Daniel Mason’s latest novel sees him return to the verdant New England landscape that so captivated readers of 2023’s acclaimed North Woods. This time, though, he hops the border from Massachusetts into Vermont – and effects a deeper shift in the process. Where North Woods was a foray into history, telling the tale of a house and its inhabitants over three centuries, in Country People Mason turns his attention to literature and mines the rich seams of text, from myths to Milton to Shakespeare to Tolstoy and all points in between, that make up his novel’s foundations. This is, at its core, a story about stories; a tale about the tales we tell each other, and our children, and ourselves.
It’s also a far simpler thing: the linear account of a year in the life of a contemporary family. On the surface, this might look like a step back from the scope and ambition of North Woods, which spooled out over hundreds of years in a polyphony of forms and voices. But if Country People teaches us anything, it’s that surfaces are only ever a fraction of what we’re dealing with – or, to borrow from one of its three, gloriously baroque epigraphs: “for every terrestrial stream, there run a thousand below the earth. For each pond, a hundred inner seas.” The book’s action is driven, in fact, by its characters’ compulsive need to dig deeper: to burrow into their physical and metaphorical landscapes for meaning, for inspiration, and on occasion just for the hell of it. Sometimes the digging in Country People is literal; often it’s metaphorical. And occasionally – well, occasionally, it turns out, the boundary between the two isn’t as solid as it might first appear.
