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Trees are everywhere but incidental, it seems, until the seventh tale in the series, about an odd little girl who loves trees more than she loves most people and grows up to be a scientist. As Dr. Pat Westerford she spends years alone in forests doing her research, initially mocked by her peers but eventually celebrated for an astounding (and actually real) discovery: A forest’s trees are all communicating, all the time, via a nuanced chemical language transmitted from root to root. As this revelation dawns, the reader is jolted with electric glimpses of connections among characters in the previous stories. And then we remember we’re in the hands of Richard Powers, winner of a genius grant, a storyteller of such grand scope that Margaret Atwood was moved to ask: “If Powers were an American writer of the 19th century, which writer would he be? He’d probably be the Herman Melville of ‘Moby-Dick.’” His picture really is that big. These characters who have held us rapt for 150 pages turn out to be the shrubby understory, for which we couldn’t yet see the forest. Standing overhead with outstretched limbs are the real protagonists. Trees will bring these small lives together into large acts of war, love, loyalty and betrayal, in a violent struggle against a mortgaged timber company that is liquidating its assets, including one of the last virgin stands of California redwoods. The descriptions of this deeply animate place, including a thunderstorm as experienced from 300 feet up, stand with any prose I’ve ever read. I hesitate to tell more, and spoil the immense effort Powers invests in getting us into that primal forest to bear witness. It’s a delicate act, writing about tree defenders: In an era when art seems ready to embrace subjects as painful as racism and sexual harassment, it still shrinks from environmental brutality.
For the original version including any supplementary images or video, visit https://www.nytimes.com/2018/04/09/books/review/overstory-richard-powers.html
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