⋆ Spoilers Ahead and Trigger Warning for Mentions of Sexual Assault and Neglect⋆
Pastoral Poetry and Nature Worship
I have so many conflicting impressions about Where the Crawdads Sing. If I can try to break it down for you, I would summarize that it’s a beautifully poetic fiction debut with influences spanning from Stephen King to Mary Oliver. Owens writes about the marsh like she is praying to it. It becomes evident from just a couple chapters that this is coming from someone deeply familiar with nature writing and someone whose interest in writing Where the Crawdads Sing must have come from one of these spiritual experiences she so often has Kya enacting.
Much of the descriptive writing continues this pastoral poetic expression. When Owens writes about Kya with the birds, she’s speaking about desperation, longing, and an emptiness that can only be filled through a worship of the natural. Kya’s connection with the natural is also her what saves her. We see this even in the absolute ending when the ocean swallows up Chase’s shell.
Narrative Style and Boring Romances
With the best parts of the book aside: I have a few problems with the plot, the way the chapters are separated by ⋆murder mystery⋆ and ⋆coming of age story⋆ and how the culmination of these things leaves us feeling disappointed. At first, with the trial ending so that no one murders Chase, but also knowing that the very specific way this book is divided is telling that murder story in detail. This intertwined with Kya’s life and that there is no possibility it could go another way, besides a murder conviction. We do get the resolution of our mystery at the very end. It is much better than all the assumptions that we are almost forced to have prior to this point.
I think, however, it is the assumptions we make that make the story fall short for me. Owens plays up the romance with Tate so hard so we would think of Tate as her protector when all along she was her own protector. Additionally Kya has only sporadic help from the few people in her life willing to give her material goods, time, affection or interest. How else could a story about a lone, abandoned girl go besides that she saves herself? I think the resolution is apt, but the execution and arrival to this point is weak writing.
Which brings me to my other point: the romance with Tate feels similar to something like The Notebook. It’s a much quieter passion and desire, but a ridiculously over the top assumption about how long people can maintain empty romantic space in their lives if they don’t have to. I find that much of the period of Kya’s life where Tate or Chase inhabit her space is dull and predictable to read.
Plot Movement
Lastly, when reading Where the Crawdads Sing I notice a discrepancy between what happens when Owens writes the descriptive, natural world and what happens when Owens writes dialogue, plot or action. The gap in experience or talent or whatever you might want to call it there is stark. Her action sequences are stiff, the dialogue feels like we’re reading something adapted from a romantic comedy Netflix series. These people don’t know what else to do, but go on boats and have picnics. They rarely say anything interesting to each other. This is not to mention that Owens names the villain Chase and he’s a jock rapist. Shocking! Additionally, Chase the Jock can only handle lies, manipulation and sexual coercion.
I do feel that what I want from Where the Crawdads Sing is something entirely different to what we get to have. I can appreciate parts of it while also wishing other parts were done differently. What I wanted was a swampy, southern gothic novel, of which there are so many to choose from, judging from a quick Google search.
As for you, reader: what did you think? Would you recommend this to anyone?
Rating: 2.8/5
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If you’d like to purchase a copy of Where the Crawdads Sing you can do so here:
If in Canada: Book Outlet
In the USA: Bookshop.org
