, when I said I was leaving.

He spoke to me in his slightly limey way -- being the only memory he ever retained of his father, and so the thing he held onto, come hell or high water, for a memory gone over sixty years. A limey with a Miramichi brogue.

“Yes -- well, then -- you can just give me the key, can you not -- leave it here” His hand shook as he pointed to the table. “And we will think no more of it; I will not even call you a traitor -- just remember I could not leave people in the lurch -- as much as I wanted to -- if they were lurching I’d stay!” he said turning away at that moment.

I found it hanging upon a string outside the winter door, waiting. I came into our small house, with the broken mirror in the foyer, to find him sitting in his straight-backed chair in the absolute middle of the small den, equidistant from the memorabilia of both British and Irish roots -- the cross of Saint George and a broken Irish bagpipe, staring out at me in perplexity, his hair now thin against his fine head, his tie done up very properly, hankie in his breast pocket, dark high socks and well-polished shoes on his feet. Each shoe tied with a small bowed lace, which never really did anything but make my heart go out to him -- especially when I realized it took upward of fifteen minutes to get each shoe on. He was drinking some mixture of aftershave and vermouth -- a pleasant enough concoction, he said, to starve off his “dearth” of gin gimlet he might on occasion -- at two in the morning, or five in the afternoon–go searching for. I told him I did not have anything on me -- no Scotch or rum.

“Do you know,” he said to me, “you are absolutely right, my lad. I have been thinking of giving it all up.”

“What up?” I say, turning away so he will not see the gin I have tucked in my tweed jacket.

“This place -- this house -- sell it and go away! Is that a gin cap I spy --”

“Where?” I say, looking about the room. Trying to make no sudden moves, I pick up a cushion and hold it against my pocket.

“That cap?” He clears his throat.

“What cap?”

“Why, my son, the cap on the gin bottle -- you have glided a cushion over it.”

“Glided a cushion?”

“Is it glided -- I’m not sure --?”

His fingers tremble just slightly. He is looking around for something -- a cigarette, I suppose.

I take the gin out, hold it before me like a newborn infant.

“Yes -- there it is -- you are a saviour -- I always knew you were -- and foolish me in the process of changing my will -- wondering who to leave all of this to” -- he waved his hand abstractly. “You just went out to get me some gin --”

I go into the kitchen, get the glasses and pour out our libation.

“Gin’s the drink,” he says, smacking his lips and looking at the two glasses to see if they are perfectly symmetrical. He takes his, shakes just a bit getting it to his lip and, confident his immediate plight is over, downs it in a draught.

“You found the key all right?” he says.

“Absolutely.”

I came back once to find 223 newborn baby chickens in the house. I believe it occurred when he upset a crate of chicks somewhere in his travels. He was imprinted on them and they followed him home. He came in the house, the front door left ajar, picked up the letter opener to open his increasingly oppressive pile of bills, and saw 223 little yellow chicks staring at him. He opened the door and told them to go. They did not. He then tried to hide them in the dresser drawers, and keep this from me when I came in.

“Do not say one damn thing about what you see in this house,” he said.

I found them walking the halls, sitting on his lap, as he pretended not to notice. In fact, he remained until I bundled them up and took them away, ruefully dismissive of us all.

“I will not go,” I say to him after our gin.

“And why not?” he asks. “Why won’t you go wherever it is you are wanting to -- go?”

“Because you’re my father and someone needs to stay with you.”

“Oh -- well then -- I see -- very noble of you -- Wendell my boy. Lets drink to nobility.”

I guess I can drink to that as much as anyone.

My father Miles King once told me that some are damned by blood, by treason, by chance or circumstance, some even by the stars themselves, or as Shakespeare, denying that, said, by ourselves. This in a way is a journey back in time to see how I was damned.

My name is Wendell King, and I have looked for these forgotten places, and found them in their quietude and hope, and have gone to the archives, reading old tracts, deeds, family history, searching out what I can, to try to dislodge the secrets that have plagued my father’s life.

Praise

River of the Brokenhearted is a distinguished addition to a body of work that has to be considered the equal of any other in Canadian literature.”
National Post

“Richards is a painfully sharp observer, who possesses one of the most distinct and compelling voices in contemporary literature.”
Toronto Star

“[A] century from now readers will discover in Richards’ novels the same heartbreaking treasures we find in the novels of Thomas Hardy.”
Kitchener-Waterloo Record

“Richards is as Shakespearian in his tragicomic humour as in his elemental themes of good and evil, hatred and love . . . . a magnificent tale of forgiveness . . . ablaze with . . . gnarled, powerful and unblinking prose that follows his characters down to their innermost circles of personal hell—and the deep, unfashionable, moral vision that underlies the writing.”
Maclean’s

“As a pure storyteller, Richards has it all over . . . just about every male writer in this country . . . River of the Brokenhearted delivers a highly readable study in kinds of damnation that are as common in the towers of Bay Street as on the banks of the Miramichi.”
The Globe and Mail

