User Reviews
Rating: really liked it
To hope, which finds roots in the most infertile of soils! Cheers, my friends on our shared planet!
I sit in silence, holding the paperback copy of The Overstory in my hands, thinking of trees.
Wondering which trees grew to become the books on my shelves. Wondering which ones became the cherry tree desk my grandfather made for me. Wondering how old the oak trees were that turned into the logs that made it into my wooden house, to turn into beloved bookshelves. I wonder at the kind of trees that frame my paintings. That give my brushes shape. I even have jewellery made of wood. And Swedish butter knives. And art.
My fence is made of wood, and my garden holds an oak tree, an acorn, three apple trees, plum trees, three cherry trees (plus a baby cherry trying to make it), AND my garden holds a three-year-old chestnut experiment.
My daughter and I collected chestnuts one autumn and put some of them into a corner of our garden. The following year, we saw a few single sticks with a leaf each coming out of the soil.
Then we had five or six leaves on each of the three tiny chestnut trees - growing in slow motion (human time perception). This year, I have already checked that they are still alive, and I can see there will be more leaves. Will they survive?
I don't know, but I took a picture, imagining while I did so that I was Nick, owner of a family's collected photographic memory of a chestnut tree planted where they usually do not grow. And I felt it made such perfect sense - my tiny gardening project connected to my vast reading life, growing side by side as long as I am around to think and feel.
"What do stories do?" This is what one character asks at a crossroads. "They kill us a bit and make us change."
And that is precisely what happened to me while I read The Overstory. Filled with the pain of the world's development in recent decades, I had grown ready for this book. I would not have had patience ten years ago to follow from roots over trunk to canopy and seeds the stories of people who see what others choose to ignore: that humanity is using up the resources of its own habitat at a speed that nature can't cope with, and that we are unlikely to stop the trend because stopping it means destroying our most cherished religion: the belief in growth and ownership. "We're cashing in a billion years of planetary savings bonds and blowing it on assorted bling".
What to do if we see this happening, and if we don't want to see the world change from diversity to monoculture, from natural life to surviving in an adverse and hostile habitat? I am as guilty of what the psychologist character in the book calls the bystander effect as anyone else. I know we must change our ways to make our planet a sustainable home, but I am unable to break the patterns I was raised and taught to take for granted. Reducing meat intake and plane rides is not enough. We must learn to think beyond commercial benefit and growth of assets if we want to have a future that can remember us.
This book is amazing, like a Tree Of Life! It grew out of the need to verbalise the imminent threat to our species and its unique ability to LOVE nature in all its forms.
Read it. Pulitzer redeemed for as long as it takes a tree to grow!
Rating: really liked it
Richard Powers’ structural approach to
The Overstory breaks with traditional plotting. The result is two books in one, each designed to appeal to a different type of reader. The flaw in this approach is that the book either reads like a literary triumph that starts slow then builds to something satiating, or it reads like a bait-and-switch with a breathtaking start followed by a wearisome and long-winded trek to the conclusion.
Part 1 (called “Roots”) reads like a magnificent short story collection. The backstory and exposition that would normally be woven throughout a book is delivered in several rousing anecdotes. Nine protagonists are introduced, their stories ranging from sweeping multi-generational sagas to brief glimpses into their private lives. These characters remain separate in “Roots,” yet their stories are united by meaningful interaction with trees. Each of their stories arrives at an arresting climax before Powers hits the pause button.
“Roots” will likely appeal to fans of 4 3 2 1 by Paul Auster or The Sport of Kings by C. E. Morgan. The remaining three-fourths of the book, however, are something else entirely.
Parts 2 through 4 (called “Trunk,” “Crown,” and “Seed,” respectively) sees these nine characters being inextricably drawn together. Their lives entangle, their shared interests and unique experiences with trees drive their actions. This portion of the book is arguably slower, with fewer revelations about the characters and more attention dedicated to exploring themes. Powers pulls back the curtain to introduce trees as a tenth character and forces us to examine our role in, and relationship to, nature.
All ten characters share similar beliefs, fight for the same causes, face the same external conflict (while wrestling with minimal or no internal conflict), and everyone gets along. It’s a startling contrast to the first part of the book; a harrowing and captivating intro that promises heartbreak and drama, followed by a stagnant alternative book in which the captivating backstories have very little bearing on the overall narrative.
