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The Shadow Catcher

von Marianne Wiggins

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3731668,547 (3.81)29
THE SHADOW CATCHER dramatically inhabits the space where past and present intersect, seamlessly interweaving narratives from two different eras: the first fraught passion between turn-of-the-twentieth-century icon Edward Curtis (1868-1952) and his muse-wife, Clara; and a twenty-first-century journey of redemption. Narrated in the first person by a reimagined writer named Marianne Wiggins, the novel begins in Hollywood, where top producers are eager to sentimentalize the complicated life of Edward Curtis as a sunny biopic: "It's got the outdoors. It's got adventure. It's got the do-good element." Yet, contrary to Curtis's esteemed public reputation as servant to his nation, the artist was an absent husband and disappearing father. Jump to the next generation, when Marianne's own father, John Wiggins (1920-1970), would live and die in equal thrall to the impulse of wanderlust. Were the two men running from or running to? Dodging the false beacons of memory and legend, Marianne amasses disparate clues - photographs and hospital records, newspaper clippings and a rare white turquoise bracelet - to recover those moments that went unrecorded, "to hear the words only the silent ones can speak."… (mehr)
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Wiggins wrote so many things that rang true. Memory and history, the stories we tell ourselves. Responsibility or freedom to follow our passion.
She kept coming back to the phrase "the sound my nation makes." This was an aspect I'd never identified before but also have known the power inherent in a trains' whistle. It was a unifying thread to the separated life stories: Curtis and his parents/siblings, his wife Clara and her brother, the author and her dead father, the stranger in the hospital his Shadow and the Colonel.
This novel was so much more than just lives. Wiggins shared concepts about music, art, perspective, and myths that made me think.
Now that I've finished, I want to research Curtis' life myself to see where (or if) Wiggins went beyond reality. ( )
  juniperSun | Jun 15, 2023 |
The semi-historical, fictional story of Edward Curtis, famous photographer of Indians west of the Mississippi, that parallels that of the author's father. Beautiful prose, as usual from Wiggins and surprising humor. Excellent read. ( )
1 abstimmen brenzi | Aug 22, 2022 |
I am going through this book much too quickly. In reading it, I have the strange sense that the author and I are friends in some parallel universe. Like her I am drawn to the west and to the native cultures that flourished there. Like her, I react in much the same way to our modern world. I like her humour. I like her offhand observations which are part of the book but more like asides to the reader as she takes a break from the narrative of her story, or stories. It is at once a biographyh of Edward Curtis, famous for his photographs of Native American Indians, and the story of hte narrator, who wrote a book about Curtis which is possibly going to be made into a movie. I am in the middle, where an odd case of mistaken identity is bringing an element of mystery to the book. What am I doing typing here when I'm dying to pick that book back up again? MOre later... ( )
  Eye_Gee | May 8, 2017 |
What a way to start a new year of reading—with a great book! I've never read anything by Wiggins and this book was a delight. She is very inventive and brought a lot to the table about Edward Curtis that was so new and fresh to me. It was great to read this excellent piece of fiction after having just read Timothy Egan's great book about Curtis, Short Nights of the Shadow Catcher. I can only hope that her other titles are as good—because I'm sure to take some of them out for a spin in the future. ( )
  jphamilton | Jul 27, 2014 |
Hmmm, a difficult one to review. The story of Edward Curtis and the separate story of Marianne Wiggins were both very interesting concepts.

I loved the story of Edward Curtis but felt that the author did not go into enough detail for me. I was frustrated at the way she seemed to summarise a lot of it and gloss over a lot that, I felt, was important to this part of the story. This story should have been a book in itself and I would have loved to read it.

On the other side, the current story of Marianne Wiggins was over done. It had an interesting baseline, the loss of her father and the mistaken/stolen identity of her father. I thought she rambled on too much about what was going around in her mind which did not add anything to the story the book was trying to tell. I was also left with so many unanswered questions, why Curtis Edwards stole the identity, who was Clarita and how was she related to Edward Curtis and Clara and so many more.

Still a fairly interesting read and it will make a good book group discussion but not one that I would say everyone should rush out and read.

3 out of 5 for me. ( )
  Saucy1831 | Jun 18, 2013 |
"Truth, image, and their disguises have long engaged Wiggins, and in this, her eighth novel, she takes as her subject the elusive Curtis, the Seattle-based chronicler of Native American life, who between 1907 and 1930 published twenty volumes of images in his “North American Indian” series, which was dedicated to documenting Indian folkways “before they disappeared.” The Shadow Catcher begins en abyme as the story of a novelist named Marianne Wiggins attempting to sell the film rights to a historical fiction she has written about Curtis. But in the nesting-doll telling of his story, it is not the Indians but Curtis who is always disappearing, first as a child, spending months away from his Minnesota home with his scheming father, and later as a husband and father himself. (“Those adventuring types,” one character says about the photographer, “I’ve always been suspicious. What are they running from?”) What Curtis is running from is never completely clear in The Shadow Catcher, even if it is the question at the heart of the character Marianne’s manuscript, but the person left behind is his bride, Clara."
 
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THE SHADOW CATCHER dramatically inhabits the space where past and present intersect, seamlessly interweaving narratives from two different eras: the first fraught passion between turn-of-the-twentieth-century icon Edward Curtis (1868-1952) and his muse-wife, Clara; and a twenty-first-century journey of redemption. Narrated in the first person by a reimagined writer named Marianne Wiggins, the novel begins in Hollywood, where top producers are eager to sentimentalize the complicated life of Edward Curtis as a sunny biopic: "It's got the outdoors. It's got adventure. It's got the do-good element." Yet, contrary to Curtis's esteemed public reputation as servant to his nation, the artist was an absent husband and disappearing father. Jump to the next generation, when Marianne's own father, John Wiggins (1920-1970), would live and die in equal thrall to the impulse of wanderlust. Were the two men running from or running to? Dodging the false beacons of memory and legend, Marianne amasses disparate clues - photographs and hospital records, newspaper clippings and a rare white turquoise bracelet - to recover those moments that went unrecorded, "to hear the words only the silent ones can speak."

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