Stay away from this book if you are young. But if you are in your mid-forties or older, you might like it.

Recapitulation will surely make you uncomfortable when you learn that there are universal truths about how we remember and interpret our own pasts. Or perhaps you will find that comforting in an uncomfortable way.

Recapitulation is a sequel, if a book written more than 35 years later can be considered a sequel, to Stegner’s The Big Rock Candy Mountain, which is the best work of fiction I’ve read this year. The surviving member of the Mason family, Bruce, returns to his Salt Lake City “home” to handle affairs after his aunt dies. It has been 45 years since he last set foot in the town. We learn that he has become a well-respected American diplomat in the Middle East since we last saw him as a student at the University of Minnesota law school. This is not a trip he desires to take; his relationship with his aunt was mostly out of obligation and his memories of this place are not pleasant. When he arrives, he wanders around the town to see some of the places he lived and where his only real friend lived. Every place evokes memories he has long repressed or forgotten.

Bruce decides to visit his one good friend, Jim Mulder, the only one besides his mother who treated him with unconditional respect and truly cared about him. But he keeps postponing it. After all, while he was traveling the world, his friend never left Salt Lake City and they didn't stay in touch. Would it be possible to have a reunion with Jim after all this time, after they had grown up in such different worlds, and was he even alive? Bruce recalls their times together. He even imagines fictional conversations he thought they might have had.

He remembers his one close girlfriend, Nola, probably the only love of his life. When he opens an old box Nola left with his aunt 45 years earlier, the mementos, photographs, letters, and ribbons bring her back to life. She was a Mormon, albeit not very devout in her faith. He was not. Even though they broke up—he wanted to escape Utah, she was bound to it—Stegner raises thoughts of “What if?” although Bruce never directly asks the question.

But Bruce’s strongest memories are about his father, Harry “Bo” Mason, of whom Bruce has a hatred that has haunted him throughout his life, whether he was aware of it or not. Although his father has been dead for 45 years, he still has a hold on Bruce’s psyche. As different and confrontational as he and his father were, Bruce can't help but still be intimidated or angered every time his father’s memory surfaces. Their final encounter is arguably the most lasting memory of the story.

I didn't know about this book until I finished reading The Big Rock Candy Mountain but instinctively knew I had to read it before the memories of the Mason family began to fade. It can be read as a stand-alone novel, but I think many of the subtleties of Bruce’s thoughts and decisions would be lost, or more appropriately, never understood by the reader. (As an inappropriate aside, it's kind of like jumping into the epic television series Breaking Bad; you have to commit to watch it from the beginning, in sequence, to really appreciate how good it is.) The sequel is not as gripping or dramatic, but it is very satisfying nonetheless. If you are starting to gray or have forgotten what you looked like before it set in, I think you will relate to Bruce’s regrets, fears, and experiences. As with all great literature, the time and place of the plot are less important than the eternal truths Stegner's writing reveals.

Wallace Stegner is truly one of my all-time favorite authors. His novel The Big Rock Candy Mountain (TBRCM) was an absolute delight to read. For several years, I was completely unaware that there was a sequel called Recapitulation. When I finally discovered this, I was filled with excitement at the prospect of reading it. However, before delving into Recapitulation, I took a look at some of the reviews. They described the novel as being very introspective, which made me approach it with a certain amount of trepidation.

In Recapitulation, we are transported 45 years forward from the end of TBRCM. Bruce Mason, the son of Elsa and Bo (or Harry) Mason, returns to Salt Lake City. Ostensibly, he is there to bury an aunt, but in reality, he is seeking to revisit and come to terms with his past, his memories, his mistakes, and his demons. Through Bruce's journey of回忆, we experience his life as a teenager and young adult. We are given a wealth of details about his friendships and relationships, both romantic and mentoring, that we didn't get from TBRCM. It reminded me of Marilynn Robinson's Gilead series, where each subsequent novel offers a different perspective on the same events, building a richer and more complex story. In the case of Recapitulation, it's less about rehashing the same events and more about exploring Bruce's fundamental relationships, especially with his mother and father, and also learning about other significant relationships. All of this is seen through the lens of Bruce's successful career and his memories, which introduce their own set of variables and distortions.