At times, Powers’ writing is as beautiful and wondrous as nature, and his messages about activism and resistance are poignant but, ultimately, his execution is uneven and the final product is a book bloated with redundant characters.
The bends in the alders speak of long-ago disasters. Spikes of pale chinquapin flowers shake down their pollen; soon they will turn into spiny fruits. Poplars repeat the wind's gossip. Persimmons and walnuts set out their bribes and rowans their blood-red clusters. Ancient oaks wave prophecies of future weather. The several hundred kinds of hawthorn laugh at the single name their forced to share.
Rating: really liked it
This book has an interesting structure and it is well-written. I get what Powers is going for conceptually. The character sketches, which read like short stories are wonderful. But then the book gets... less engaging, shall we say. I stopped reading it because I just could not read one more passage of florid description about trees or visions or highways. I couldn't do it. But if you love trees, this is a good book for you. I get why it won the Pulitzer.
Rating: really liked it
Further Update. I can't help it: Powers' writing does something to me. I've now finished a re-read of this book and I am going back to 5 stars. It's a book that really rewards a second reading. It is much darker than I remember from first read (suicide, disillusionment, betrayal on top of the destruction of the natural world) and also much more emotional. The latter of those two surprised me because I thought that knowing the story would reduce the emotional impact, but the reverse happened.
I loved all the comparisons of speed (humans, the natural world, computers) and I got a lot more out of Neelay's story this time through.
So, whilst I can understand the criticisms some have made, I'm choosing to ignore those bits and take the novel as a whole which is, I think, required reading.
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Update: on reflection, I got a bit excited about having a new Richard Powers book to read and I have definitely, despite what I say below, read better books this year. Consequently, my rating has dropped to 4 stars. There is also the fact that Powers himself has written several books better than this one.
—————
Two quotes from different parts of this book:
"The best arguments in the world won’t change a person’s mind. The only thing that can do that is a good story."And
"Yes! And what do all good stories do?" There are no takers. Neelay holds up his arms and extends his palms in the oddest gesture. In another moment, leaves will grow from his fingers. Birds will come and nest in them. "They kill you a little. They turn you into something you weren’t."I should come clean at the start of this review. Richard Powers is my favourite author. I have read all his previous novels and have been desperate to read this one ever since I first heard about it a few months ago. I am grateful to the publisher, via NetGalley, for the opportunity to read an ARC a couple of months prior to publication date.
The overstory is the name given to the part of a forest that protrudes above the canopy. When you look at a rainforest, for example, what you see from above is the canopy with trees standing out above it. What you don’t see unless you get into the rainforest is the understory that sits below the canopy but above the ground, then the shrub layer below that and, finally, the forest floor.
It is clear from page 1 of this book that the trees will be the stars of the show. Repeatedly, they are referred to as
"the most wondrous products of four billion years of creation" and the book is shot through with the most astonishing and mind-blowing information about trees. In particular, the book tells us a lot about how and what trees communicate with each other. For example, when a tree comes under threat from an insect of some kind, it tells its neighbours who respond by releasing insecticide to protect themselves. In a large forest, many trees whose roots meet actually meld their root systems together making the whole forest an interconnected network where the trees nurture their young and heal their wounded. Not so long ago, all this was the stuff of ridicule, but today a lot of it has been demonstrated and more is being discovered all the time.
What Richard Powers wants his readers to realise is what this means for humanity. He wants us to realise how important trees are for the world. And he chooses to do this not with a text book but with a story.
His story is structured like a tree. The first 150 pages consist of the "Roots". These are 8 apparently independent short stories giving us the back story for 9 different people. One, for example, tells us the family history of a some immigrants into America (mid-1800s) ending with an artist in recent times who inherits the family collection of photographs all of the same chestnut tree taking at monthly intervals over generations. In another, a hearing and speech impaired scientist discovers that trees are communicating with each other. The unifying theme across all the stories is the presence of trees. And it is worth noting those trees because, as many people know, trees have huge mythical and symbolic meanings and the trees Powers chooses for each of his characters are not random selections.
