By John Burnside

From the Hardcover edition
 
At a serious aspect in her profession, painter Angelika Rossdal by surprise strikes to Kvaloya, a small island deep within the Arctic Circle, to commit herself to the solitary pursuit of her craft. along with her, she brings her younger daughter, Liv, who grows up remoted and not able or unwilling to make pals her personal age, spending a lot of her time on my own, or with an aged neighbour, Kyrre Jonsson, who beguiles her with outdated folks stories and tales approximately trolls, mermaids and – crucially for the occasions that spread in the summertime of her eighteenth yr – in regards to the huldra, a wild spirit who appears to be like within the type of an irresistibly appealing lady, to trap younger males to their doom.
 
Now twenty-eight, Liv appears to be like again on her existence and especially to that summer season whilst boys drowned below mysterious situations within the nonetheless moonlit waters off the shorelines of Kvaloya. have been the deaths unintentional, or have been the men, as Kyrre believes, lured to their deaths through a malevolent spirit? first of all, Liv dismisses the outdated man's tales as fable, yet because the summer season keeps and occasions take an excellent darker flip, she involves think that whatever supernatural is occurring at the island. yet is it? Or is Liv, a lonely lady who has spent her complete existence within the shadow of her attractive, talented mom, slowly starting to lose contact with reality?
 
Set within the white nights of an Arctic summer time, the radical has the heightened, hallucinogenic surroundings of a dream, yet culminates in a second of profound horror.

Intensely imagined and exquisitely written, A summer season of Drowning is a play of darkish and lightweight, of taking a look and seeing, that might carry and hang-out each reader.

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Steel head, jointed rods, gasoline motor, collapsible wooden derrick, dynamiting paraphernalia, cording, rubbish-removal auger, and sectional piping for bores five inches wide and up to 1,000 feet deep all formed, with needed accessories, no greater load than three seven-dog sledges could carry; this being made possible by the clever aluminum alloy of which most of the metal objects were fashioned. Four large Dornier aëroplanes, designed especially for the tremendous altitude flying necessary on the antarctic plateau and with added fuel-warming and quick-starting devices worked out by Pabodie, could transport our entire expedition from a base at the edge of the great ice barrier to various suitable inland points, and from these points a sufficient quota of dogs would serve us.

The very setting, that enormous, impossible city, is utterly Spenglerian, recalling the “civilization” phase in his cycle, when culture passes beyond its high point and its upheavals occur in burgeoning megalopolises. “It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature,” Spengler says. “It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature.

Four large Dornier aëroplanes, designed especially for the tremendous altitude flying necessary on the antarctic plateau and with added fuel-warming and quick-starting devices worked out by Pabodie, could transport our entire expedition from a base at the edge of the great ice barrier to various suitable inland points, and from these points a sufficient quota of dogs would serve us. We planned to cover as great an area as one antarctic season—or longer, if absolutely necessary—would permit, operating mostly in the mountain-ranges and on the plateau south of Ross Sea; regions explored in varying degree by Shackleton, Amundsen, Scott, and Byrd.

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