LAST ONE HOME John Ehle

I feel as if I'm gossiping. LAST ONE HOME is so richly character driven, it seems in offering a summary I'm prattling in the churchyard. Gone down the mountain... left in the middle of the night, don't you know, with the furniture given to 'em... Cabin's front door left wide open to the weather and the raccoons. Don't that beat all? And her daddy gave them all that land... left behind their family... but Pink's never been satisfied, always looking for a deal when he shoulda been farming. And poor Amanda... her daddy liked to tore Pink's hide when he found her gone. That girl won't do in a big city like Asheville. She won't.

Admittedly, my colloquialisms are more Eastern North Carolina, but you get the point. I know this family. I have known them all their lives. LAST ONE HOME follows the last generation of the King family. Pinkney and Amanda King, beckoned by progress and tempted by ambition, brave their own way beyond the comforts of tradition and duty. Pink seeks to make a new family, and Amanda is the beneficial martyr.

I'm not quite certain whether success finds Pink or Pink keeps stumbling into success. I don't know much about life insurance, and I don't think Pink does either, but he quickly finds a fortune and gains stature in a growing city. Amanda holds him to the old ways. Amanda's reluctance over social progress is most evident as her precocious child, Hallie, grows into a smart, independent, decisive woman, duly suited to inherit the responsibilities of her father's company. Which is more than one can say for their rambling , oft-drunk, slow-witted first son Frederick. His mother's sense of entitlement for him, coupled with her desire to see her daughter in a traditional role as wife and mother, threatens to rip the family apart.

Even setting is molded into a character. No town is better suited to represent the blessings and burdens of progress than Asheville. We watch as Asheville is manipulated by the ambitions of wealthy outsiders. Crafts of necessity become a tourist's leisure. Mountainsides are blasted apart to give way to picturesque views. Local tradesmen struggle with an economy that seems always two steps ahead.

Mr. Ehle is a master of imagery and metaphor. Pink's namesake and younger son is himself a promise of the future once loyalty and refinement merge, representing potential and virtue. Furthermore, I don't think I have ever read a truer description of family as Amanda muses on the ability to measure love by a length of fabric.
There is no glamour in this story. Not in the primitive mountaintop community left behind, not in the busy marketplace or the bustling square of Asheville. Pink and Amanda break ground with as many hardships as their frontier predecessors. Perhaps that is the greatest triumph of this last installment in Ehle's seven book series--the Kings come full circle. For though the sacrifice is less physical as in THE LAND BREAKERS, the first book, the spiritual crises in LAST ONE HOME offer the reader several breathless moments of truth on themes of spirituality and family. Epiphanies don't come lightly.

John Ehle, in colloquial eloquence, has given us not so much a novel but an allegory, a tale for all time, a fable for an almost lost culture.