The next 200 pages are "Trunk". Here the stories of the individuals that we now know quite well start to merge and connect. Some merge completely, others connect tangentially. This passage is overtly political. Don’t expect an unbiased overview: this is an impassioned plea for the protection of trees set in the form of a story. It is an attempt to make readers realise how temporary humans are in the grand scheme of things…
"But people have no idea what time is. They think it’s a line, spinning out from three seconds behind them, then vanishing just as fast into the three seconds of fog just ahead. They can’t see that time is one spreading ring wrapped around another, outward and outward until the thinnest skin of Now depends for its being on the enormous mass of everything that has already died."…and how much more permanent trees are…
"Out in the yard, all around the house, the things they’ve planted in years gone by are making significance, making meaning, as easily as they make sugar and wood from nothing, from air, and sun, and rain. But the humans hear nothing."Then we have 120 pages called "Crown" where the stories separate after a dramatic climax to Trunk, but remain connected, branching out in different directions.
Then, finally, "Seeds" tells us some of the outcomes of the stories and leaves us poised for the next steps in others. It includes a plea for us to look at things differently.
"The planet’s lungs will be ripped out. And the law will let this happen, because harm was never imminent enough. Imminent, at the speed of people, is too late. The law must judge imminent at the speed of trees."I think this is perhaps one of Powers' most accessible novels. It feels to me, fresh from finishing it, like his most passionate one. Yes, there is some science, but a lot of it is explained carefully. This novel does not require the scientific background that some of Powers' novels have asked the reader for. And there is no music in this book, which is the other thing that Powers often includes in his novels and often does so in a fairly technical way. This one is, by contrast, far more emotional: it feels like a book Powers has written because he wants, as the quote at the start of this review says, to change people’s minds. In my case, he is perhaps preaching to the converted because I am already a believer in conservation and already convinced of the importance of trees. Even so, this book taught me many things and fired up a stronger passion in me for the natural world. I have to hope that others will read it and become equally convinced of the need for intelligent conservation work.
I know I am biased because of my love for all of Powers’ novels, but I think it is possible I have now, even only in January, read my favourite book of 2018.
Rating: really liked it
The Overstory is part short stories, part tree porn, part rant, and part ramble. It adds up to an impressive literary achievement that will linger with me for a long time, even while the reading experience is generally tedious. At times the characters are intriguing, at least once does plot play a role, and there’s even a fleeting moment of tension. In other words, if you only enjoy edge-of-your-seat thrillers--this isn’t your book. If you’re obsessed with trees, it might be.
I’m by all means a bonafide tree hugger. Literally and figuratively. As seen above, this is me hugging a giant sequoia at Sequoia National Park. When characters in this book stage a protest by sitting high in California Redwoods to prevent them from being cut down, it’s easy to picture the scene. My heart breaks at the mere thought of chopping down these landmarks. Still, the book is hard to get into. I don’t think I ever picked it up with joy or a desire to find out what happens next.
That’s not entirely true. During the first 150 pages, which is basically a standalone collection of short stories, Powers introduces characters who are all significantly impacted by trees. The trees linger in the background, seemingly insignificant in the grand scheme of things, but suddenly they are the whole world. Though there’s no hook or inciting incident in these pages, it works. The theme that trees are integral to human life repeats throughout, but never so well as these slice of life chapters.
As the book progresses, it becomes clear the author--or publisher--wanted this to be a novel and not a collection of short stories. There’s a refrain about hearing the voice of trees, which I don’t disagree with but comes across hokey, and one of the characters gets jail time. It’s all a bit forced to be honest.
The Overstory succeeds, however, by staying on message. Whether or not the plot points (if you can call them that) make any narrative sense, one thing is consistent--a love for trees, a warning to those who disregard them, and a tutorial on how to recognize their significance. These aspects in particular are worthy of admiration. If you can write a book that significantly alters a person’s worldview, it’s an incredible book. I don’t care how boring it is. And even me, tree-hugging me, cannot look at trees in the same way. I’ve always recognized their beauty, their subtle--and overt--impact on my life, but I don’t know that I’ve ever heard their voice. Now, perhaps, I can.
Rating: really liked it
The Overstory is undeniably brilliant, but it's also hard work, and I'm not convinced the payoff was worth the effort. I wanted to be able to say that I was so struck by Powers' genius that I was able to forgive the periods of abject tedium that characterized my reading experience, but that would be a lie. This is undoubtedly a fantastic book, but I don't think I was the right reader for it.
Here I have to echo a sentiment that I expressed in my review of Lab Girl by Hope Jahren: there are only so many loving descriptions of trees a person can take after a while. What I'm interested in when I read is conflict and human interest and interpersonal dynamics, and when none of that is at the forefront of a book, I'm inevitably going to struggle with it.
