The Crane Husband
4/5
()
About this ebook
Nebula Award nominee for Best Novella
World Fantasy Award nominee for Best Novella
“If I had to nominate a worthy successor to Angela Carter, I would nominate Kelly Barnhill. "—Laura Ruby, two-time National Book Award finalist and author of Bone Gap
"A slim little novella that packs a narrative punch more intense than that of many books ten times its length."—NPR
Award-winning author Kelly Barnhill brings her singular talents to The Crane Husband, a raw, powerful story of love, sacrifice, and family.
“Mothers fly away like migrating birds. This is why farmers have daughters.”
A fifteen-year-old teenager is the backbone of her small Midwestern family, budgeting the household finances and raising her younger brother while her mom, a talented artist, weaves beautiful tapestries. For six years, it’s been just the three of them—her mom has brought home guests at times, but none have ever stayed.
Yet when her mom brings home a six-foot tall crane with a menacing air, the girl is powerless to prevent her mom letting the intruder into her heart, and her children’s lives. Utterly enchanted and numb to his sharp edges, her mom abandons the world around her to weave the masterpiece the crane demands.
In this stunning contemporary retelling of “The Crane Wife” by the Newbery Medal-winning author of The Girl Who Drank the Moon, one fiercely pragmatic teen forced to grow up faster than was fair will do whatever it takes to protect her family—and change the story.
At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Kelly Barnhill
KELLY BARNHILL lives in Minnesota with her husband and three children. She is the author of four novels, most recently The Girl Who Drank the Moon, winner of the 2017 John Newbery Medal. She is also the winner of the World Fantasy Award and has been a finalist for the Minnesota Book Award, a Nebula Award, and the PEN/USA literary prize. Visit her online at www.kellybarnhill.com or on Twitter: @kellybarnhill.
Read more from Kelly Barnhill
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Reviews for The Crane Husband
82 ratings8 reviews
- Rating: 3 out of 5 stars3/5
Aug 21, 2024
3.25
Weaver mother brings home a bird daddy for her kids. Said daddy likes to scratch. Teenage daughter has to become the parent. Main themes are domestic abuse and parental neglect. Felt YA. - Rating: 4 out of 5 stars4/5
May 14, 2024
I enjoyed--although that is too light a term--this when I read it, but it has also stuck with me. I appreciated the minimalist approach here, which befits a contemporary revision of a traditional (there are actually several versions) fairy tale. Barnhill really understands how fairy tales work and has resisted the temptation of many of her contemporaries to over-elaborate on them in their own retellings. The narrative feels claustrophobic, but at the same time leaves a lot of gaps and spaces for us to think our way into the story and its implications. Traditional fairy tales are often more deeply ambiguous than many believe, particularly if we are familiar only with the sanitized versions of the much darker originals collected by the Grimms, etc. In this case much of the ambiguity comes from a single question: why is such an old, familiar story--a woman whom submits to abuse and abandons herself and those around her--one that too many people inhabit anew, and as if for the first time, everyday? Her teenage protagonist provides one set of answers: we inhabit a world where people see and don't see what is right in front of them.
Much of the attention this book has garnered--and you can see it in many of the other reviews here so far on LT--focuses on gender issue. However Barnhill's interest in the gender dynamics is wrapped up in a broader examination of cultural shifts in technology, farming, commerce, and the art market. Many of those elements nag at the edges of consciousness while reading the book (the creepy agribusiness next door, the fawning online collectors for the mother's art); this is, fundamentally, a smart story about how private abuse is fostered by a broader culture that turns a blind eye to all kinds of abuse. - Rating: 4 out of 5 stars4/5
Apr 8, 2024
I read this novella as part of the Nebula finalist packet. The Crane Husband is a disturbing, gothic-tinged meditation on how women succumb to abuse. Though mythology forms a major undercurrent, it feels incredibly contemporary and relevant (which is a tragedy unto itself). - Rating: 4 out of 5 stars4/5
Jul 9, 2023
A marvelous retelling of the Japanese crane folktale set in modern day. I loved the 15-year old protagonist daughter who has been forced to grow up much quicker than she should. Some of her comments made me laugh out loud, however the sad state of her home life with her mother's relationship with this nasty crane and having to care for her much younger brother made her humor even more cutting in the circumstances. Overall, it was an intense tale of neglect, delusion and generational trauma that her mother wasn't able to shake. There was a moment that made me quite vividly think of the movie Birdman, which I also loved. Lastly, the cover art is breathtaking. - Rating: 4 out of 5 stars4/5
Aug 9, 2023
Reason read: It caught my eye when I was at the library and I had read her The Girl Who Drank the Moon. I did not know what to suspect but it starts out creepy. The first sentence; "The crane came in through the front door like he owned the place". The story is set in the Midwest on a house set up against a field of corn farmed by a conglomerate and machinery that is run remotely. The narrator is a 15 y/o girl who is taking care of her younger brother and her mother's weaving business.