River of the Brokenhearted is a wonderful, sad novel that reflects our capacity for strength, loyalty and forgiveness. With its strong sense of justice, this book is also a testament to the power of faith—in all its many forms.”
Edmonton Journal

“It’s hard to believe that a single imagination can produce characters as large as these, but it has been done here.”
The Hamilton Spectator

Author

© Bruce Peters
Born in 1950 in Newcastle, New Brunswick, David Adams Richards was the third of William and Margaret Richards' six children. He found his calling at the age of fourteen, after reading Oliver Twist, and embarked on a life of extraordinary purpose, one which he says didn't help his finances: "Sometimes . . . I thought it would be better if I were a plumber, but I wouldn't be very good."

At the age of twenty and after finishing his first novel, The Keeping of Gusties, Richards went in search of a community of writers. His quest ended when he met a group of academics at the University of New Brunswick. Richards would hitch-hike from his home in Newcastle to Fredericton every Tuesday night to meet with them and read from his work. The literary evenings were held on campus at McCourt Hall, in an outbuilding formally used to store ice. The group quickly became known as the Ice House Gang. There he received encouragement from established writers, including the late Alden Nowlan, whom he names as important influences along with Faulkner, Pushkin, Dostoevsky and Emily Brontë. It was during his time with these writers that Richards wrote two-thirds of his second novel, The Coming of Winter, which was published by Oberon Press in 1974.

In 1971, Richards married Peggy McIntyre. They spent the first years of their marriage travelling throughout Canada, Europe and Australia. It was on these long sojourns away from the Mirimachi that Richards found he could write about the home he loved, regardless of where he lived. As he continued to write, Richards took postings as writer-in-residence at universities in New Brunswick, Ontario, Alberta and at Hollins University in Roanoke, Virginia. In 1997, they moved to Toronto with their sons John Thomas and Anton.

The Miramichi region has continued as the heart of Richards' fiction throughout his career. As he explained in an interview with January Magazine, his connection to the area and to the rural lives of its inhabitants is central to his fiction, yet does not reflect a limited scope: "It's very important, because the characters come from the soil. They're like the trees, in a certain respect. They cling to that river and that soil, but as Jack Hodgins once said about my writing—which was one of the kindest things any writer has said about my writing—he said: 'David, you aren't writing about the Miramichi Valley, you're writing about Campbell River where I come from. Because every character you talk about is a character I've met here in Campbell River.' And that's basically what I'm doing. Of course my people are Miramichi. Of course they come from the fabric and the soil of the Miramichi but if that was the only thing that was interesting about them, I wouldn't bother writing about them."

The relocation to Toronto was not without its difficulties, though. As Richards documented in the memoir Lines on the Water, he loves fly-fishing on the Miramichi River. Yet once he was no longer a resident, he was unable to get a fishing licence for the region. Thankfully, said Richards, the local government proclaimed him an "honorary Miramichier"—"So I can go fishing. It was very nice of them and very touching." He has also written a non-fiction book on the place of hockey in the Canadian soul, called Hockey Dreams.

Richards has received numerous awards and prizes throughout his career. Most notably, he is one of few writers in the history of the Governor General's Literary Awards to win in both the fiction (Nights Below Station Street) and non-fiction (Lines on the Water) categories. In addition to these two wins, he was nominated for Road to the Stilt House (in 1985), For Those Who Hunt the Wounded Down (in 1993) and Mercy Among the Children (in 2000). Considered by many to be Richards' most accomplished novel, Mercy was co-winner of the Giller Award in 2000, and was shortlisted for the Trillium Award and the Thomas Raddell Award. It also won the Canadian Booksellers Association author of the year and fiction book of the year awards. Over the years, Richards has also won countless regional awards for his novels and was awarded the prestigious Canada-Australia Literary Prize in 1992. More recently, The Lost Highway was shortlisted for the Governor General’s Literary Award and longlisted for the Scotiabank Giller Prize and The Friends of Meagre Fortune won the Commonwealth Writers’ Prize for Best Book and was longlisted for the Scotiabank Giller Prize. 

Despite all of these successes, it was years before Richards made money at writing. He laughs at the sales of his early work: "For a long while if I sold 200 books, I'd be saying: Oh, great! And, you know, a $50 advance! That's great. I only worked three years, I don't know if I can spend $50."

Also a screenwriter, Richards has adapted a number of his novels for the small screen. In 1990, he adapted his novel Nights Below Station Street, and in 1994 he penned the teleplay "Small Gifts," for which he won his first Gemini. He won his second for his screen adaptation of For Those Who Hunt the Wounded Down, and later co-wrote the screenplay for The Bay of Love and Sorrows, released as a feature film in 2002.

In addition to his novels and non-fiction books, Richards' short stories and articles have been published in literary magazines and anthologies. His literary papers were acquired in 1994 by the University of New Brunswick. View titles by David Adams Richards

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