While Richard Powers did create a host of distinct characters in The Overstory - the first section of the novel is eight different short stories, one following each of the main characters through defining moments in their early lives - it soon becomes apparent that their stories aren't the ones that Powers is interested in telling. I had more than a few moments when I had to wonder why Powers chose to write this as a novel at all, when it would have arguably served its purpose just as well as a treatise on environmental activism.
Powers is a hell of a writer though, I'll give him that. I can't bear to go lower than 3 stars in my final rating because I can't deny the admiration I feel toward Powers' craft. On a sentence-by-sentence level, I lost track of the amount of times I paused and reread a particularly striking passage, and the amount of detail that Powers is able to pack into every page is incredibly impressive. And on a larger level, the thematic complexity that Powers is able to achieve with his anthropomorphic symbolism and thorough examination of disparate disciplines and philosophies is undeniable. When words like 'epic' and 'masterpiece' are being thrown around in conversation with this novel, it's not difficult to understand why.
But at the same time, I'm just not convinced that it was all necessary. I don't believe that this book is able to justify its length of 500 (very long) pages. It's punishingly dense and bloated; I found certain characters to be extraneous and a lot of the detail to be superfluous. But it's also punctuated by moments of such beauty that make it a worthwhile read, and I wouldn't be surprised at all if this wins the Man Booker, but on a personal level, I can't say this was my favorite reading experience I've ever had.
Rating: really liked it
Shortlisted for the Man Booker in 2018, The Overstory is a brilliant and passionate book about humans and their relationship to trees and the natural environment.
The first half of the book is exceptional. Written like short stories, 9 characters are introduced separately with their tree story. Each story has an event that has happened to change the life of the character by the tree or trees that shaped them. The stories are phenomenal.
The second half of the book is about these same characters being drawn together to fight the cause of saving trees. Environmental activism is the center of this part of the book and it’s fight against logging companies who are destroying the American forests.
Richard Powers shows such compassion and enthusiasm throughout his book. However, I found the second half to be too long. Some editing would have gone a long way. His book is 500 pages long and not an easy one to get through. It is well researched and very thought provoking, however. A book that won’t leave the reader for a long time.
4 out of 5 stars
Rating: really liked it
I'm actually not quite sure how I felt about this one but also spoilers are going to follow before anyone gets angry at me.
The book starts out by telling what are seemingly separate stories about a variety of characters, so at first I thought it was just going to be a collection of short stories. That felt sort of confusing though because we met about 9 or 10 characters in like the first 100-150 pages and the book itself is 500 pages; I just thought to myself is this a collection of 50 short stories. Eventually though the stories seem to converge together.
When the stories come together though there are still a few characters who don't directly interact, or when they do it's in a very brief way. There's also a lot of ambiguity through out the book on a few things. For one thing it's implied that Olivia is Ray and Dorothy's daughter but they are supposedly childless. Eventually it's also implied that the chestnut tree in their backyard is their daughter so perhaps Olivia is a human avatar for the tree itself. There was also this implication that Patricia commits suicide when she's speaking at the conference but there's never any kind of confirmation of the fact. There's also a convergence of three characters at that point in the story with Neelay and Mimi both attending the conference. It made that whole plot point sort of confusing because both seem to anticipate that Patricia is about to commit suicide.
I think the book alternates between being clear and easy to follow and then lapsing into ambiguity and it can make it hard to tell what is happening at times. I think the descriptive language just makes it even harder sometimes to follow along. I think it also covers a lot of themes that made it feel like the book itself was all over the place. I felt like we could have done without Neelay's storyline for sure at the very least even if I understand what Power's was trying to do with it.
I did really enjoy the writing and the structure of the story. I thought it was really cool how things unfolded and came together. It felt very in line with the idea of branching that was brought up again and again through out the book. Sometimes the book felt really obvious though and I feel like it could have been stronger if it alluded to things sometimes instead of spelling it out every time. I think it might also be a little hard to read passage upon passage describing trees endlessly.
Overall I enjoyed the book, especially the writing and the novelty of the structure and storyline. I liked the way there was repetition on certain themes and we saw a reoccurrence of sentences/passages through out. I did think it could've been stronger if it was edited down to take out Neelay's part of the story though because that felt like the weakest part of the storyline to me personally.
Rating: really liked it
Another hour. Deserts of infinite boredom punctuated by peaks of freakish intensityPowers doing my review writing for me.
