Serena: A Novel

Serena: A Novel
by Ron Rash

Serena: A Novel
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Book Summary Information

Author: Ron Rash
Edition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2008-10-07
ISBN: 0061470856
Number of pages: 384
Publisher: Ecco

Book Reviews of Serena: A Novel

Book Review: This is what lust for power looks and feels like
Summary: 4 Stars

How's this for a wow of an opener: "When Pemberton returned to the North Carolina mountains after three months in Boston settling his father's estate, among those waiting on the train platform was a young woman pregnant with Pemberton's child. She was accompanied by her father, who carried beneath his shabby frock coat a bowie knife sharpened with great attentiveness earlier that morning so it would plunge as deep as possible into Pemberton's heart."

Novels don't usually start with a haymaker. Short stories normally lay claim to that punch. But "Serena" isn't normal in ways novels usually are. That is to say the opening paragraph isn't the only memorable aspect of the book that packs a wallop.

This is a spellbinding tale of unbridled greed driven by the resolute lust for power. It's a thriller with a fleeing mother and her infant son in dire peril being pursued by a one-handed henchman. It's also folklore that absolutely brings to life the Depression-era patois and heritage of the Blue Ridge Mountains of North Carolina, the heart of Appalachia.

"Serena" is a story about the lumbering industry and the extreme toll it extracts from man and nature. It's a gothic tale in the best Southern tradition piled full of bodies that have been dismembered, impaled, decapitated or met with many of other forms of violent death. There is also poetry. There is also a dragon. And there are snakes, big writhing ones with venomous fangs and rattles, sometimes falling from the sky.

But it's the determined Serena who sucks up all the oxygen in this cautionary tale and around whom the story swirls. Think first of Lady Macbeth. Also think of the larger-than-life Claire Zachanassian, the billionairess at the center of "The Visit," the 1950s Expressionist parable by Swiss playwright Fredriech Durrenmatt.

Like Serena, Claire arrives in town on a train. Clomping around on a wooden leg and with her pet black panther in tow, Claire is an other-worldly character who attempts to avenge a long-ago lover's slight by cajoling the townsfolk of an impoverished Central European village to sell their souls for a fortune that promises a ride to prosperity. All the single-minded Claire asks in return is that the former lover be destroyed.

Serena, also has an unbridled lust. Unlike Claire, however, she isn't after revenge. She is driven by greed. For her, it's a hunger for profit and power at whatever the cost. Here hubris is Shakespearean in its zeal. There is no ambiguity. Nothing is allowed to stand in the way. Just as trees are to be felled, people are to be removed.

Instead of a black panther, Serena has a majestic eagle as her pet. The bird is always perched on Serena's right forearm as she rides her blazing white Arabian, overseeing the timber operations. She teaches the bird to hunt rattlesnakes, a scourge and constant threat to the lumbermen. The raptor is so effective that varmints the rattlers normally keep in check begin to encroach in camp.

"By month's end the eagle had killed seven rattlesnakes, including a huge satinback that panicked Snipes' crew when it slipped from the bird's grasp mid-flight and fell earthward. The men hadn't seen the eagle overhead, and the serpent fell among them like some last remnant of Satan's rebellion cast from heaven."

When a traveling side show shows up in camp, it's the eagle that takes on the dragon, which we learn had been captured on the island of Komodo: "Six feet in length and two hundred pounds of reptilian muscle and meanness." The death duel between dragon and eagle is over in a swoop.

The novel begins in 1929, the year of the stock market collapse, as newlyweds George and Serena Pemberton return to the mountains of South Carolina from Boston, where they had met and married. They have forged an alliance. They are empire builders planning to cut down forests to build their fortune in lumber.

Confronted on the platform of the railroad station by the father of the pregnant woman, husband follows his new wife's urging to "Get your knife and settle it now, Pemberton."

He unsheathes the elk-boned handled hunting knife that was a wedding present from his bride, grabs the father's shoulder with his free hand, slips the blade inside the man's coat and slices through shirt cloth to open "a thin smile across the man's stomach."

Taking her husband's arm, Serena picks up the fallen man's bowie knife and hands it to the daughter, who has leaned over to cradle the face of her dead father.

"`Here,' Serena said, holding the knife by the blade. `By all rights it belongs to my husband. It's a fine knife and you can get a good price for it if you demand one. And I would,' she added. `Sell, it I mean. That money will help you when the child is born. It's all you'll ever get from my husband and me.'"

Later that evening alone together on their first night in the mountains, Serena wipes the blood from her husband's knife. "`I'll take a whetstone to the blade tomorrow,' Serena said, setting the knife on the bedside table. `It's a weapon worthy of a man like you, and built to last a lifetime.'"

The elk-handled weapon will be used many times. As they oversee their empire, the lumber baron and his baroness, consolidate their position, strip the land, wipe out centuries of Mountain heritage and confront a nascent environmental movement led by the real-life Horace Kephart, who is allied with the federal government in a preservation effort to create the Great Smoky Mountains National Park.