The writing in this novel is quintessentially Stegner. I did have some difficulties with how he handled the time transitions. It felt a bit like watching a movie from the 50s, where strange music or visuals are used to signify a shift into a memory or dream. Additionally, there were numerous descriptions of the changes to the landscape of Salt Lake City and its surroundings between the late 1920s/early 1930s and 1977, the time frame of the novel. While these descriptions might be fascinating to someone who is very familiar with the area, for me, they were a bit overwhelming, despite being well-written. Despite these challenges and the lack of much real action in the novel, I found myself captivated by many of the scenes from Bruce's past.

Although I can't rank this among Stegner's very best works, I still enjoyed a great deal of it and more than I initially expected. I would definitely recommend it to fans of Stegner and TBRCM.

Although the story is not one of Stegner's most compelling, in my opinion, the writing is exquisite.

Stegner's prose is like a fine tapestry, woven with care and precision. Each sentence is crafted to perfection, with a rhythm and flow that draws the reader in and keeps them engaged.

The descriptions are vivid and detailed, painting a picture in the reader's mind that is both beautiful and haunting. The characters are well-developed, with their own unique voices and personalities.

Even though the story may not have the same level of excitement and drama as some of Stegner's other works, it still manages to captivate the reader with its literary merit. It is a testament to Stegner's skill as a writer that he can create a story that is both engaging and thought-provoking, even without a traditional plot.

In conclusion, while this may not be Stegner's greatest work, it is still a worthy addition to his body of literature. The exquisite writing and attention to detail make it a pleasure to read, and it is sure to leave a lasting impression on the reader.

Wallace Stegner leads the reader on numerous walks and a couple of drives around Salt Lake City as he unfolds the tale of a retired former resident who has returned "home" for a family funeral.

As the hours and days pass, memories of his youth and teenage years flood his mind. However, not all of these memories are pleasant, and he refrains from reaching out to all of his former friends.

The question that lingers is why? What exactly happened? Was there a falling out, a disagreement, or perhaps a painful event that caused this rift?

Maybe the retired man is afraid of reopening old wounds or facing the past. Or perhaps he has simply moved on and no longer feels a connection to those he once knew.

Whatever the reason, it adds an element of mystery and intrigue to the story, leaving the reader wondering about the details and the significance of his actions.

As a person born in Utah and a lifelong admirer of Stegner, I was long overdue for reading this extremely moving and breathtakingly beautiful narration of life in Salt Lake City over the course of decades. I have a profound admiration for his remarkable powers of description and his incisive analyses of human motivation. It serves as a fitting conclusion to Big Rock Candy Mountain.

Stegner's work transports the reader into the heart of Salt Lake City, vividly描绘ing the ebb and flow of life, the joys and sorrows, the dreams and disappointments of its inhabitants. His detailed descriptions bring the city to life, making it feel like a real and tangible place.

The analysis of human motivation is equally impressive. Stegner delves deep into the psyches of his characters, exploring the complex web of desires, fears, and ambitions that drive them. This adds a layer of depth and authenticity to the story, making it not just a simple account of life in a city, but a profound exploration of the human condition.

In conclusion, reading this narration was a truly enriching experience. It left me with a greater appreciation for Stegner's talent as a writer and a deeper understanding of the city of Salt Lake City. It is a work that will stay with me for a long time to come.

This is like a coda composed forty years after the symphony.

If you haven't delved into The Big Rock Candy Mountain, I highly recommend that you do.

Subsequently, while it remains vivid in your mind, peruse Recapitulation.

It fills in the minutiae omitted from the first book and enables you to gain a much deeper understanding of "Brucie" as he navigates through puberty and beyond in Salt Lake City.

If you've become attached to the Mason family via The Big Rock Candy Mountain, you'll find yourself desiring even more, just as I did.

Bruce Mason returns to Salt Lake City forty-five years after fleeing in a state of anger and pain.

As he passes by the old landmarks, the memories of his formative years commence to coil around him and ultimately crowd his mind and haunt his dreams.

The novel is ethereal, dreamy, and sepia-toned, transporting Bruce back to events and emotions from the 1920s - 30s in no specific order.

Stegner's approach is extremely faithful to the essence of memory and nostalgia, encompassing the inclination to whitewash experiences or downplay our culpability for things that soured.