My reading experience of
The Overstory often felt like a forced march of The Appalachian Trail while being read poetry. In all likelihood that might appeal to some people, however I prefer a less arduous journey. I tried to escape this book once, flinging it aside at around page 60 but several positive reviews from trusty readers and the growing likelihood that this will make the MB shortlist made me put my hiking boots back on.
This is not my first rodeo with Richard Powers. I read his 2014 shortlisted book
Orfeo a novel that deep dives into molecular biology and classical music and combines them in grand esoteric passages that at times seem barely penetrable. Despite this I ended up admiring
Orfeo. I had hoped for something similar to occur with this book, particularly as I admire books that find ways to incorporate the hard sciences. Unfortunately, I came away from this wondering if I might have been better served reading Wohlleben's
Secret life of trees .
I am aware Powers has a degree in Physics as well as literature and that becomes obvious in sentences like these :
Ten million points flicker in the falling dark, like logic gates of a circuit cranking out solutions to a calculation generations in the making. Through the armored arch behind the checkpoint, a cell-subtended hallway disappears lengthwise down an optical illusion into forever. I do admire him for attempting to mesh these disciplines but it makes for a grandiose writing style and a sometimes odd juxtaposition of disciplines. These being not limited to - dendrology, ecology, eco-warfare, computer science, psychology, mythology, poetry, evolution, and taxonomy. This often verges on information dumping and threatens to lose sight of the fact this is suppose to be a novel.
My other major concern with this book was the understandable but ultimately unhelpful craze to anthropomorphise scientific research. Wohlleben's book has garnered much attention but it is far from accepted doctrine to talk of complex tree networks as if they have intention and consciousness. Powers leans heavily upon this, trees "bleed" sap, they have plans to travel north, they communicate intention with each other, they would talk to us if only we were listening. Certainly there is scientific evidence to support communication and symbiotic relationships and much else interesting besides. But it seems to me a fallacy to try to view these findings through a lens of human behaviour. Is that not an egregious form of egotism on our part?
There are far better reviews available that discuss the ecological themes of this book, its' unusual structure, the characters and why Powers might win a place on the Man Booker shortlist. However, I personally subscribe to the opinion that Annie Proulx did this type of book much better with
Barkskins. Proulx has a warmth and knack with characters that I think is lacking in
The Overstory and I walked away from it with a much greater sense of the epic scope of ecological crisis.
However, it is impossible to spend what ended up being almost two weeks with this book and not find some glimpses of brilliance. I am left with a strong sense of having traveled through some delightful arboretum where tree giants are whispering just out of ear shot. Much like hiking the Appalachian Trial might feel like days of misery and toil for one or two moments of transcendental bliss so goes the experience of reading
The Overstory . A slog then but not without occasional rewards.
Leaving you with the oh so wise Dr Patricia Westerfold -
She could tell them about a simple machine needing no fuel and little maintenance, one that steadily sequesters carbon, enriches the soil, cools the ground, scrubs the air, scales easily to any size. A tech that copies itself and even drops food for free. A device so beautiful it’s the stuff of poems. If forests were patentable she’d get an ovation
Rating: really liked it
This has won the Pulitzer Prize!!
Richard Powers writes with ambition, passion and reverence on the world of trees, their ancient
intelligence and their central place in the fragile ecosystem. This is a dense and epic work of environmental fiction, a picture of the state of our planet and how humanity has contributed to its degradation. Whilst the over riding central character of this are trees, he interweaves the stories of the lives of 9 disparate individuals, within a four part structure of Roots, Trunk, Crown and Seeds. The stories of the 9 people appear to be isolated but interlinked with their varying connections to trees and their growing contribution in their efforts to prevent the destruction of forests and woods. Powers immerses us in the world of trees, so wondrous, coming at the theme from multiple perspectives, packed with elements of science and a dollop of magical realism.
This is not a perfect or an easy read, there are occasions when Powers just cannot help himself from over egging the narrative with his heavy handed need to hammer home the same points a little too assiduously. However, this powerful paean to the treasure that are trees and nature, highlights one of the most important issues in our contemporary world, the state of the planet that our younger and future generations are set to inherit. People have failed to see the wood for the trees, thereby underlining our inability to intuit the place of humans amidst the wider ecosystems of the Earth we rely on to live and survive. This is an elegaic, extraordinary, and emotive read, if faintly exasperating at times, a critically important novel for our times on the issues surrounding sustainability. Many thanks to Random House Vintage.
