Mary Hood’s fictional world is a world where fear, anger, longing—sometimes worse—lie just below the surface of a pleasant summer afternoon or a Sunday church service.
In 'A Country Girl, ’ for example, she creates an idyllic valley where a barefoot girl sings melodies 'low and private as a lullaby’ and where 'you could pick up one of the little early apples from the ground and eat it right then without worrying about pesticide.’ But something changes this summer afternoon with the arrival at a family reunion of fair and fiery Johnny Calhoun: 'everybody’s kind and nobody’s kin, ’ forty in a year or so, 'and wild in the way that made him worth the trouble he caused.’
The title story in the collection begins with a visit to clean the graves in a country cemetery and ends with the terrifying pursuit of a young girl and her grandmother by two bikers, one of whom 'had the invading sort of eyes the woman had spent her lifetime bolting doors against.’
In the story 'Inexorable Process’ we see the relentless desperation of Angelina, 'who hated many things, but Sundays most of all, ’ and in 'Solomon’s Seal’ the ancient anger of the mountain woman who has crowded her husband out of her life and her heart, until the plants she has tended in her rage fill the half-acre. 'The madder she got, the greener everything grew.’
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