The mountaineers who work in the lumber industry are, of course, the people most victimized. In this saga, not only is their way of life being obliterated, they are confronted by the lethal rule of the Pembertons and continually under assault by the inherent dangers loggers face.

The lumbermen, powerless to intervene or carve out their own destiny, watch from the sidelines as their heritage along with the forests is stripped away. "McIntyre raised his eyes and contemplated the wasteland strewn out before him where not a single living thing rose. The other men also look out on what was in part their handiwork and grew silent. When McIntyre spoke his voice had no stridency, only a solemnity so profound and humble all grew attentive.

"`I think this is what the end of the world will be like,' McIntyre said, and none among them raised his voice to disagree."

"Serena" is a big novel. It is a lament to the heritage and folklore of Appalachia. It's a dark tapestry of grand American themes of greed, power and the ruthless land-grabbing ethos of the early twentieth century. It is as dazzling as it is bleak.

Summary of Serena: A Novel

The year is 1929, and newlyweds George and Serena Pemberton travel from Boston to the North Carolina mountains where they plan to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains?but she soon shows herself to be the equal of any man, overseeing crews, hunting rattle-snakes, even saving her husband's life in the wilderness. Together this lord and lady of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she sets out to murder the son George fathered without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pembertons' intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning.

Rash's masterful balance of violence and beauty yields a riveting novel that, at its core, tells of love both honored and betrayed.


The year is 1929, and newlyweds George and Serena Pemberton travel from Boston to the North Carolina mountains where they plan to create a timber empire. Although George has already lived in the camp long enough to father an illegitimate child, Serena is new to the mountains--but she soon shows herself to be the equal of any man, overseeing crews, hunting rattle-snakes, even saving her husband's life in the wilderness. Together this lord and lady of the woodlands ruthlessly kill or vanquish all who fall out of favor. Yet when Serena learns that she will never bear a child, she sets out to murder the son George fathered without her. Mother and child begin a struggle for their lives, and when Serena suspects George is protecting his illegitimate family, the Pembertons' intense, passionate marriage starts to unravel as the story moves toward its shocking reckoning.

Rash's masterful balance of violence and beauty yields a riveting novel that, at its core, tells of love both honored and betrayed.

The Gift of Silence: An Essay by Ron Rash

When readers ask how I came to be a writer, I usually mention several influences: my parents? teaching by example the importance of reading; a grandfather who, though illiterate, was a wonderful storyteller; and, as I grew older, an awareness that my region had produced an inordinate number of excellent writers and that I might find a place in that tradition. Nevertheless, I believe what most made me a writer was my early difficulty with language.

My mother tells me that certain words were impossible for me to pronounce, especially those with j?s and g?s. Those hard consonants were like tripwires in my mouth, causing me to stumble over words such as ?jungle? and ?generous.? My parents hoped I would grow out of this problem, but by the time I was five, I?d made no improvement. There was no speech therapist in the county, but one did drive in from the closest city once a week.

That once a week was a Saturday morning at the local high school. For an hour the therapist worked with me. I don?t remember much of what we did in those sessions, except that several times she held my hands to her face as she pronounced a word. I do remember how large and empty the classroom seemed with just the two of us in it, and how small I felt sitting in a desk made for teenagers.

I improved, enough so that by summer?s end the therapist said I needed no further sessions. I still had trouble with certain words (one that bedevils me even today is ?gesture?), but not enough that when I entered first grade my classmates and teacher appeared to notice. Nevertheless, certain habits of silence had taken hold. It was not just self-consciousness. Even before my sessions with the speech therapist, I had convinced myself that if I listened attentively enough to others my own tongue would be able to mimic their words. So I listened more than I spoke. I became comfortable with silence, and, not surprisingly, spent a lot of time alone wandering nearby woods and creeks. I entertained myself with stories I made up, transporting myself into different places, different selves. I was in training to be a writer, though of course at that time I had yet to write more than my name.

Yet my most vivid memory of that summer is not the Saturday morning sessions at the high school but one night at my grandmother?s farmhouse. After dinner, my parents, grandmother and several other older relatives gathered on the front porch. I sat on the steps as the night slowly enveloped us, listening intently as their tongues set free words I could not master. Then it appeared. A bright-green moth big as an adult?s hand fluttered over my head and onto the porch, drawn by the light filtering through the screen door. The grown-ups quit talking as it brushed against the screen, circled overhead, and disappeared back into the night. It was a luna moth, I learned later, but in my mind that night it became indelibly connected to the way I viewed language--something magical that I grasped at but that was just out of reach.

In first grade, I began learning that loops and lines made from lead and ink could be as communicative as sound. Now, almost five decades later, language, spoken or written, is no longer out of reach, but it remains just as magical as that bright-green moth. What writer would wish it otherwise.

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