Overview

Ralph Waldo Emerson battles dementia while debating whether to intercede in a Black soldier’s unjust arrest In 1879, toward the end of his life, the Sage of Concord has lost his words. Beset by aphasia and grief, Ralph Waldo Emerson is scarcely recognizable as America’s foremost essayist and orator. To the dismay of his wife, he frequently entertains the specters of his fellow transcendentalists, including Whitman, Thoreau, John Muir, and Margaret Fuller, and frets about the future of humankind and the natural world. Does the present displace the past? Do ideas always precede actions? What responsibility does each of us bear for the downtrodden, the preservation of liberty, and the Earth itself? These metaphysical concerns become concrete when Emerson meets a Black soldier accused of killing a white man who abused him. The soldier’s presence demands a response from Emerson, an action outside the parlors of philosophy and beyond the realm where language and logic hold sway. The Ice Harp, the tenth stand-alone book in The American Novels series, is a poignant portrayal of a literary luminary coming to terms with the loss of memory, the cost of inaction, and the end of life.

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9781954276178

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Reviews

Praise for The Ice Harp “Lock’s latest in his luminous American Novels series . . . provides countless memorable turns of phrase, and it is the rare paragraph that does not inspire underlining as Lock explores memory, mortality, and the passage of time.” —Booklist (starred review) “An elegiac, powerful book about a thinker’s limitations.” —Kirkus Reviews (starred review) “A fascinating and haunting novel, The Ice Harp chronicles the vulnerable mortality of an American genius.” —Foreword Reviews “In The Ice Harp, Norman Lock deftly takes us into the polyphonic swirl of Emerson’s mind at the end of his life, inviting us to meet the man anew even as the philosopher fights to stop forgetting himself. Who will I be when the words are gone, the great thinker wonders, and how will I know what is right? I gladly asked myself these same impossible questions on every page of this remarkably empathetic and deeply moral novel.” —Matt Bell, author of Appleseed and Refuse to Be Done “Here is Emerson unleashed—caustic, brilliant, befuddled, wrangling with the living and the dead. Delights of language and character shine on every page of The Ice Harp as Emerson confronts his own humanity.” —Victoria Redel, author of Before Everything and Paradise Select Praise for Norman Lock’s The American Novels Series “Norman Lock has created a memorable portrait gallery of American subjects, in a succession of audaciously imagined, wonderfully original, and beautifully written novels unlike anything in our literature.” —Joyce Carol Oates “Shimmers with glorious language, fluid rhythms, and complex insights.” —NPR “Our national history and literature are Norman Lock’s playground in his dazzling series, The American Novels. . . . [His] supple, elegantly plain-spoken prose captures the generosity of the American spirit in addition to its moral failures, and his passionate engagement with our literary heritage evinces pride in its unique character.” —Washington Post “Lock writes some of the most