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In India, four Japanese tourists converge on the River Ganges in search of absolution. The novel probes their consciences, from Isobe, grieving the death of the wife he ignored in life, to Kugachi, haunted by wartime memories of a man who saved his life by eating human flesh, then drank himself to death to forget. An analysis of the importance of religion.

"Karl Marlantes's debut novel Matterhorn has been hailed as a modern classic of war literature. In his new novel, Deep River, Marlantes turns to another mode of storytelling--the family epic--to craft a stunningly expansive narrative of human suffering, courage, and reinvention. In the early 1900s, as the oppression of Russia's imperial rule takes its toll on Finland, the three Koski siblings--Ilmari, Matti, and the politicized young Aino--are forced to flee to the United States. Not far from the majestic Columbia River, the siblings settle among other Finns in a logging community in southern Washington, where the first harvesting of the colossal old-growth forests begets rapid development, and radical labor movements begin to catch fire. The brothers face the excitement and danger of pioneering this frontier wilderness--climbing and felling trees one-hundred meters high--while Aino, foremost of the books many strong, independent women, devotes herself to organizing the industry's first unions. As the Koski siblings strive to rebuild lives and families in an America in flux, they also try to hold fast to the traditions of a home they left behind. Layered with fascinating historical detail, this is a novel that breathes deeply of the sun-dappled forest and bears witness to the stump-ridden fields the loggers, and the first waves of modernity, leave behind. At its heart, Deep River is an ambitious and timely exploration of the place of the individual, and of the immigrant, in an America still in the process of defining its own identity"-- Provided by publisher.
In the early 1900s, as Russia's imperial rule takes its toll on Finland, the three Koski siblings-- Ilmari, Matti, and their sister Aino-- are forced to flee to the United States. Not far from the majestic Columbia River, they settle among other Finns in a logging community in southern Washington, where the first harvesting of the colossal old-growth forests begets rapid development, and radical labor movements begin to catch fire. The brothers face the excitement and danger of pioneering this frontier wilderness--climbing and felling trees one-hundred meters high; Aino devotes herself to organizing the industry's first unions. -- adapted from jacket

• Laces, an Introduction
• In the Bottoms
• George
• Grand Pass
• Sale
• Underlined Passages in My Father's Walden
• The Bottoms
• Clearing
• To Clear
• Winter Onions
• Springs
• Hanging Mart Rider
• Dark Cloud
• Coon Hollow
• Frank James
• Dr. John Benson
• A Man
• Judge Lynch
• Mart Rider
• "Why, Mrs. Hamilton!"
• The Hatchet
• The Missouri Princess and Petit Missouri
• One Boy
• Possum
• People of the Canoe
• Bourgmont
• Massacre
• Our Discipline
• Jim Duncan Wading
• The Miamis
• The Old Fort
• Mother, Father, Farm
• The Miami Mastodon
• Ice
• Chicago Women
• The Bridge
• Mother and Her Boats
• Chartreuse Sails
• River Horse
• Father
• Farm
• Deep River, a Conclusion.

Deep River uncovers the layers of history - both personal and regional - that have accumulated on a river-bottom farm in west-central Missouri. This land was part of a late frontier, passed over, then developed through the middle of the last century as author David Hamilton's father and uncle cleared a portion of it and established their farm. Hamilton traces the generations of Native Americans and frontiersmen who lived on the bottomland over the past two centuries, and discusses how the area is now passing from intensive agriculture to restored wetlands. It was a region fought over by Union militia and Confederate bushwhackers, as well as by their respective armies; an area that invited speculation and the establishment of several small towns, both before and after the Civil War; land on which the Missouri Indians made their long last stand, less as a military force than as a settlement and civilization; land that attracted French explorers, the first Europeans to encounter the Missouris and their relatives, the Ioways, Otoes, and Osage, a century before Lewis and Clark. It was land with a long history of occupation and use, extending millennia before the Missouris. Most recently it was briefly and intensively receptive to farming, just as family farms were making their last stand. Deep River is composed of four sections, each exploring aspects of the farm and its neighborhood. While the family story remains central to each, slavery and the Civil War in the nineteenth century and Native American history in the centuries before that become major themes as well. The resulting portrait is both personal memoir and informal history, brought up from layers of time, the compound of which forms an emblematic American story.
(source: Nielsen Book Data)