I had thought this was going to be the one Stegner novel I could get through without shedding a tear, but he got to me on the penultimate page.

I'm not sorry about that.

I probably would have been disappointed if I'd finished it with dry eyes.

Rewrite:

Recapitulation was the successor to Big Rocky Candy Mountain by Wallace Stegner. Both books were said to be autobiographical in essence, albeit fictionalized accounts. We last saw Bruce Mason over forty-five years ago when he returned to Salt Lake City as a young man for his father, Harry Mason's funeral. This time, Mason has come back for the final time to complete the funeral arrangements for his aunt. As he strolls around the city, he is bombarded with numerous memories and a great deal of unfinished business. It was a profound and touching book as we relive his past memories and, finally, as Bruce Mason reconciles with the ghosts from his past that compelled him to flee in bitterness all those years ago. There is a reason why Wallace Stegner has become one of my favorite authors as I persist in making my way through his magnificent books.

"The canyon breeze had vanished, the trees were motionless, the street stretched out before him, not just empty, but blurred and indistinct, a double exposure. He felt disoriented, in the strictest sense, half lost in a half-remembered wilderness, charmed by familiar-seeming landmarks as he had been as a boy exploring the willow bottoms of Whitemud, following the aimless and overgrown paths that cattle had pushed through the brush. He tightly closed his eyes and opened them again to clear his vision, and the street became single once more. But it was the street of the past, not that of the present."

"Some of us were not aware enough to be discontented and ambitious. Some of us had limited experiences and limited aspirations that only chance, or the actions of others, or perhaps some inescapable psychosocial destiny, could catapult us out of our ruts. In a way, I suppose I had to hitchhike out of my childhood; but if I did, I did it without raising my thumb."

Recapitulation offers a deep exploration of Bruce Mason's life and the impact of his past on his present. The vivid descriptions of the city and his memories bring the story to life, making it a captivating read. Stegner's writing style is engaging and thought-provoking, making him a master of his craft. This book is a must-read for anyone interested in exploring the themes of memory, regret, and self-discovery.

I have this distinct feeling that if I had perused this particular piece right after reading Big Rock Candy Mountain, I potentially would have awarded it a full five stars. With a more vivid and detailed memory of that previous book fresh in my mind, I suspect I might have perceived this as being more of a seamless continuation or even a completion rather than, well, a mere recapitulation.

However, perhaps that was precisely the intended point. It is truly fascinating to contemplate the idea of an individual recounting the same story at various junctures in their life and envisioning how those tellings would inevitably diverge. The passage of time, the accumulation of experiences, and the evolution of one's perspective could all significantly influence the way a story is presented and received. It makes one wonder about the fluid nature of narrative and how it can change with each retelling, offering new insights and interpretations.

This concept of a story evolving over time also highlights the importance of context and the role it plays in shaping our understanding. Each time a story is told, it is filtered through the lens of the storyteller's current circumstances and emotions, adding a unique layer of depth and meaning.

Ultimately, whether this piece is seen as a continuation, a completion, or a recapitulation may depend on the reader's own personal journey and how they approach the text. But one thing is certain: the idea of a story changing over time is a captivating one that invites further exploration and reflection.

The perfect case for a 3.5-star rating.

In the first half of "Recapitulation", Stegner loses focus a bit. However, he saves things nicely in the second half, which is why I bumped this up. His prose is typically fine. In his later life, Stegner wrote old characters better than just about anybody.

The protagonist here, the boy from "The Big Rock Candy Mountain" now a diplomat on the down side of his life on this earth, is less crotchety than usual for Stegner but still makes for a fine study. In contrast to several of his later books, "Recapitulation" is told in the third person.

I'm not quite sure why Penguin Books chooses not to tell us that the main character is from a book as popular as "The Big Rock Candy Mountain" and that this is a sequel of sorts. Oh, well.

Frankly, there is much, much less of the "here and now" in the story than I was expecting. Much of the book consists of Bruce Mason's reminiscences of his difficult father, or of his college days, or of his long-lost love as Bruce moves through Salt Lake City while preparing for the funeral of a family member he barely cared about. It doesn't work all the time, but Stegner's descriptive powers and occasionally scintillating turn of phrase save the day.

