『The Good People』のカバーアート

The Good People

A thrilling story of love, folklore and superstition from the author of Burial Rites

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The Good People

著者： Hannah Kent
ナレーター： Caroline Lennon
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Shortlisted for the Walter Scott Prize 2017

County Kerry, Ireland, 1825.

Nóra, bereft after the sudden death of her beloved husband, finds herself alone and caring for her young grandson Micheál. Micheál cannot speak and cannot walk and Nóra is desperate to know what is wrong with him. What happened to the healthy, happy grandson she met when her daughter was still alive?

Mary arrives in the valley to help Nóra just as the whispers are spreading: the stories of unexplained misfortunes, of illnesses, and the rumours that Micheál is a changeling child who is bringing bad luck to the valley.

Nance's knowledge keeps her apart. To the new priest, she is a threat, but to the valley people she is a wanderer, a healer. Nance knows how to use the plants and berries of the woodland; she understands the magic in the old ways. And she might be able to help Micheál.

As these three women are drawn together in the hope of restoring Micheál, their world of folklore and belief, of ritual and stories, tightens around them. It will lead them down a dangerous path, and force them to question everything they have ever known.

Based on true events and set in a lost world bound by its own laws, The Good People is Hannah Kent's startling novel about absolute belief and devoted love. Terrifying, thrilling and moving in equal measure, this long-awaited follow-up to Burial Rites shows an author at the height of her powers.

 アイルランド スリラー・サスペンス ノンフィクション犯罪 ヨーロッパ 人間関係 児童虐待 大衆小説 女性 子どもの健康 子育て 家庭生活 慣習・伝統 文芸小説 機能不全家族 歴史 殺人 民話・神話の研究 田舎町・農村 社会科学 虐待

批評家のレビュー

Kent conjures up with exceptional intensity and empathy a world in which folk beliefs hold as much sway over people’s minds as religious faith . . . It would have been all too easy to present this story as a conflict between rational enlightenment and peasant superstition, but the main strength of Kent’s narrative is that it avoids such a simple dichotomy. 'I have told you my truth,' Nance tells the court during the trial scenes that provide the book’s climax. Such is the power of Kent’s imaginative sympathy with her characters that this becomes not merely the mantra of a deluded old woman, but a moving statement of her continuing faith in her own vision of the way the world works . . .<i> The Good People </i>is an even better novel than <i>Burial Rites</i> — a starkly realised tale of love, grief and misconceived beliefs
Lyrical and unsettling, <i>The Good People</i> is a vivid account of the contradictions of life in rural Ireland in the 19th century. A literary novel with the pace and tension of a thriller, Hannah Kent takes us on a frightening journey towards an unspeakable tragedy. I am in awe of Kent's gifts as a storyteller. (Paula Hawkins, bestselling author of The Girl on the Train)
<i>The Good People </i>is, like <i>Burial Rites</i>, a thoroughly engrossing entrée into the macabre nature of a vanished society, its virtues and its follies and its lethal impulses. <i>The Good People</i> takes us straight to a place utterly unexpected and believable, where amidst the earnest mayhem people impose on each other, there is no patronizing quaintness, but a compelling sense of the inevitability of solemn horrors (Thomas Keneally, author of Schindler's Ark (winner of the Booker Prize))
Beautiful . . . the setting and the characters drew me in immediately and kept me completely absorbed (Claire King, author of The Night Rainbow)
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