A post-Civil War romanic odyssey set in turbulent Missouri.
Time is the Oven is a kind of anti-Western romp, following the adventures of a young man (a boy in Jacob’s Cellar) beginning in post-Civil War Missouri. There he meets the legendary Jesse James and is singularly unimpressed, but comes to see his older brother as a sort of mentor. Pursuing a difficult romantic relationship with a “sporting lady” aspiring to become an actress, he meets only disappointment, marries a respectable woman and seeks unsuccessfully to return to the rural life of his youth. Following a family tragedy and estrangement from his wife, he undertakes an odyssey to Panama during the failed French canal project, eventually returning, definitely older and arguably wiser, to Missouri for unanticipated reuniond at the novel’s dramatic conclusion.
Although in some respects a sequel to Jacob’s Cellar, the novel is a stand-alone romance inspired by Frank Jame’s love of Shakespeare, with a plot reminiscent of “A Winter’s Tale.“
Professional Reviews
ForeWord Reviews
Richard Sharp is the author of two prior novels: The Duke Don’t Dance, a well-received
contemporary tale, and Jacob’s Cellar, the story of an intrepid family of nineteenth-century
Missouri pioneers, both published in 2012. His newest novel, Time Is the Oven, picks up a
thread from the latter book, starting at the end of the American Civil War and following the life
of one of its characters, William, a child during the war, into adulthood. Despite some common
characters, Time Is the Oven stands on its own, and reading Sharp’s previous work is not
essential to understanding or enjoying this most recent offering. Those familiar with his writing
do have one advantage, however: They know to watch for the sly wit and tongue-in-cheek sense
of humor that together seem to be this author’s trademark.
Time Is the Oven is decidedly not a Western in the classic sense, although it shares
certain historical events glorified in many a novel of that genre. Jesse James and his brother
Frank figure prominently, but it is Frank who stands out here, and not for the expected reasons.
In fact, Sharp evokes a smile with a small reference to Frank reading “newspaper accounts and
dime novels” about his more famous brother’s illegal exploits.
A great lover of Shakespeare’s works, Frank is particularly passionate about A Winter’s
Tale. He peppers his conversations with Shakespearean quotes, emerging as a quirky, likable
soul who becomes an odd friend and mentor to William. Only six years younger but
inexperienced and less well read than Frank, William is initially baffled, though intrigued. Early
on, Frank tells him that A Winter’s Tale is “the story of our lives,” and it is actually fun to watch
as, like a play within a play, William slowly processes this theory and comes to recognize the
parallels. Fans of A Winter’s Tale will appreciate the connection.
Sharp carries William away from the Wild West, through exploits elsewhere in the
States, then down to Panama during the French attempt to build an isthmus canal. The historical
detail is accurate, or, ironically, as accurate as it can be, considering the novel’s message about
history, truth, and time. Perhaps it is best simply to say that Sharp’s historical specifics reflect
those in the history books. A stickler for detail, this author would not have it otherwise.
Time Is the Oven is a multilayered invention. At the most basic level, it is the account of
one young man and his evolution from farm boy to more worldly entrepreneur. The real spark
comes from all the extras that Sharp injects. Character development, for instance, is superb.
Realistically, even the most likable characters are not always endearing, and certainly none of
them has all the answers. William, especially as he matures and deals with circumstances over
which he has no real control, becomes a far more complex character. The Shakespearean bent
adds a delightful extra dimension, and the cultural, social, and historical references ground the
story in time and add relevance to the plot.
Finally, Sharp’s humorous afterthoughts provide just the levity the novel requires.
Statements such as, “Boys, like puppies, always think they’re bigger dogs than they are,”
sometimes seem to come out of nowhere, yet, very oddly, they fit.
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