All in all, it's fifth or sixth among the six Stegner novels I've read ("All the Little Live Things" is first), but it's certainly worth a try.

This is an apt sequel to Big Rock Candy Mountain, though I didn't like it as well.

Bruce Mason returns to Salt Lake City after 45 years away. He wanders about the city in a haze of memories, filling in bits of the Mason family story.

At heart, it is a book about the way your past is always a part of you and yet you can never really go back. The past lingers, like a shadow that follows you wherever you go.

The highlights for me were the beautiful portrayals of the geography. The descriptions of the mountains, the valleys, and the city streets spoke to my Utah-born soul. They brought back memories of my own childhood in Utah, of the times when I would explore the outdoors and dream of far-off places.

Overall, I found this book to be a bit of a disappointment. It didn't have the same magic as Big Rock Candy Mountain, and I felt that the story dragged on at times. However, it was still an interesting read, and I would recommend it to anyone who is interested in the Mason family or in the history of Salt Lake City.

Favorite quotes from Recapitulation:

"But Bruce Mason walked double. Inside him, moving with the same muscles and feeling with the same nerves and sweating through the same pores, went a thin brown youth, volatile, impulsive, never at rest, not so much a person as a possibility, or a bundle of possibilities: subject to enthusiasm and elation and exuberance and occasional great black moods, stubborn, capable of scheming but often astonished by consequences, a boy vulnerable to wonder, awe, worship, devotion, hatred, guilt, vanity, shame, ambition, dreams, treachery; a boy avid for acceptance and distinction, secretive and a blabbermouth, life-crazy and hence girl-crazy, a show-off who could be withered by a contemptuous word or look, a creature overflowing with brash self-confidence one minute and oppressed by its own worthlessness the next; a vessel of primary sensations undiluted by experience, wisdom, or fatigue."

This description of Bruce Mason is truly captivating. It shows the complexity and duality within him. The idea of him walking double, with this inner youth full of contradictions, makes him a fascinating character. He experiences a wide range of emotions and has various traits that constantly interact and shape his personality.

"On the merest glance, he is younger than she -- younger in years, younger in manner and self-command. He is blond where she is dark, his eyes are blue where hers are brown, he is thin and hyperactive by contrast with her composure, darkly tanned where she is golden. She makes a center, he orbits it. She smiles, he laughs. He talks with his mouth, eyes, hands, body; she listens. He whips around her as if she were egg and he spermatozoon. Utter opposites, they make a one: Yin and Yang. Their force field deflects intrusions. From the first note of the band until now, they have avoided trading a single dance."
The contrast between the two characters is vividly presented here. Their physical differences, as well as their behavioral and temperamental differences, create a dynamic and interesting relationship. The comparison of them to Yin and Yang emphasizes how they complement each other and form a unique bond. The fact that they avoid trading a single dance adds an element of mystery and tension to their connection.

"What could she have felt when, out of his arrogant inexperience, out of his sheer undergraduate enthusiasm for hard doctrine, or the self-pity that had made him believe he was suffering's biographer, he plucked things like this from the great grab bag of Western culture and demanded that she read and ponder them? He might as well have suggested that she learn Turkish. Her mind operated on a direct hookup with the senses, not by abstract ideas...."
This quote reveals the cultural and intellectual gap between the two characters. The man's actions seem arrogant and insensitive, while the woman's way of thinking is more in tune with the senses. It shows how their different perspectives and ways of processing information can lead to misunderstandings and difficulties in communication.