Rating: really liked it
Richard Powers’s “The Overstory” soars up through the canopy of American literature and remakes the landscape of environmental fiction.
Long celebrated for his compelling, cerebral books, Powers demonstrates a remarkable ability to tell dramatic, emotionally involving stories while delving into subjects many readers would otherwise find arcane. He’s written about genetics, pharmaceuticals, artificial intelligence, music and photography. In 2006, his novel about neurology, “The Echo Maker,” won a National Book Award. And now he’s turned his attention, more fully than ever before, to our imperiled biome and particularly to the world’s oldest, grandest life-forms: trees.
“The Overstory” moves the way an open field evolves into a thick forest: slowly, then inevitably. For a while, its various stories develop independently, and it’s not apparent that they have anything to do with one another. But have faith in this world-maker. Powers is working through tree-history, not human-history, and the effect is like a time-lapse video. Soon enough his disparate characters set out branches that touch and mingle: Before the Civil War, a Norwegian immigrant travels to Iowa and begins homesteading in the largely empty new. . . .
To read the rest of this review, go to The Washington Post:
https://www.washingtonpost.com/entert...
Rating: really liked it
Richard Power's The Overstory is a masterpiece that won the 2019 Pulitzer for Fiction. It is monumental piece of environmental fiction whose ubersubject (the "overstory" if you will) is trees and how humans have misunderstood them, fought over them, destroyed them, and even died for them.
The book's initial section, "Roots", contains introductions the nine protagonists of the primary narrative which constitutes the largest section called "Trunk." Each character is fully fleshed out and while they seem all completely unrelated, Powers succeeds in winding all their stories together, like so many subterranean roots and fungi, into a coherent narrative. Adam, Olivia, Nick, Douglas and Mimi are all tightly bound into an activist movement on the west coast and their stories add the drama to the story as sort of the tallest, most visible redwood forest that they are struggling to protect. Around them, the other characters have peripheral views into the primary action playing out on TV as Neely writes a successful Civilization/Minecraft game which he evolves towards a more ecological underpinning, the professor Patricia who - like the very real Peter Wollheben and The Hidden Life of Trees: What They Feel, How They Communicate – Discoveries from a Secret World - writes about the very real and tangible ways that trees communicate, and the dysfunctional couple of Ray and Dorothy who let their mutual love of nature lapse and see their relationship collapse.
Having read Wollheben before Powers, I started to raise my own consciousness about trees. I was also lucky to have caught the Trees exposition here in Paris at the Foundation Cartier (https://www.fondationcartier.com/en/e...). Also, I have an aunt in Kentucky whose ash trees are succumbing to the emerald ash borer like most of the other ash trees in America. The plagues that have periodically wiped out species of trees affect the life of Nick and Adam. In the latter case,
"The fungus gutted Detroit while the kids were still small. Then Chicago, soon thereafter. The country's most popular street tree, vases that turned boulevards into great tunnels, was leaving this world. (p. 55) One of the unstated issues that the book tries to demonstrate is that had the forests not been cleared so completely, the natural defenses of trees may have been able to combat these waves of destruction.
The writing is mostly in the present tense which helps pull the reader into the story and makes time almost disappear while reading it. Almost as if the reader is trying to channel time as trees experience it. There are also nice literary allusions, my favorite was this one:
"Civilized yards are all alike. Every wild yard is wild in its own way. (p. 384). I'll let the erudite commenters reveal which masterpiece Powers was quoting there.
As an aside, I wanted to briefly talk compare The Overstory and The Hidden Life of Trees: What They Feel, How They Communicate – Discoveries from a Secret World with a book which I have vocally criticized: Sapiens: A Brief History of Humankind. In the latter, the author bemoans the wanton destruction caused by the agricultural revolution, but to my mind proposes no alternative and just leaves the reader with empty, vsacuous soundbites. In the former two books, we are given a vast insight into how trees communicate and how they are intimately related to human beings. Yes, our ignorance of their speech (as alien to us as would be expected because our life spans and perception of time is on the same magnitude as that of flies to humans) has caused irreparable damage to the ecosystem. And there is an obvious domino effect: global warming and climate change. But, in the two books about trees, even if a militant outlook is shown to be a dead-end, it is demonstrated that being custodians of nature, we can help forests come back and preserve our biodiversity. It is not all of humankind that is to blame, as Harari would have us believe, but rather, rapacious grift driving large corporations which reap a direct, short-term financial benefit from wholesale environmental destruction. If the law was enforced rather than trampled upon, the jobs could be converted to conservation-related jobs and the forests could be preserved. I found that this positive message was stronger than any of the superficial aphorisms in Harari's book.
