When I first heard the title of Laura Hunter’s recently published first novel, Beloved Mother, I wondered whether this was a sentimental Southern novel, one replete with tales of a mother adored for her unwavering, unqualified love and devotion. Well, in a word, was I ever more wrong!?! Fortunately, I heard the author speak about the book before I read it, and I learned it had won two 2019 international INDIE book awards, for books published by independent book publishers—one for best first novel, the other for best novel, if I recall correctly—so I adjusted my expectations and plunged in. I am so glad I did.
Beloved Mother is a fascinating, complicated, often “dark” novel I continue to think about in the days since I finished reading it, which I consider a high compliment. It deals with difficult human issues, is not always straightforward in the conclusions it suggests, and is not easily forgettable. There is much betrayal and death in the book. A special delight is the author’s language, which is simply beautiful. Copious and subtle details enrich descriptions of everything from the forests, water, and rocks of Turtleback Mountain to the creatures, human and otherwise, that inhabit it and the nearby small towns. Dialog is believable and rich with words and idioms of late 19th - early 20th century. Commentary by Great Spirit, Sister Sun, and Brother Moon provide context, their observations encompassing cosmic and concrete matters. The pacing of the book is also remarkable; the author is able to convey the depth of history and slow passage of time as well as the emergence of new times and new generations without ever allowing the plot to lag. A study of several generations who live in and around the coal-mining region of southern Appalachia, the book portrays remnants of Cherokee, coal-mining, and mountain cultures that live on, into the mid-20th century, as mainstream America moves in very different directions.
The story line follows three women, the first of whom, Mona, aspires to become a Beloved Mother (a Cherokee-inspired figure revered for her healing powers and knowledge) after being rescued from an abusive abductor and marrying into a Cherokee family, in which she was mentored by a Beloved Mother, her mother-in-law. Mona adopted her Cherokee name of Two Tears and comes to represent herself as Beloved Mother, but I still don’t know what I think about that. She was not a uni-dimensional figure of goodness, although she was indispensable to poor families who could not otherwise afford medical care and to women with special needs. She encounters a younger woman, Anna, who is a tragic and depressed figure, if there ever was one, and with whom, Mona eventually discovers, she shares a special relationship. Anna’s daughter, Lily, the final central female figure in the book, becomes Two Tears’ protégé, learning Cherokee teachings and healing practices. Readers interested in native plants, natural medicine, and/or Native American culture are sure to enjoy reading about her study of medicinal herbs and other plants growing on Turtleback as well as other ingredients, incantations, and dances that comprised the natural healing Two Tears taught her. Men figure in the Beloved Mother in important, often dramatic and out-sized ways, but they are not of primary interest interpersonally and intrapsychically--although they do introduce complicated twists of psyche as well as action, and, ultimately, help shape Lily’s reckoning with her life on Turtleback Mountain and decisions about her future.
I won’t say more, for fear of giving away too much of the story. I will note that I look forward to learning more about author Laura Hunter’s research for the novel; its scope is large, embracing history, geography, geology, mining technology, nature study, and more, all woven seamlessly together in the telling of an original, complex set of tales.