"Question: Why the mule headed inertia? Answer: In the first place, he was mule-headed. He hated to back up, start over, change direction. To this day he drove that way, gerade aus like a German, despising the people who dart from lane to lane. Moreover, he was used to delayed rewards. He knew something about having to work for what he wanted, and even more about frustrations and disappointments. He was a digger, but there was a fatalist in him, too. He mistrusted the rewards that he would break his neck to win. He half expected to fail even though experience should have taught him that most of the time he did not. In his bones he knew that the world owed him nothing. Some part of him was always preconditioned to lose. And though he felt himself superior to his background, and capable of some vague unspecified distinction, he knew himself unworthy. He was a sticker because it was easier to dig in and be overrun than to attack and be repulsed."
This passage delves into the character's mindset and the reasons for his stubbornness and inertia. It shows how his past experiences and beliefs have shaped his approach to life. His fatalistic attitude and his fear of failure make him reluctant to take risks and make changes. The description of him as a "sticker" highlights his tendency to hold on to things, even when it may not be in his best interest.
"The quintessentially deculturated American, born artless and without history into a world of opportunity, Bruce Mason must acquire in a single lifetime the intellectual sophistication and the cultural confidence that luckier ones absorb through their pores from earliest childhood, and unluckier ones never even miss. He is a high jumper asked to jump from below ground level and without a run, and because he is innocent and has the temperament of an achiever, he will half kill himself trying."
This quote emphasizes the challenges that Bruce Mason faces as a deculturated American. He has to work hard to gain the intellectual and cultural capital that others may take for granted. The comparison to a high jumper starting from below ground level without a run vividly illustrates the difficulty of his task. Despite the odds, his innocent and achiever's temperament drive him to keep trying, even if it means sacrificing himself in the process.
"Both have the beaks of hawks and eyes that bore into the camera like the eyes of zealot grandfathers in old tintypes."
This brief but powerful description creates a vivid image of the two characters. The comparison of their beaks to those of hawks gives them a sense of sharpness and intensity, while the description of their eyes boring into the camera adds an element of mystery and determination. It makes the reader curious to know more about these characters and their story.
[He awakens just before reliving the consummation of a relationship in a dream]
"The trouble with the censor is that it knows too much. It has another, and much longer, and presumably far more important life to remember and keep under control. It is wary about accepting the illusion of wholeheartedness that would have to accompany this uncensored dream. It knows that the girl and first love are both victims, and so is the boy who took them joyriding. They cluster at the edge of consciousness like crosses erected by the roadside at the place of a fatal accident."
This passage explores the theme of memory and the role of the censor in our minds. The idea that the censor is cautious about accepting the illusion of wholeheartedness in a dream suggests that our subconscious may be protecting us from painful memories or emotions. The comparison of the girl and first love to victims and the boy to a joyrider adds a layer of complexity to the relationship and implies that there may be some underlying issues or regrets.
What truly shone out of that golden portrait, as out of Holly herself, was not glamour but innocence. Under the sheath she was positively virginal, a girl from Parowan who had made the big step to city excitements but remained a girl from Parowan. If you cracked the enamel of her sophistication you found a delighted little girl playing Life. (p. 11)
This description of Holly reveals her true nature beneath the surface of her sophistication. The contrast between her outer appearance and her inner innocence is charming and endearing. It shows that despite her attempts to adapt to the city life, she still retains her roots and her childlike sense of wonder and delight.
…he feels how the whole disorderly unchronological past hovers just beyond the curtain of the present, attaching itself to any scent, sound, touch, or random word that will let it get back in. As a stronger gust rattles through the tops of the cottonwoods below him, he stops dead still to listen. Memory is instantly tangible, a thrill of adrenalin in the blood, a prickle of gooseflesh on the arms. (p. 114)
This passage beautifully captures the power of memory and how it can be triggered by the simplest of things. The description of the past hovering just beyond the present and attaching itself to sensory experiences creates a vivid and evocative image. The physical sensations that the character feels when memory is awakened add a sense of authenticity and immediacy to the moment.
Below the lawn, spread along the fossil beach terrace of the lake that thousands of years ago filled the valley, was a long hanging darkness, the playing field where in paleozoic gym-class softball games he had patrolled an invariable, contemptuous right field and batted ninth. (p. 120)
This description of the playing field provides a vivid backdrop for the character's memories. The mention of the fossil beach terrace and the ancient lake adds a sense of history and depth to the scene. The character's memories of playing softball in gym class bring back a sense of nostalgia and a connection to his past self.
Abruptly the capitol winked out. Its afterimage pulsed, a blue hole in the darkness, and before it had faded, the temple, too, went dark, cued to the same late clock. Something invisible but palpable, some recognition or reassurance,, arced from the dark desert across the city and joined the dark loom of the Wasatch. In one enfolding instant, desert and mountains wrapped closer around the valley and around him their protective isolation.
This passage creates a powerful and atmospheric scene. The description of the capitol and the temple going dark, along with the invisible connection that arcs across the city, gives a sense of mystery and wonder. The idea of the desert and mountains wrapping around the valley and the character in a protective isolation adds a feeling of security and belonging.
Seen and unseen, lighted and dark, it was all effortlessly present. Here was a living space once accepted and used, relied on without uncertainty or even awareness, security frozen like the expression on a face at the moment of a snapshot. This territory contained and limited a history, personal and social, in which he had once made himself at home. This was his place – first his problem, then his oyster, and now the museum or diorama where early versions of him were preserved. (p. 120)
This passage reflects on the significance of a particular place in the character's life. The description of the living space as effortlessly present and containing a history emphasizes its importance. The comparison of the place to a museum or diorama, where early versions of the character are preserved, suggests that it holds memories and experiences that have shaped him. It shows how a place can become a part of our identity and a source of both comfort and nostalgia.
The provinces export manpower, yes, as surely as atmospheric highs blow toward atmospheric lows. But the brains that are drawn outward to the good schools, the good jobs, the opportunities, don’t necessarily initiate their move. It can be as unavoidable as being born. They feel themselves being rotated into position. Even if they could know what they’re going to find outside, all that pain, blood, glaring light, sudden cold, forceps, scissors, hands tying Boy Scout knots in their umbilicus, they could neither prevent nor delay it. Head first, leg first, butt first, out they go. (p. 166)
This quote explores the theme of migration and the forces that drive people to leave their hometowns in search of better opportunities. The comparison to the movement of air masses emphasizes the inevitability of this process. The description of the experience of leaving as being as unavoidable as being born and filled with pain and uncertainty adds a sense of realism and poignancy. It shows how people may have little control over their lives and are often at the mercy of larger forces.
Quickly he shuffled through the others. Only eight – one roll from his old bellows Kodak. One print was so over-exposed that all detail was washed out. Two were of a crowd – the wedding crowd – spread across the grass under the cottonwoods, self-conscious countrified strangers not even forgotten because never known, but once studied gingerly as potential relatives by marriage…. Buck’s hard face is a younger version of his father’s, curly dark hair an earlier stage of curly gray. Both have the beaks of hawks and eyes that bore into the camera like the eyes of sea lot grandfathers in old tintypes. (p. 185)
This passage describes the character's examination of a set of old photographs. The details about the over-exposed print and the pictures of the wedding crowd add a sense of nostalgia and a connection to the past. The description of Buck's face and his resemblance to his father, along with the comparison of their eyes to those of sea lot grandfathers, creates a vivid and memorable image. It shows how the past is preserved in these photographs and how they can trigger memories and emotions.

