The Orchardist: A Novel Paperback – October 11, 2016

This book took 8 years to come to full fruition. It is a book that requires something from the reader, hence the mixed reviews it has received.It requires a reader to actually read rather than just slide over comfortable sentences that they are used to breezing through and past. The word choices, sentence configuration, story structure, and thoughts behind peoples actions are not the expected clichés that make readers so comfortable. The overall tone is one of thoughtful introspection, not the normal slam-bam-glib-happy-everything-is-wonderful stuff people seem to expect and need. The narrative has moods like the living being that it is. It starts off with absolute clarity for the first half and sinks into the confusion of the main characters near the end. As the story goes, so does the narrative which is one of its unique qualities.There is not an unnecessary word in the story. A rare achievement these days.This is the book is like an artifact from the future sent back in time to see who responds to it. While the narrative is about an age in the past, the writing and especially the mentality behind the writing is something very ahead of its time.Amanda Coplin is in touch with something few people are. This book is a window to that soul.When her next book comes out is anybody's guess. Wonder if I'll be alive to read it?

What is most amazing about this book - besides the stunning writing, the beautifully evoked setting, and the way Coplin keeps you hooked every step of the way - is how original this book is. I have never run across a character like Della who is damaged and fierce and feral. There is nothing sympathetic about her, especially as she increasingly untethers herself from all societal norms, but one still roots for her despite everything. I also felt deep sympathy for Talmadge, a man of few words and few evident emotions, who is so deeply wounded by the loss of his sister (did she run away? was she kidnapped? did she kill herself?) that he loves the wayward Della more deeply than Angeline, Della's niece who he's raised from a baby, despite Angeline's total devotion to him. Finally, Coplin makes the remote setting - wild, despite the carefully ordered orchards - thrum with life.

The story drew me in immediately, and the author's style was evocative and almost flavored with a pastoral touch. Even once the reader understands the horror of the girl's lives, the beautiful surroundings and simple pace of life lead to redemption and hope for each character. I loved the close-knit family-like bond of the characters, so few biologically related.I was devouring every sentence, reminiscent of Leif Enger or Denis Johnson, but about three-quarters of the way through, I hit a wall, and the book really slogged into repetition and overwriting. Explaining every single thought and emotion that the characters were feeling insults the reader, and the author would be wise to allow us to sort the mental wanderings ourselves. Give the reader more credit! The viewpoint is also compromised by such oddities as Della referring to Angelene as "the girl." At no time, was the reader unaware that she was Della's niece and could never have become such a mental stranger. Lastly, such a talented writer (or editor asleep at the wheel?) should have found the repeated grammatical errors by ending a sentence (i.e. p. 367/paperback) with the words 'where he was AT." Ouch.Still, a spellbinding story and grand accomplishment... possibly better with 50 pages fewer.

This novel has several themes, such as how child sexual abuse affects the victims, how nature and nurture affect the land as well as people and the effects limited communication and reclusiveness on others' lives.William Talmadge, his sister Elsbeth and their mother migrated to Washington state following the death of his father in a mining accident. They planted fruit trees from which they earned a living. Talmadge was left alone as a teenager following his mother's death and sister's disappearance. He seemed rather reclusive but a hard worker. He continued to expand his orchards and market the fruit in town. Two young girls, Jane and Della, who were dirty and pregnant came into the area and stole his fruit, but he nurtured them as though they were his own.I enjoyed the story and the writing. Unlike some reviewers, I liked the descriptions of the land. I was surprised by the lack of surprises. I fully anticipated that we would learn the identity of Jane's and Della's mother for example. However, unlike most plot-driven books, there were no surprises. Much might seem mundane to some readers. Having said that, there is a major event that drives much of Della's behavior throughout her life.What I didn't like was the lack of quotation marks. Coplin did a better job than some authors of helping us know who was speaking though. However, the lack of quotation marks often made me feel distant from the characters. Were those thoughts or statements?Another thing I disliked was how one person could be talking and in the middle of the paragraph it would switch to another person in another place and/or time. I don't know if Coplin wrote it that way or if it was a function of the software she used to convert it to an e-book, but it was confusing.I wasn't crazy about the ending, but on the other hand it is probably realistic.

The Orchardist left me thinking. And that makes it a good book. It was a strange story and strangely written but full of unexpected twists and turns and long pauses between events. I found it difficult to put down but was vaguely unsatisfied at the end. I'm not sure I'd recommend it although I think it deserves the four stars I gave it. It's sad and cynical. The characters are, I believe, not meant to be known and not meant to be understood although the reader knows some of what is going on in their heads when they should be communicating with others. It's a love story. It's a story of loss. It's a story of survival despite trauma, and the story of death because of trauma. I'm not sorry I read it, but I'm not sure I will be looking for more by Amanda Coplin.