Novelist Kent Haruf’s honors include a Stegner Award, a Frank Waters Award, and a special citation from the PEN/Hemingway Foundation. His novel Plainsong (1999) won the Mountains & Plains Booksellers Award and was a finalist for the National Book Award, the Los Angeles Times Book Prize, and the New Yorker Book Award. After living many years in Colorado, he passed away in 2014.
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The Tie That BindsA Novel
Edith Goodnough isn’t in the country anymore. She’s in town now, in the hospital, lying there is that white bed with a needle stuck in the back of one hand and a man standing guard in the hallway outside her room. She will be eighty years old this week: a clean beautiful white-haired woman who never in her life weighed as much as 115 pounds, and she has weighed a lot less than that since New Year’s Eve. Still, the sheriff and the lawyers expect her to get well enough for them to sit her up in a wheelchair and then drive her across town to the courthouse to begin the trial. When that happens, if that happens, I don’t know that they will go so far as to put handcuffs on her. Bus Sealy, the sheriff, has turned out to be a son of a bitch, all right, but I still can’t see him putting handcuffs on a woman like Edith Goodnough.
The Tie That Binds:A Novel -
The Tie That BindsA Novel
John Roscoe found two of the fingers and one of the thumbs. The thumb was still stuck in the section blades. The two fingers he found in he sand and stubble behind the header, but he couldn’t find any more. Edith held them on her lap on the way to town, sitting the back seat of the old Model T Ford behind her father. They looked like thick bloody sausages in the handkerchief on her lap, except that they had black hair on them between what would have been knuckles and they had fingernails on the ends. There was still dirt under the nails. Edith brushed the sand and wheat chaff off them: the fingers were very stiff. Roy sat in front of her with his head fallen on his chest. He was mumbling to himself, and his bloody hands dripped blood steadily onto the floorboards of the car.
The Tie That Binds:A Novel -
The Tie That BindsA Novel
He went on dispensing and displaying his junk, his proof of travel. By the time he had finished Edith looked like a circus gypsy. She was weighted with cheap necklaces, purple scarves, earrings and dangling bracelets—all with city names on them. She gave him in return a hug and a kiss; they were having a fine time of it. Then she took him by the hand and led him around the walls of the living room to examine and explain each postcard he had sent her, and each one reminded him of something, recalled for him in droning detail the days and months he’d spent in each place. Edith was as attentive as a lover. She kept saying things like, “And this one you sent from Cleveland, didn’t you? What happened there?” And he would tell her of course; Lyman didn’t require much prompting. He was full of stories. I watched them from the rocking chair, feeling as out of place as an old maid aunt chaperoning at a kids’ party—they were having such a time.
The Tie That Binds:A Novel
“His finest-tuned tale yet . . . There is a deep, satisfying music to this book, as Haruf weaves between such a large cast of characters in so small a space . . . Strangely, wonderfully, the moment of a man's passing can be a blessing in the way it brings people together. Benediction recreates this powerful moment so gracefully it is easy to forget that, like [the town of] Holt, it is a world created by one man.” —John Freeman, The Boston Globe
"Haruf is a master of evocative description, [and his] lyrical style, which has been compared to that of Hemingway and Chekhov . . . quickly infects the reader with its own peculiar rhythms . . . Most important, there is Haruf's spirit, which suggests that people unrelated by blood can and must form families, that a simple act of goodwill can occur even when it seems impossible." —St. Louis Post-Dispatch [on Eventide]
"A compelling and compassionate novel . . . [With] his sheer assurance as a storyteller, [Mr. Haruf] has conjured up an entire community, and ineluctably immersed the reader in its dramas." —Michiko Kakutani, The New York Times [on Plainsong]
Selected Works
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