deceptively beautiful sentences in contemporary fiction. Beneath their clarity are layers of cultural and literary references, profound questions about loyalty, race, the possibility of social progress, and the nature of truth . . . to create something entirely new—an American fable of ideas.” —Shelf Awareness “[A] consistently excellent series. . . . Lock has an impressive ear for the musicality of language, and his characteristic lush prose brings vitality and poetic authenticity to the dialogue.” —Booklist On The Boy in His Winter “[Lock] is one of the most interesting writers out there. This time, he re-imagines Huck Finn’s journeys, transporting the iconic character deep into America’s past—and future.” —Reader’s Digest On American Meteor “[Walt Whitman] hovers over [American Meteor], just as Mark Twain’s spirit pervaded The Boy in His Winter. . . . Like all Mr. Lock’s books, this is an ambitious work, where ideas crowd together on the page like desperate men on a battlefield.” —Wall Street Journal On The Port-Wine Stain “Lock’s novel engages not merely with [Edgar Allan Poe and Thomas Dent Mütter] but with decadent fin de siècle art and modernist literature that raised philosophical and moral questions about the metaphysical relations among art, science and human consciousness. The reader is just as spellbound by Lock’s story as [his novel’s narrator] is by Poe’s. . . . Echoes of Wilde’s The Picture of Dorian Gray and Freud’s theory of the uncanny abound in this mesmerizingly twisted, richly layered homage to a pioneer of American Gothic fiction.” —New York Times Book Review On A Fugitive in Walden Woods “A Fugitive in Walden Woods manages that special magic of making Thoreau’s time in Walden Woods seem fresh and surprising and necessary right now. . . . This is a patient and perceptive novel, a pleasure to read even as it grapples with issues that affect the United States to this day.” —Victor LaValle, author of The Ballad of Black Tom and The Changeling On The Wreckage of Eden “The lively passages of Emily [Dickinson’s]’s letters are so evocative of her poetry that it becomes easy to see why Robert finds her so captivating. The book also expands and deepens themes of moral hypocrisy around racism and slavery. . . . Lyrically written but unafraid of the ugliness of the time, Lock’s thought-provoking series continues to impress.” —Publishers Weekly On Feast Day of the Cannibals “Lock does not merely imitate 19th-century prose; he makes it his own, with verbal flourishes worthy of [Herman] Melville.” —Gay & Lesbian Review On American Follies “Ragtime in a fever dream. . . . When you mix 19th-century racists, feminists, misogynists, freaks, and a flim-flam man, the spectacle that results might bear resemblance to the contemporary United States.” —Library Journal (starred review) On Tooth of the Covenant “Splendid. . . . Lock masters the interplay between nineteenth-century [Nathaniel] Hawthorne and his fictional surrogate, Isaac, as he travels through Puritan New England. The historical details are immersive and meticulous.” —Foreword Reviews (starred review) On Voices in the Dead House “Gripping. . . . The legacy of John Brown looms over both Alcott and Whitman [in] a haunting novel that offers candid portraits of literary legends.” —Kirkus Reviews (starred review)

