Bought at the Friends of the Library bookstore in San Clemente today.

In the introduction we learn that the author sent the book to several publishers, who wanted to edit the hell out of it. Finally she found a press that was happy to leave it alone. When I read this, I thought, oh lordy. I was prepared for self-indulgent ramblings, too many words.

It most certainly is written in an unusual style. Thoughts are indented, often conversations between two people are in the same paragraph, and Ms. Hulme uses a lot of ellipses. This last seems "lazy" to me. I think one should just use a period or finish the thought. It is easy enough to get used to the style, however.

I did have a little trouble following the trains of thought of the main character, Kerewin Holmes, and sometimes the other characters as well. I had the feeling I couldn't quite get inside their heads. In part because the novel is peppered with Maori words and slang terms, as well as what I take to be Maori beliefs. (Hulmes is Maori) This offers a glimpse into the culture, which I value, however. I don't think it is overdone.

The story. Kerewin ("Kere") lives alone in a tower of a residence that she built after winning the lottery. She is estranged from her family, is a bit of an eccentric artist who has lost her touch. Can't find that place where she can paint again. I gather she is in her thirties, but throughout I couldn't help but think of her actions and thoughts as "older". My fault, perhaps. She is part Maori, is strongly built and in good shape.

One day she discovers a little boy hiding in her house. Simon (she learns the name later) does not speak but is able to gesture to indicate what he means. He is a strange little boy who seems well advanced for his apparent years. Small and thin, he also has bursts of great anger and is a thief. Kere does not particularly care for him but at the time she finds him there is a great storm outside and she won't throw him out in the rain. She tries to reach someone who knows him, does find someone who promises to pick him up. But while he is there something in him reaches out to Kere and something in her touches him. There is some kind of odd, brittle bond formed.

Eventually Kere meets his father, Joe. Learns that Simon was thrown on the shore after a shipwreck had killed his presumed parents. Nobody can find out his origins so Joe and his wife never completed formal adoption proceedings. Soon after, Joe's wife and natural child die of sickness and Joe and Simon are left alone.

The character of Simon is a great part of the novel, as is the character of Kere. Both have unknown history, both have clearly been hurt. Simon tests everyone, not least his father, by damaging things, stealing things, behaving impossibly. Yet Kere tends to get through to him through her own adult way of speaking, which includes words Simon has never heard before, and phrases from who-knows-where.

The story does not proceed easily. It is more, to me, like real life in that way. There comes a great climax when all appears to be lost, but it is not the end. As the book proceeds from here we are treated to more and more Maori mysticism, for want of a better term. It gets a little out there. I was nevertheless hooked. I think it is worth getting through some stream-of-dream-consciousness to get to the conclusion. The characters are powerfully written, complex, and memorable.

Reserved for release.

On the bookcrossing zone shelf.