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Also figuring there is a description of the town of Lovelock Junction, where the family settles. They are originally from Devon and so distinct from the family of Jack Lovelock, the best known New Zealander bearing the name, whose father was himself a miner who immigrated from Gloucestershire to South Island at a later date.Lovelock family history site A steamer on the Mokau River, on which the Porangi River and its mines are based The novel is divided into four sections, the first three of which cover roughly the decades 1860-70 and the next two. The final section is more episodic, covering incidents that involve later family members during the 20th century.
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The main focus of the novel is on the three Lovelock brothers and their dependents. It begins in South Island, where the Lovelocks have arrived in the 1860s to prospect for gold, but soon moves to North Island, where the brothers settle on the Porangi River to mine coal, fell timber and attempt iron founding. Although the river is fictitious, it is vividly imagined and a clue is given that it is based on the Mokau River, which is 'nearby and has a not dissimilar history'. This appears as one of several literary tricks that Shadbolt plays at the beginning, seemingly quoting from the 'revised' version of The Shell Guide to New Zealand, which Shadbolt had authored earlier (although there is no 1979 revision, as claimed).
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Though the accounts in this later section of Hillary Lovelock's attempted hippy commune on the Porangi River and of Frank Lovelock's withdrawal there to escape police pursuit hark back to Shadbolt's earlier fiction, the Maori Wars episodes near the start of The Lovelock Version were to become the subject of his later trilogy, Season of the Jew (1986), Monday's Warriors (1990) and The House of Strife (1993).Author entry from The Oxford Companion to New Zealand Literature, edited by Roger Robinson and Nelson Wattie (1998) Shadbolt commented on this side of his work that he tried to use native history, tradition, landscape and folklore as active components.New Zealand Herald In so doing he takes his work out of the sphere of pure historical fiction into the world of Magic realism in a novel indebted in part to Gabriel Marquez's One Hundred Years of Solitude, especially in its sweep over several generations.Graham Reid The novel is no simple glorification of the colonial enterprise but at times becomes a criticism which reflects the author's Left Wing politics.
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