The futile cycle of eking existence from an indifferent world predominates [The Lamp at Noon and Other Stories]—a kind of rural Dubliners in which the same adult impotence replaces a similar childish Araby. Overall, the book spawns variations on the theme of isolation and its haunting melody is unmistakable. The storm which creeps into Will's house [in "Not by Rain Alone"], killing his wife but undoubtedly allowing the child to relive the same empty cycle as its parents, also invades Martha's home in "A Field of Wheat," not as snow but hail. At the same time it crushes "the best crop of wheat John had ever grown." These prairie inhabitants own nothing that is inviolate; they can retreat nowhere that is not whirling vainly in an absurd seasonal cycle…. [The] storm motif recurs in sporadic and tragic fashion, proving a principal antagonist in each of the stories devoted exclusively to the adult (as opposed to the child) experience.
In "The Painted Door,"… close to the finest [story] in Canadian literature,… [Ann's] husband wanders fatally into a blizzard after his discovery of her adultery (it is the only story which uses the adultery theme found in both Ross's novels). (pp. 77-8)
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