Advance Praise for The Ice Harp “An elegiac, powerful book about a thinker’s limitations.” —Kirkus Reviews (starred review) “In The Ice Harp, Norman Lock deftly takes us into the polyphonic swirl of Emerson’s mind at the end of his life, inviting us to meet the man anew even as the philosopher fights to stop forgetting himself. Who will I be when the words are gone, the great thinker wonders, and how will I know what is right? I gladly asked myself these same impossible questions on every page of this remarkably empathetic and deeply moral novel.” —Matt Bell, author of Appleseed and Refuse to Be Done “Here is Emerson unleashed—caustic, brilliant, befuddled, wrangling with the living and the dead. Delights of language and character shine on every page of The Ice Harp as Emerson confronts his own humanity.” —Victoria Redel, author of Before Everything and Paradise Select Praise for Norman Lock’s The American Novels Series “Norman Lock has created a memorable portrait gallery of American subjects, in a succession of audaciously imagined, wonderfully original, and beautifully written novels unlike anything in our literature.” —Joyce Carol Oates “Shimmers with glorious language, fluid rhythms, and complex insights.” —NPR “Our national history and literature are Norman Lock’s playground in his dazzling series, The American Novels. . . . [His] supple, elegantly plain-spoken prose captures the generosity of the American spirit in addition to its moral failures, and his passionate engagement with our literary heritage evinces pride in its unique character.” —Washington Post “Lock writes some of the most deceptively beautiful sentences in contemporary fiction. Beneath their clarity are layers of cultural and literary references, profound questions about loyalty, race, the possibility of social progress, and the nature of truth . . . to create something entirely new—an American fable of ideas.” —Shelf Awareness “[A] consistently excellent series. . . . Lock has an impressive ear for the musicality of language, and his characteristic lush prose brings vitality and poetic authenticity to the dialogue.” —Booklist On The Boy in His Winter “[Lock] is one of the most interesting writers out there. This time, he re-imagines Huck Finn’s journeys, transporting the iconic character deep into America’s past—and future.” —Reader’s Digest On American Meteor “[Walt Whitman] hovers over [American Meteor], just as Mark Twain’s spirit pervaded The Boy in His Winter. . . . Like all Mr. Lock’s books, this is an ambitious work, where ideas crowd together on the page like desperate men on a battlefield.” —Wall Street Journal On The Port-Wine Stain “Lock’s novel engages not merely with [Edgar Allan Poe and Thomas Dent Mütter] but with decadent fin de siècle art and modernist literature that raised philosophical and moral questions about the metaphysical relations among art, science and human consciousness. The reader is just as spellbound by Lock’s story as [his novel’s narrator] is by Poe’s. . . . Echoes of Wilde’s The Picture of Dorian Gray and Freud’s theory of the uncanny abound in this mesmerizingly twisted, richly layered homage to a pioneer of American Gothic fiction.” —New York Times Book Review On A Fugitive in Walden Woods “A Fugitive in Walden Woods manages that special magic of making Thoreau’s time in Walden Woods seem fresh and surprising and necessary right now. . . . This is a patient and perceptive novel, a pleasure to read even as it grapples with issues that affect the United States to this day.” —Victor LaValle, author of The Ballad of Black Tom and The Changeling On The Wreckage of Eden “The lively passages of Emily [Dickinson’s]’s letters are so evocative of her poetry that it becomes easy to see why Robert finds her so captivating. The book also expands and deepens themes of moral hypocrisy around racism and slavery. . . . Lyrically written but unafraid of the ugliness of the time, Lock’s thought-provoking series continues to impress.” —Publishers Weekly On Feast Day of the Cannibals “Lock does not merely imitate 19th-century prose; he makes it his own, with verbal flourishes worthy of [Herman] Melville.” —Gay & Lesbian Review On American Follies “Ragtime in a fever dream. . . . When you mix 19th-century racists, feminists, misogynists, freaks, and a flim-flam man, the spectacle that results might bear resemblance to the contemporary United States.” —Library Journal (starred review) On Tooth of the Covenant “Splendid. . . . Lock masters the interplay between nineteenth-century [Nathaniel] Hawthorne and his fictional surrogate, Isaac, as he travels through Puritan New England. The historical details are immersive and meticulous.” —Foreword Reviews (starred review) On Voices in the Dead House “Gripping. . . . The legacy of John Brown looms over both Alcott and Whitman [in] a haunting novel that offers candid portraits of literary legends.” —Kirkus Reviews (starred review)