Deep River uncovers the layers of history - both personal and regional - that have accumulated on a river-bottom farm in west-central Missouri. This land was part of a late frontier, passed over, then developed through the middle of the last century as author David Hamilton's father and uncle cleared a portion of it and established their farm. Hamilton traces the generations of Native Americans and frontiersmen who lived on the bottomland over the past two centuries, and discusses how the area is now passing from intensive agriculture to restored wetlands. It was a region fought over by Union militia and Confederate bushwhackers, as well as by their respective armies; an area that invited speculation and the establishment of several small towns, both before and after the Civil War; land on which the Missouri Indians made their long last stand, less as a military force than as a settlement and civilization; land that attracted French explorers, the first Europeans to encounter the Missouris and their relatives, the Ioways, Otoes, and Osage, a century before Lewis and Clark. It was land with a long history of occupation and use, extending millennia before the Missouris. Most recently it was briefly and intensively receptive to farming, just as family farms were making their last stand. Deep River is composed of four sections, each exploring aspects of the farm and its neighborhood. While the family story remains central to each, slavery and the Civil War in the nineteenth century and Native American history in the centuries before that become major themes as well. The resulting portrait is both personal memoir and informal history, brought up from layers of time, the compound of which forms an emblematic American story.
(source: Nielsen Book Data)

• "Unvoiced Longings" - Du Bois and the sorrow songs-- the "puzzle" of the fisk-- jubilee singers to hear "the music of a nation"-- the politics of "wild, sweet melodies"-- the chasm between two worlds-- "the romance of this world did not die"-- swan songs and art songs - the spirituals and the "New Negro" in the 1920s
• the swan song of Jean Toomer-- "the beauty of a black voice"-- the lesson of African classicism-- "the twilight of aestheticism" - Locke on cosmopolitanism and musical evolution-- cosmopolitanism and the "key of paradox"-- cultural pluralism and the "symphony of civilization"-- "beauty instead of ashes"-- "the negro never had a Jazz Age"-- "beneath the seeming informality" - Hughes, Hurston, and the politics of form-- the "racial mountain" and blues form-- sublimation and whiteness-- "what we really mean by originality"-- "the rhythm of segments"-- saving jazz from its friends - the predicament of jazz criticism in the Swing Era-- John Hammond's Swing Era-- hot jazz as a new classicism.
• (source: Nielsen Book Data)

"The American Negro, " Arthur Schomburg wrote in 1925, "must remake his past in order to make his future." Many Harlem Renaissance figures agreed that re-framing the black folk inheritance could play a major role in imagining a new future of racial equality and artistic freedom. In "Deep River" Paul Allen Anderson focuses on the role of African American folk music in Renaissance aesthetic and political debates about racial performance, social memory, and national identity. "Deep River" elucidates how spirituals, African American concert music, the blues, and jazz became symbolic sites of social memory and anticipation in the era of the Harlem Renaissance. Anderson traces the roots of the period's musical debates to the American and European tours of the Fisk Jubilee Singers in the 1870s and to W. E. B. DuBois's influential writings at the turn of the century about folk culture and its bearing upon racial progress and national identity.He details how musical idioms spoke to contrasting visions of New Negro art, folk authenticity, and modernist cosmopolitanism in the works of DuBois, Alain Locke, Zora Neale Hurston, Langston Hughes, Jean Toomer, Sterling Brown, Roland Hayes, Paul Robeson, Carl Van Vechten, and others. In addition to revisiting music's place in the culture wars of the 1920s, "Deep River" provides fresh perspectives on the aesthetics of race and the politics of music in Popular Front and Swing Era music criticism, African American critical theory, and contemporary musicology. "Deep River" offers a sophisticated historical account of American racial ideologies and their function in music criticism and modernist thought. It will interest general readers as well as students of African American studies, American studies, intellectual history, musicology, and literature.
(source: Nielsen Book Data)