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It is the Fifties in an isolated outport in Newfoundland. Nothing penetrates this antiquated existence, as television, telephones, cars, even roads, elude the villagers and the only visitors are fog-bound fishermen. Here, outside of Haire’s Hollow, lives 14-year old Kit Pitman with her mentally handicapped mother Josie — both women cared for and protected by the indomitable Lizzie, Kit’s grandmother. The three live a life of some hardship, but much love, punctuated by the change of seasons in the isolated gully where they live. Then a tragic change in their circumstances brings back an old threat — that Josie be sent to an institution and Kit to an orphanage. Advancing this argument is the Reverend Ropson, who from the pulpit decries Josie as the “Gully Tramp.” Defending the women is Doc Hodgson, who brought Kit into the world and knows the secrets of her birth. An uneasy truce is forged, with the Reverend’s son Sid acting as spy and woodcutter, while village women supply food and gossip. Josie delights in Sid’s visits, and Kit grows to love him. There is another menace in Haire’s Hollow — the notorious rapist and killer known as Shine. When Shine attacks Kit in a drunken rage, it sets off a chain of events that leads to further violence and a terrible revelation. Kit and Sid must decide which laws of God and man apply in their despairing world and how much misery they can bear. Kit’s Law is a stunning debut written with the stark rawness of character and landscape of the Rock itself. It evokes the lyrical gifts of E. Annie Proulx, the emotional power of Wally Lamb, and the compelling storytelling of Ann-Marie MacDonald. At its centre is the innocence and determination of Kit herself, a young woman who experiences extremes of pain on the way to redemption. As she says: “It is better to sense nothing at all, to move through the world and glimpse it from a distance, then to split God’s gift in half and live in its underside, with no rays of light dispersing the darkness.”
