The Flood | Blackwater #1
Michael McDowell | Avon Books | 1983 | 189 pages
The wet and mud-caked opening book in a serial Southern Gothic, the waters of The Flood recede and leave a singular presence, Elinor Dammert.
Surveying the flooded town of Perdido, Alabama, from the vantage point of a rowboat, mill owner Oscar Caskey discovers Elinor through the second-story window (now at water level) of the town’s deserted hotel, calmly sitting on the bed as if waiting for his arrival. Much to the consternation of family matriarch, Mary-Love Caskey, Elinor quickly takes a room with Oscar’s uncle, establishing herself his caretaker and de-facto guardian of his small child.
With a coldly calculating detachment, Elinor uses all resources to further her advantage, and soon becomes engaged to Oscar. A manipulator of people rivaling Mary-Love herself, Elinor engages in a battle of wills to gain entry into the family. The physical manifestation of that contest is the marriage house that Mary-Love promises, but stalls in its construction. Even the assumed bond between mother and child is challenged in the struggle to achieve the upper hand.
Meanwhile, a young boy glimpses Elinor in an unguarded moment, soaking in a pond of river water, and for a moment sees something not-entirely human. She exhibits a natural affinity for water, and displays fearlessness around hazards such as the naturally occurring whirlpool where two branches of the river meet. A shocking act of violence suggests that Elinor is capable of manipulation on a level beyond simple social influence, and other tragedies swirl about the plagued community.
From the dirty high-water mark in the hotel to the sandy lifeless soil (except for the strangely flourishing trees that Elinor plants) left behind by the receding waters, book one of the Blackwater saga is a triumph of place and mood.
Something is clearly wrong, or otherworldly, with Elinor, but as she insinuates herself into the Caskey family, the ultimate question emerges, “What does she want?”