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Given Mel's conservationist bent and her father's expoitative one--not to mention the usual family baggage--it's no surprise that these two are antagonists. There are also Oedipal fireworks galore, as the two younger men alternately resist and succumb to Dudley's long-distance manipulations. But more to the point, Where the Sea Used to Be is a novel about clashing obsessions: personal, spiritual, and environmental. Occasionally this works to the story's detriment, as one character after another speechifies on behalf of his or her bête noir. (The author, too, is guilty on this count, having inserted a number of italicized lectures into the text.) But despite this flaw, and the sometimes creaky machinery of the plot, Where the Sea Used to Be offers an abundance of riches--not the least of them being Bass's patented, time-lapse lyricism: "The moose walked off into the trees--disappeared into the branchy whispers of fir, pine, and spruce, fitting back into the woods like an arrow passing between two ribs. A mist of snow trickled from one of the branches where the moose had gone--it caught the moonlight and glittered as it fell--and then there was no sign. The woods sealed back in around her." Nobody is more persuasive when it comes to describing a place, along with the animals--human and otherwise--who occupy it.
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