The story is a retelling of a Japanese folktale which is about transformation. I am not familiar with the folktale and I am not sure if that was a disadvantage. Essentially the story is of a 15 y/o girl and her younger brother essentially abandoned by their mother for the man/crane who is abusive to their mother.
"men, women, and those who had transcended those categories"
"winters that now oscillated between unsettling temperate damp and bitter cold".
pg 34 "...the sweep of time and the tragedy of love and the persistent presence of the grave."
pg 117 "maybe we never actually run away. Maybe everywhere's the same."
pg 117 "I guess we really are what we are born for."
pg 118 "Her black eye is a pool of ink. It is a bottomless pit. It is a collapsed star. All density and hunger and relentless gravity, pulling everything it can into its center--to be unraveled, unmade, undone, and unrecognizable. How can anyone survive that kind of love?"
The author lives in Mpls and she started writing this letter while in southern Minnesota buying an RV and talking to the lady who was moving after selling her farm to a conglomeration. I enjoyed the story but it is creepy. - Rating: 4 out of 5 stars4/5
Apr 13, 2023
Strange, magical realist novella about a widowed female artist whole falls in love with a big, cruel bird, while her more practical daughter struggles with the daily details of keeping their household together. Agribusiness, global warming, the foster care system, and the purpose of art all figure into the narrative, which covers a lot of ground even though it is just 128 pages long. Well worth reading and discussing. - Rating: 4 out of 5 stars4/5
Jul 28, 2023
This book was a subversive retelling of the Japanese folkloric tale "The Crane Wife." The narrator is a woman looking back at when she was a 15-year-old girl and her mother brought home a crane as a lover/companion. From that point on, the girl (whose name we never learn) runs the household because her father died of illness many years ago and her mother is an artist who abandons all responsibilities when the crane comes into her life. While the mother focuses just on pleasing the crane and creating whatever grand artistic masterpiece the crane is demanding, the girl takes care of her six-year-old brother Michael, makes all the meals, cleans the house, tends to the sheep on their farm, and handles the marketing and sales of her mother's artwork.
Eventually, when she realizes the crane is not leaving anytime soon, the girl is forced to take the situation into her own hands in order to protect her family. - Rating: 4 out of 5 stars4/5
Jul 3, 2023
Their mother had always been a little distant, a little scatterbrained. She is an artist, a talented weaver who creates stories and emotions out of thread. But they got on all right until the day she brought home the crane and told them to call him "Father." Their own father had died some years ago of a wasting disease, and though their mother had brought home boyfriends since then, they'd never lasted long. The crane is different, though. He takes up all of her attention, and leaves cuts and bruises on their mother's skin. He's cruel, and the family's sheep fear him. Michael is only 6, and he's also afraid of the crane. But it's his 15-year-old sister who is going to have to do something to protect herself and her brother at any cost...
Though the setting is the near future, this story has a timeless, fairy-tale feel. Told from the perspective of the unnamed 15-year-old daughter, this story is dark and complex, but also deeply magical. Recommended to fans of dark fairy tale retellings.
Book preview
The Crane Husband - Kelly Barnhill
1.
The crane came in through the front door like he owned the place. My mother walked slightly behind, her hand buried past her wrist in his feathers. He was a tall fellow. Taller than a man, by a little bit. I watched him duck his head down to pass through the low doorway leading into our elderly farmhouse. His stride was like that of any other crane, all dips and angles, forward and back, and yet. He still seemed to carry himself with an unmistakable swagger. He surveyed our house with a leer. I frowned.
I had already set the table and sliced and buttered the bread—it was stale around the edges but so it goes. I did my best to soften it under a warm, damp paper towel for a minute or two. The canned soup bubbled on the stove.
My brother, only six years old at the time, sat perfectly still in his chair, his eyes wide and solemn. He stared at the spindly gait of the crane as it stalked across the sitting room, its long neck hinging with each step, like a metronome. The crane stopped when they reached the threshold to the kitchen. He cocked his head. My mother stood by his side, her hair disheveled, her sweater drifting down the outer curve of her left shoulder. She leaned her head against him. Were they waiting to be invited in? It was her house. She had never hesitated when bringing guests over before.
Granted: this was her first crane.
My brother’s mouth fell open.
Michael,
I whispered, keep your mouth closed.
I was fifteen and had been in charge of Michael since he was born. He did as he was told. He trusted me, utterly. Under the table, his small, warm hand found mine and hung on tight. He shut his teeth with a snap but kept his large eyes fixed on the bird.