In conclusion, the book is truly beautiful and well-written. I believe its core message was something like this:
"It feels good, like a root must feel when it finds, after centuries, another root to pleach to underground. There are a hundred thousand species of love, separately invented, each more ingenious than the last, and every one of them keeps making things. (p. 144)
My rating of all the Pulitzer Winners: https://www.goodreads.com/list/show/1...
Rating: really liked it
Having bought this book months ago, I started wondering if I spent my money well. Although I enjoy making my own mind regarding my reading choices, I couldn’t escape coming across many reviews, both positive and negative, as a result, I was a little apprehensive … When I began reading, I thought it’d take me many weeks to get through this novel, however, it turned out to be a compulsive reading for me. Different characters, different stories, one theme: trees. I love forests, parks and try hard to save trees in my neighbourhood, but this novel added a new dimension to my perception of the lives of trees. I’d never read environmental fiction before, and for me this book is powerful. As a reader, I received what I expected to receive from a good book: story and narration that engaged me.
Rating: really liked it
Well. A long rant has been percolating in my head while I read this overpraised novel by a writer I try over and over and whose work over and over fails to wow me, which is putting it kindly. Lately I've read a number of the 'what to do about great men/geniuses who are also sexual assaulters' think pieces that have been proliferating and what throws me each time is that the artists cited are in reality not a single one of them great, let alone a genius. See for instance Roman Polanski, Woody Allen, David Foster Wallace and so on, none of whose work deserves anything close to the adulation it gets. And no I'm not associating Powers with those accused of misogynist behavior (though who knows, such a revelation about any given man cannot be a surprise at this point). I am however associating him with the long list of white men assigned greatness status when they nowhere near deserve it. What a low bar they have to leap.
There's some good writing here, yes. The theme is of course important, yes, and there's important information shared here, yes. That's about all this novel has going for it. As with every single other of his books I've read, and despite the overabundant effort in this one at conjuring up some, somehow there's no real passion here. As with other of his books, this one never made me feel anything, neither about the urgent matters he's addressing about which I do yes feel a great deal but his writing didn't tap in to even my already existing feelings, nor, most definitely, about the characters who for all his very visible efforts never achieve any depth or dimension. As I've always found with a Powers book, despite or maybe because of everything he desperately throws at it ("cophrophagic" instead of plain old "shit eating" grin kind of epitomizes the problem, as do all the would-be lyrical but actually wearisome lists of natural wonders), in this one he once again misses the mark. The mark being the powerful, stirring, devastating novel this one wants to be but is not.
Along with the general failure there's a specific offense, one that I suppose shouldn't surprise me but still does every time an author commits it, which these boy geniuses yep keep on doing. That is this book's overweening androcentrism. It's a man's man's man's man's world in Powersland, and this is true even though some of the central characters are women, a neat trick. I could go on and on about this but will just mention a few aspects of this insult. One, the most egregious, is the use of the words "man" and "mankind" throughout to refer to human beings. Jesus H. Christ. In the year 2018. Two, following this, every specific tree that plays a part in a scene is referred to as "he." Really!? This even after we've already been told that most trees are male or female. Yet Powers can't manage to adhere to fact when portraying them. Three, in Powers world, it seems, only fathers matter. Just about every story line starts with a depiction of the character's relationship with her/his father, and this father remains a keynote throughout the characters' ensuing lives; mothers are barely mentioned and when they are, it's ridiculously stereotypically (with a nice pinch of cultural racism thrown in, in the case of the Indian mother who gets a handful of lines bobbling her head and nagging her son to get married). Apparently, in Powers' view, only fathers matter. Daddy issues much, sir?