Advance Praise for The Ice Harp In The Ice Harp, Norman Lock deftly takes us into the polyphonic swirl of Emerson's mind at the end of his life, inviting us to meet the man anew even as the philosopher fights to stop forgetting himself. Who will I be when the words are gone, the great thinker wonders, and how will I know what is right? I gladly asked myself these same impossible questions on every page of this remarkably empathetic and deeply moral novel. -Matt Bell, author of Appleseed and Refuse to Be Done Here is Emerson unleashed-caustic, brilliant, befuddled, wrangling with the living and the dead. Delights of language and character shine on every page of The Ice Harp as Emerson confronts his own humanity. -Victoria Redel, author of Before Everything and Paradise Select Praise for Norman Lock's The American Novels Series Norman Lock has created a memorable portrait gallery of American subjects, in a succession of audaciously imagined, wonderfully original, and beautifully written novels unlike anything in our literature. -Joyce Carol Oates Shimmers with glorious language, fluid rhythms, and complex insights. -NPR Our national history and literature are Norman Lock's playground in his dazzling series, The American Novels. . . . [His] supple, elegantly plain-spoken prose captures the generosity of the American spirit in addition to its moral failures, and his passionate engagement with our literary heritage evinces pride in its unique character. -Washington Post Lock writes some of the most deceptively beautiful sentences in contemporary fiction. Beneath their clarity are layers of cultural and literary references, profound questions about loyalty, race, the possibility of social progress, and the nature of truth . . . to create something entirely new-an American fable of ideas. -Shelf Awareness [A] consistently excellent series. . . . Lock has an impressive ear for the musicality of language, and his characteristic lush prose brings vitality and poetic authenticity to the dialogue. -Booklist On The Boy in His Winter [Lock] is one of the most interesting writers out there. This time, he re-imagines Huck Finn's journeys, transporting the iconic character deep into America's past-and future. -Reader's Digest On American Meteor [Walt Whitman] hovers over [American Meteor], just as Mark Twain's spirit pervaded The Boy in His Winter. . . . Like all Mr. Lock's books, this is an ambitious work, where ideas crowd together on the page like desperate men on a battlefield. -Wall Street Journal On The Port-Wine Stain Lock's novel engages not merely with [Edgar Allan Poe and Thomas Dent Mutter] but with decadent fin de siecle art and modernist literature that raised philosophical and moral questions about the metaphysical relations among art, science and human consciousness. The reader is just as spellbound by Lock's story as [his novel's narrator] is by Poe's. . . . Echoes of Wilde's The Picture of Dorian Gray and Freud's theory of the uncanny abound in this mesmerizingly twisted, richly layered homage to a pioneer of American Gothic fiction. -New York Times Book Review On A Fugitive in Walden Woods A Fugitive in Walden Woods manages that special magic of making Thoreau's time in Walden Woods seem fresh and surprising and necessary right now. . . . This is a patient and perceptive novel, a pleasure to read even as it grapples with issues that affect the United States to this day. -Victor LaValle, author of The Ballad of Black Tom and The Changeling On The Wreckage of Eden The lively passages of Emily [Dickinson's]'s letters are so evocative of her poetry that it becomes easy to see why Robert finds her so captivating. The book also expands and deepens themes of moral hypocrisy around racism and slavery. . . . Lyrically written but unafraid of the ugliness of the time, Lock's thought-provoking series continues to impress. -Publishers Weekly On Feast Day of the Cannibals Lock does not merely imitate 19th-century prose; he makes it his own, with verbal flourishes worthy of [Herman] Melville. -Gay & Lesbian Review On American Follies Ragtime in a fever dream. . . . When you mix 19th-century racists, feminists, misogynists, freaks, and a flim-flam man, the spectacle that results might bear resemblance to the contemporary United States. -Library Journal (starred review) On Tooth of the Covenant Splendid. . . . Lock masters the interplay between nineteenth-century [Nathaniel] Hawthorne and his fictional surrogate, Isaac, as he travels through Puritan New England. The historical details are immersive and meticulous. -Foreword Reviews (starred review) On Voices in the Dead House Gripping. . . . The legacy of John Brown looms over both Alcott and Whitman [in] a haunting novel that offers candid portraits of literary legends. -Kirkus Reviews (starred review)