I stared, too. I couldn’t help it. It was an enormous crane. He loomed over my mother, and she was tall to begin with. She gazed up at the crane, who gazed back. She giggled, briefly, like a girl. I pressed my mouth into a grim line. I knew what that giggle meant. She buried her other hand in his feathers, squeezing and releasing her fingers, luxuriating a bit.
Darlings,
my mother said, I’d like you to meet someone.
The crane wore a man’s hat, tipped forward at what I suppose was a jaunty angle. He wore spectacles perched on his beak (razor sharp, I noticed right away). But his eyes—hard and black and keen, and so shiny it almost hurt to look at them—didn’t peer through the spectacles at all. I had a suspicion that they were just for show.
He and my mother stepped farther inside. The crane had a broken wing, bound in a splint that looked as though it had been made from two bits of wood and strips torn from one of my mother’s shirts. It rested in a sling that had all the hallmarks of my mother’s careful construction—intricate stitchwork and the occasional moment of surprising beauty. He attempted to wear shoes, like a man, but his clawed feet had already pierced through the leather and he scratched the floor with each clunk of his footsteps. The shoes, too, were just for show.
(The shoes, I noticed, were my father’s. Or had been when my father was alive. Not that I had any memory of my father wearing those shoes. Or any shoes, for that matter. My only memories of him were from his sickroom when he and I would sit for hours playing card games of my own invention, usually with names like Who’s Got the Highest?
or These Cards Are Now Married and Isn’t That Wonderful,
during which he would cheerfully let me win. I have only one memory from when he lay on his deathbed, but I do not think of it much.)
The crane spread his good wing around my mother. Right away, I watched as that wing slid down her back and curled over her rump. I must have made a face, because my mother instantly folded her arms and gave me a look.
Is that any way,
she said without finishing her sentence.
I shrugged.
Michael said nothing.
Is he staying?
I asked. I meant for dinner.
"Of course he is," my mother said, meaning, I later realized, something else entirely.
The crane tilted his long beak down toward my mother, nuzzling her neck. The sharp tip nipped the well behind her collarbone, making a bright spot of blood. She didn’t seem to notice. But the crane did. Or, it seemed to me that he did. He puffed his feathers in a self-satisfied sort of way. I frowned. I made another place at the table and added water to the soup to spread it out among the four of us. I pulled another bowl out of the cupboard.
What happened to his wing?
I asked, inclining my head toward the splint and the sling. The crane flinched at the mention of it.
Surely you remember,
my mother said, soothingly running her fingers along the crane’s neck and not looking at me at all.
I shook my head. Why would I remember? But I decided to ignore this. My mom lived in her own head sometimes. Artists are like that, I’m told.
What are we to call him?
I said, more as a resignation than a question. You haven’t exactly introduced us.
I rummaged in the drawer for an extra spoon, not wanting to look at either of them. And, in truth, I didn’t particularly care about the answer. I didn’t intend to call the crane anything at all. He’d be gone soon enough anyway. Probably by morning. I don’t think my mother had ever kept anyone around for more than a week, so I never much saw the point of learning the names of the people she brought home.
She pulled out the chairs, the legs screeching against the kitchen floor.
Sit, my love,
she said to him and not to me. I ladled the soup into bowls and tossed salad greens that I had grown in the yard and served those, too. I hoped no one would notice the staleness of the bread. My mother sat on the crane’s lap, her arms draped across his back, her body obscured by his functional wing. The blood from her collarbone smeared across his gray feathers. He clucked and cooed, running his beak along her denimed thighs, picking at the fabric until it frayed.
Michael and I began eating. My mother still hadn’t answered the question. Michael kept his eyes tilted toward the table. I don’t think he looked up once.
Finally: Father,
she said, her hands on either side of the crane’s face, her gaze peering into one black eye. She didn’t look at us at all. You will call him Father.
Fat chance, I thought waspishly.
And even though I knew enough about birds to know that they’re not much for facial expressions, there was no mistaking the bird’s randy, jubilant smirk. He puffed his feathers and preened. I slurped down my soup and excused myself from the table, saying I had homework to do—which was true, but I had no intention of actually doing it.
He won’t last, I told myself. Of course he won’t. My mother wasn’t one to keep anything around, save for me and Michael. So I wasn’t particularly worried about the crane.
I should have been worried about the crane.
2.
Later that evening I returned to the kitchen and saw that my mother and the crane had settled themselves into the living room, their bodies wound together and collapsed in a heap at the edge of the sofa. She showed him photo albums of Michael and me when we were little, gushing at how cute we used to be, as if he cared. They whispered and cooed to one another as I did the dishes and scrubbed the kitchen. They didn’t even look up. I wiped down the counters pointedly and glared as I left the