There's more. Like the absence of a single Black or Latinx character in what sets itself up to be a sweeping saga of recent U.S. history. Powers throws a line or a paragraph here and there to a Native person though these characters don't get any actual names or agency of any kind. And like the book's ultimate failure to provide any true vision, any forward thrust that doesn't devolve into dewy mysticism as the closing pages do, any real ideas or analysis about an actual way forward for humans and trees in this book about humans and trees. Which is not surprising, and which also explains the rapturous reviews this book has undeservedly received. When the literary establishment heaps praise on what they label a political novel, the very literary establishment that always vociferously denies there can ever even be such a thing as a political novel that achieves true art, the establishment that will never praise a really political novel that is truly radical and issues a real artistic-ideological challenge to bourgeois consciousness, well then you know the book in question has nothing new or exciting to recommend it.
That book, new and revolutionary, will come. The one that doesn't merely whine about what class society has wrought but tells a winning, gripping story of a real battle, a revolutionary class-struggle battle on a much grander scale than the little scenes depicted here, to save the trees and all the rest of us. I'll be waiting.
Rating: really liked it
2019 Pulitzer Prize winner for Fiction! This dense, literary book will make you think.
… when you cut down a tree, what you make from it should be at least as miraculous as what you cut down.
Final review, first posted on Fantasy Literature:
The Overstory is a powerful, literary novel, shortlisted for the 2018 Man Booker Prize. It sings, in part, a paean to the wonders of trees and the multitude of wonders that old-growth forests and a variety of trees brings to our world. It also mourns a tragedy: how humans relentlessly annihilate these priceless resources, and what drives some people to eco-terrorism.
The Overstory is brilliantly organized in a form that reflects an actual tree. It begins with a section aptly titled “Roots,” a set of eight apparently unconnected stories in which we meet nine disparate characters: An artist whose family home in Iowa boasts one of the last healthy American chestnut trees. The engineer daughter of a Chinese immigrant. An odd, unmotivated teenager inspired by a book about human behavior and psychology. An intellectual property attorney who falls in love with an unconventional stenographer. A Vietnam veteran who stumbles into a job planting seedlings to replace mature trees that have been cut down. A brilliant computer programmer, permanently disabled by a fall from a tree. A postdoc, hearing- and speech-impaired woman who studies trees, discovering that they communicate with each other, and is ridiculed for her conclusions. And a beautiful, careless college undergrad who dies from an accidental electrocution and returns to life with a vision and a purpose. And all of these characters have been deeply affected by trees, in one way or another.
Richard Powers traces the lives of these nine people ― often back to their childhood or even their ancestors ― to explore how they have developed into the people they are. These introductory stories of their lives are excellent and insightful; good enough that they could stand alone as individual short stories. But Powers is just getting started.
In the next section, “Trunk,” their lives come together and begin to affect each other. Four of them become eco-warriors, part of the tree-hugging movement whose proponents will do almost anything to stop the logging and stripping of irreplaceable mature redwoods and old-growth forests. “Trunk” culminates in a terrible, unexpected event that will change their lives forever. And so we proceed to “Crown” and then the shorter, final section, “Seeds.”
The Overstory is a little bit magical realism, with messages being shared with some of the characters by some mystical source, and a little bit science fiction, as the genius computer programmer develops video games that turn into a type of artificial intelligence. But mostly Richard Powers is trying to convince us, as readers, of the wondrous nature of trees, and to treat trees, and our world generally, with deeper respect. The novel shifts its focus somewhat in the final section, with a somewhat cryptic hint that trees may well outlast humanity.
Parts of
The Overstory rate five stars, easily, but personally I hit a bit of a wall with the lengthy middle section, “Trunk.” As brilliantly written as the book is, it’s also sometimes slow-paced, repetitious and didactic, as Powers delves into the evils of the corporations and groups who are indiscriminately cutting down trees and eliminating forests, and the worst of the tactics they use against those who try to oppose them. I think this novel would have benefited by being edited down by about a hundred pages and by being less overtly preachy. But Powers is clearly angry, and wants us to share that anger and be moved to take action. It may be message fiction, but this is potent stuff. Also, as Powers points out more than once, trees live very slowly compared to humans, and that is echoed in the deliberate pacing of
The Overstory.
For readers already of the view that humans are doing profound damage to the ecology of our world,
The Overstory will give you additional arguments and inspiration. For those more skeptical, it may cause you to reexamine some of your views.
The Overstory isn’t an easy read, but it’s a powerful and persuasive work of art.
I received a free copy from the publisher for review. Thank you!Content notes: some, very limited adult content (language, violence, sexual situations). This isn’t a book for younger readers in any case.
Initial post: This hefty, literary book looks a little intimidating, but interesting. The Secret Life of Trees. Off we go!