Praise for The Ice Harp “Lock’s latest in his luminous American Novels series . . . provides countless memorable turns of phrase, and it is the rare paragraph that does not inspire underlining as Lock explores memory, mortality, and the passage of time.” —Booklist (starred review) “An elegiac, powerful book about a thinker’s limitations.” —Kirkus Reviews (starred review) “A fascinating and haunting novel, The Ice Harp chronicles the vulnerable mortality of an American genius.” —Foreword Reviews “As intellectually entertaining as it is memorably thought provoking.” —Midwest Book Review “In The Ice Harp, Norman Lock deftly takes us into the polyphonic swirl of Emerson’s mind at the end of his life, inviting us to meet the man anew even as the philosopher fights to stop forgetting himself. Who will I be when the words are gone, the great thinker wonders, and how will I know what is right? I gladly asked myself these same impossible questions on every page of this remarkably empathetic and deeply moral novel.” —Matt Bell, author of Appleseed and Refuse to Be Done “Here is Emerson unleashed—caustic, brilliant, befuddled, wrangling with the living and the dead. Delights of language and character shine on every page of The Ice Harp as Emerson confronts his own humanity.” —Victoria Redel, author of Before Everything and Paradise Select Praise for Norman Lock’s The American Novels Series “Norman Lock has created a memorable portrait gallery of American subjects, in a succession of audaciously imagined, wonderfully original, and beautifully written novels unlike anything in our literature.” —Joyce Carol Oates “Shimmers with glorious language, fluid rhythms, and complex insights.” —NPR “Our national history and literature are Norman Lock’s playground in his dazzling series, The American Novels. . . . [His] supple, elegantly plain-spoken prose captures the generosity of the American spirit in addition to its moral failures, and his passionate engagement with our literary heritage evinces pride in its unique character.” —Washington Post “Lock writes some of the most deceptively beautiful sentences in contemporary fiction. Beneath their clarity are layers of cultural and literary references, profound questions about loyalty, race, the possibility of social progress, and the nature of truth . . . to create something entirely new—an American fable of ideas.” —Shelf Awareness “[A] consistently excellent series. . . . Lock has an impressive ear for the musicality of language, and his characteristic lush prose brings vitality and poetic authenticity to the dialogue.” —Booklist On The Boy in His Winter “[Lock] is one of the most interesting writers out there. This time, he re-imagines Huck Finn’s journeys, transporting the iconic character deep into America’s past—and future.” —Reader’s Digest On American Meteor “[Walt Whitman] hovers over [American Meteor], just as Mark Twain’s spirit pervaded The Boy in His Winter. . . . Like all Mr. Lock’s books, this is an ambitious work, where ideas crowd together on the page like desperate men on a battlefield.” —Wall Street Journal On The Port-Wine Stain “Lock’s novel engages not merely with [Edgar Allan Poe and Thomas Dent Mütter] but with decadent fin de siècle art and modernist literature that raised philosophical and moral questions about the metaphysical relations among art, science and human consciousness. The reader is just as spellbound by Lock’s story as [his novel’s narrator] is by Poe’s. . . . Echoes of Wilde’s The Picture of Dorian Gray and Freud’s theory of the uncanny abound in this mesmerizingly twisted, richly layered homage to a pioneer of American Gothic fiction.” —New York Times Book Review On A Fugitive in Walden Woods “A Fugitive in Walden Woods manages that special magic of making Thoreau’s time in Walden Woods seem fresh and surprising and necessary right now. . . . This is a patient and perceptive novel, a pleasure to read even as it grapples with issues that affect the United States to this day.” —Victor LaValle, author of The Ballad of Black Tom and The Changeling On The Wreckage of Eden “The lively passages of Emily [Dickinson’s]’s letters are so evocative of her poetry that it becomes easy to see why Robert finds her so captivating. The book also expands and deepens themes of moral hypocrisy around racism and slavery. . . . Lyrically written but unafraid of the ugliness of the time, Lock’s thought-provoking series continues to impress.” —Publishers Weekly On Feast Day of the Cannibals “Lock does not merely imitate 19th-century prose; he makes it his own, with verbal flourishes worthy of [Herman] Melville.” —Gay & Lesbian Review On American Follies “Ragtime in a fever dream. . . . When you mix 19th-century racists, feminists, misogynists, freaks, and a flim-flam man, the spectacle that results might bear resemblance to the contemporary United States.” —Library Journal (starred review) On Tooth of the Covenant “Splendid. . . . Lock masters the interplay between nineteenth-century [Nathaniel] Hawthorne and his fictional surrogate, Isaac, as he travels through Puritan New England. The historical details are immersive and meticulous.” —Foreword Reviews (starred review) On Voices in the Dead House “Gripping. . . . The legacy of John Brown looms over both Alcott and Whitman [in] a haunting novel that offers candid portraits of literary legends.” —Kirkus Reviews (starred review)

Author Information

Norman Lock is the award-winning author of novels, short fiction, and poetry, as well as stage and radio plays. He has won The Dactyl Foundation Literary Fiction Award, The Paris Review Aga Khan Prize for Fiction, and has been longlisted twice for the Simpson/Joyce Carol Oates Prize. He has also received writing fellowships from the New Jersey State Council on the Arts, the Pennsylvania Council on the Arts, and the National Endowment for the Arts. He lives in Aberdeen, New Jersey, where he is at work on the next books of The American Novels series.

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