The Stone Carvers in CanLit Challenge

Feb 13, 2009 Friederike Knabe rated it it was amazing · review of another edition

Shelves: canadian-lit

Klara Becker had decided to live like a spinster. Although still young, she doesn't expect any more from life: tending the animals on her inherited farm, sewing clothes for the villagers to earn a little extra money, and burying the memories of love and loss, until...

Klara is unquestionably Jane Urquhart's heroine in this wonderfully rich and absorbing novel about deep emotions, drive and determination. Set in the nineteen thirties, against the continuing aftermath of the most devastating histo Klara Becker had decided to live like a spinster. Although still young, she doesn't expect any more from life: tending the animals on her inherited farm, sewing clothes for the villagers to earn a little extra money, and burying the memories of love and loss, until...

Klara is unquestionably Jane Urquhart's heroine in this wonderfully rich and absorbing novel about deep emotions, drive and determination. Set in the nineteen thirties, against the continuing aftermath of the most devastating historical event of the early twentieth century, World War I, the author, by concentrating on intimate portraits of her protagonists, brings to life the personal challenges ordinary people faced during these difficult times.

The novel is structured into three distinct sections, focusing in turn on Klara, her brother Tilman and the construction of the Canadian War Memorial in Vimy, northern France. Klara's character comes to life primarily through her own observations and inner reflections. The depth of her emotional being that stands in sharp contrast to her external "spinster" persona, is exquisitely evoked in Urquhart's lyrical language. The following quote gives a taste of it: "When one embraces a moment of rapture from the past, either by trying to reclaim it or by refusing to let it go, how can its brightness not tarnish, turn grey with longing and sorrow, until the wild spell of the remembered interlude is lost altogether and the memory of sadness claims its rightful place in the mind?..."

In this section, the narrative moves easily between the thirties and the late eighteen eighties when Klara's grandfather, master woodcarver Joseph Becker, immigrated from Bavaria to southwestern Ontario in search for a new life. He had settled in the village of Shonegal where he found work with Father Gstir's ambitious church project for his small Catholic German congregation. Shoneval remained the centre of Klara's world; wood carving the craft to be passed on through the generations. Tilman, Klara's older brother, less interested in wood carving than in following the migrating birds, leaves home at a young age. Klara, on the other hand, quietly imitated her grandfather until she was ready to embark on her own carving project. Urquhart draws on the close interaction between her heroine and her work in progress - the statue of an abbess - to reveal the different emotional stages Klara experienced. Joseph could describe the changes he saw in the abbess's face, yet only guessing the source for his granddaughter's inner upheavals.

The third section of the novel draws the different threads of the story together and moves it to a different, yet intensely compelling level. The author provides an almost intimate account of the Canadian Vimy Memorial and the last stages of the work in progress, personalizing the direct involvement of its architect, Canadian Walter Allward and of the many skilled carvers implementing his dream. Her description of the enormous Monument, built on the actual battle field, and erected in memory of the many thousands of Canadian soldiers who perished in this decisive battle, leaves no doubt as to its impact on anybody seeing it. Urquhart's lyrical language evokes the eerie atmosphere that surrounds the carvers working high up on fragile platforms on either of the white limestone pylons that form the centre of the monument. The passages describing the intricate work of stone carvers whether swinging on ropes high up or working on engraving the thousands of names of the missing are some of the most memorable of the novel. The author imagines the stone carvers' daily existence: carving from dawn to dusk; living and breathing the atmosphere of the land, still saturated with the evidence of the war. For some, like for Klara and Tilman, the work is a release from the past, a new beginning that is grounded in forgiveness, closure and redemption. Not surprisingly, Urquhart, asked about what the novel was about, responded: "it is about the redemptive nature of art". Yes, indeed.

By bringing the different threads of the novel together around the Vimy memorial, Urquhart also achieves an admirable harmonization between the intimately imagined lives of her characters and the broader historical reality. Shonegal, for example, is based on the town of Formosa, the actual Father Gstir built the enormous church up on the hill as described in the novel. The imposing Vimy Monument continues to be well known to Canadians of all generations; Walter Allward, almost forgotten since as the architect of the Monument, has been given a well-deserved tribute in Urquhart's novel. ...more

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Oct 31, 2010 Mrsgaskell rated it liked it · review of another edition

Shelves: bookcrossing, canadiana, 6-star

Perhaps it was just me, perhaps it was jetlag, but I found this book boring and nodded off several times while reading it. It looked interesting to begin with 鈥� the building of a cathedral in a small Ontario town by a German priest in the 19th century. The priest enlisted the help of a young millworker who had been a woodcarver in the old country and their story was just the backdrop to the story of the woodcarver鈥檚 grandchildren, spinster Klara, and runaway Tilman. I didn鈥檛 find the relationshi ...more

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