He was starting to realize that memory didn't follow a calendar. Everything inside it seemed to exist simultaneously. A sense of time had to be forcefully imposed upon it.

I didn't even know the meaning of recapitulation. But after looking it up (thanks to Merriam Webster), I learned that it means "a concise summary." With that understanding, that's precisely what this story is. Bruce Mason, now in his mid-sixties (one of the sons in The Big Rock Candy Mountain), revisits his youth and formative years.

The moral of this book is a five-star moral, but the story itself was more of a three-star for me. However, that was probably due to my own state of mind and the fact that I started this months ago, got too busy to finish it, and finally picked it back up and really enjoyed it. All in all, I'm giving this four stars.

Wallace Stegner is a masterful writer (sometimes a bit pompous with his references!), and he manages to revisit Bruce's youth in an authentic way. However, some scenes felt overdone to me. He covered a dream remembrance, a remembrance as if it were a movie, a remembrance discussing it with a figment of Bruce's imagination, and so on. I didn't love all of Bruce's decisions, yet everything was written in an appropriate way. I loved the idea of Bruce reconciling his youth and what he thought he knew with his present.

If you liked The Big Rock Candy Mountains, I'd definitely recommend this. If you haven't read The Big Rock Candy Mountains, don't read this one until you have, and you should definitely read that one.

The next quote might be a spoiler, but I want to remember it, so only read at your own risk: "You know nothing at all, you know less than nothing because you know things wrong." (What Bruce imagines that his father is saying to him.)