As it has been a few decades since I have read either author, I use caution in suggesting that if Nathaniel Hawthorne and Flora Nwapa collaborated on a book, the result might resemble Jenny Jaeckel's Boy, Falling. Jaeckel authors a literary work that critiques the human condition from the perspective of a Canadian woman of color and feminist. Her description of her characters' states of mind and her 19th Century pace of writing resembles Hawthorne's style. Flora Nwapa is a pioneer writer among people of color with her best known work focusing on one woman's life experience in Nigeria. Within their places and times, both Nwapa and Hawthorne have made important inroads into feminist literature. Jaeckel contributes the perspective of an early 20th Century Canadian – turned - American woman within a diverse cast of deeply developed characters not unlike those of the aforementioned authors. She extends her characters farther into cultural diversity than either of them did or probably would, tackling gender issues more diverse than just feminist causes.

There are multiple well – developed characters having distinct issues with society above and beyond the racism that drapes the background. The main character. Jeannette, marries Macon Halvorsen, midway through the book. Macon is a man of great integrity but also overt chauvinism. To some extent, he appears to be brainwashed into a plantation owner's mindset. That is to say, he sees value in himself as primarily a business commodity. To the extent that a plantation owner would value a black man only as a function of his productivity and not as a human being, Macon perceives himself in the same way – a high intensity workaholic of color seemingly incapable of self – value outside of a ledger sheet. Unfortunately, his persona takes a serious toll on his wife.

Much of the book's most engaging plot line consists of Jeanette's own journey of self value, especially in her relationship to her overbearing and not well emancipated spouse. However, the book starts with a boy, Gerard who has a very complex life history of his own, much of which is highly pertinent to today's social issues lateral to feminism. His story of self – actualization constitutes a major part of the beginning of the book. In fact, I wish that Jaeckel kept him closer to the development of the book near its ending.

A theme which I particularly liked is Jaeckel's emphatic call to cultural humanism. Her multiple and complex protagonists are deeply attached to the visual arts, to poetry, and to music which, unlike for the character Macon, fulfill and complete them. Whereas most of her work revolves around race, feminism, and gender identity, her focus easily moves around liberal humanism as well.

My one problem with the book is that Jaeckel is so wrapped up in character that it makes a memory – challenged person like myself mentally stymied. I require an active plot to keep my mind focused. The detail in her writing overwhelms me making it hard to stay engaged. But this effect is as much a reflection of personal weakness than of the author's style, perhaps. ( )

I was thrilled to see Jaeckel's unique style carried through in this sequel. There was definitely more emotion behind this one for me, perhaps because I had already read the first book (although this can totally be read as a standalone). I teared up a few times while reading this, and each time I had to set it down, I felt like I was coming up gasping for air after diving too deep in the ocean. I got lost in the story, watching and feeling it unfold around me. Furthermore, I was a little sad when it ended, and I returned to the real world for the final time. I hope to read more by this brilliant author in the future! ( )