A Lesson Before Dying
Ernest J. Gaines, 1993
Knopf Doubleday
272 pp.
ISBN-13: 9780375702709
Summary
Winner, 1993 National Book Critics Circle Award
Set in a small Cajun community in the late 1940s, A Lesson Before Dying is an "enormously moving" (Los Angeles Times) novel of one man condemned to die for a crime he did not commit and a young man who visits him in his cell.
In the end, the two men forge a bond as they both come to understand the simple heroism of resisting—and defying—the expected. (From the publisher.)
Author Bio
• Birth—January 15, 1933
• Where—Pointe Coupee, Louisiana, USA
• Education—B.A., San Francisco State University; fellowiship
to Stanford University
• Awards—Wallace Stegner Fellow, 1957; National Endowment
for the Arts grant, 1967; Dos Passos Prize, 1993; MacArthur
Foundation fellow, 1993; National Book Critics Award, 1993;
National Humanities Medal, 2000; he American Academy of
Arts and Letters, 2000; Chevalier, Order of Arts and Letters
(France), 2000.
• Currently—lives in San Francisco and Oscar, Louisiana
Ernest Gaines was born on a plantation in Pointe Coupee Parish near New Roads, Louisiana, which is the Bayonne of all his fictional works. He is writer-in-residence emeritus at the University of Louisiana at Lafayette. In 1993 Gaines received the John D. and Catherine T. MacArthur Foundation Fellowship for his lifetime achievements.
In addition to The Autobiography of Miss Jane Pittman, Mr. Gaines is also the author of A Lesson Before Dying, A Gathering of Old Men, Bloodline, and Of Love and Dust.
In 1996 he was named a Chevalier de l’Ordre des Arts et des Lettres, one of France’s highest decorations. He and his wife, Dianne, live in Oscar, Louisiana. (From Wikipedia.)
Book Reviews
Despite the novel's gallows humor and an atmosphere of pervasively harsh racism, the characters, black and white, are humanly complex and have some redeeming quality.... A Lesson Before Dying, though it suffers an occasional stylistic lapse, powerfully evokes in its understated tone the "new wants" in the 1940's that created the revolution of the 1960's. Ernest J. Gaines has written a moving and truthful work of fiction.
Calr Senna - The New York Times Book Reivew
A Lesson Before Dying is a coming-of-age story set in a small Louisiana town in the late 1940s. Jefferson, a young black man involved in a shoot-out during a robbery, is convicted of murder and sentenced to the electric chair. Says the defending attorney to the jury, "What justice would there be to take this life? Justice, gentlemen? Why, I would just as soon put a hog in the electric chair as this."
Grant Wiggins, the hope of the community, has returned to teach school after having left for a university education. He fights internal demons, his aunt, and his guilt-ridden sense of community in deciding whether to escape the small town (and the small-town mentality) or to stay. He receives a visit from his aunt, Jefferson's godmother. With the pain of history on her face, the godmother spoke. "Called him a hog.... I don't want them to kill no hog," she said. "I want a man to go to that chair, on his own two feet." Grant's mandate was to instill in Jefferson a firm sense of self in the short time prior to his execution—a Herculean task, in that Grant had yet to come to terms with his own expectations of himself. In the end, and through their interaction, the two men come to realizations that allow each of them to successfully meet their demons.
In A Lesson Before Dying, Ernest Gaines personifies the angst of expectation that comes with being the first of a generation to succeed, the resolute power of community, and the importance of reciprocity—giving back to that which nurtured us.
Sacred Fire
What do you tell an innocent youth who was at the wrong place at the wrong time and now faces death in the electric chair? What do you say to restore his self-esteem when his lawyer has publicly described him as a dumb animal? What do you tell a youth humiliated by a lifetime of racism so that he can face death with dignity? The task belongs to Grant Wiggins, the teacher of the Negro plantation school who narrates the story. Grant grew up on the Louisiana plantation but broke away to go to the university. He returns to help his people but struggles over "whether I should act like the teacher that I was, or like the nigger that I was supposed to be.'' The powerful message Grant tells the youth transforms him from a "hog'' to a hero, and the reader is not likely to forget it, either. Gaines's earlier works include A Gathering of Old Men and The Autobiography of Miss Jane Pittman. —Joanne Snapp, Randolph-Macon Coll., Ashland, VA
Library Journal
"I would just as soon put a hog in the electric chair as this." Hog. The word lingers like a foul odor and weighs as heavily as the sentence on Jefferson and the woman who raised him, his "nannan" (godmother) Miss Emma. She needs an image of Jefferson going to his death like a man, and she turns to the young teacher at the plantation school for help. Meanwhile, Grant Wiggins (the narrator) has his own problems. He loves his people but hates himself for teaching on the white man's terms; visiting Jefferson in jail will just mean more kowtowing, so he goes along reluctantly, prodded by his strong-willed Tante Lou and his girlfriend Vivian. The first visits are a disaster: Jefferson refuses to speak and will not eat his nannan's cooking, which breaks the old lady's heart. But eventually Grant gets through to him ("a hero does for others"); Jefferson eats Miss Emma's gumbo and astonishes himself by writing whole pages in a diary—a miracle, water from the rock. When he walks to the chair, he is the strongest man in the courthouse. By containing unbearably painful emotions within simple declarative sentences and everyday speech rhythms, Gaines has written a novel that is not only never maudlin, but approaches the spare beauty of a classic.
Kirkus Reviews
Discussion Questions
1. All the characters in A Lesson Before Dying are motivated by a single word: "hog." Jefferson's attorney has compared him to a hog; Miss Emma wants Grant to prove that her godson is not a hog; and Jefferson at first eats the food she has sent him on his knees, because "that's how a old hog eat." How are words used both to humiliate and to redeem the characters in this novel?
2. Grant's task is to affirm that Jefferson is not a hog, but a man. The mission is doubly difficult because Grant isn't sure he knows what a man is. What definition of manhood, or humanity, does A Lesson Before Dying provide? Why is manhood a subversive notion within the book's milieu?
3. At various points in the book Gaines draws analogies between Jefferson and Jesus. One of the first questions Jefferson asks his tutor concerns the significance of Christmas: "That's when He was born, or that's when he died?" Jefferson is executed eight days after Easter. In what other ways is this parallel developed? In particular, discuss the scriptural connotations of the word "lesson."
4. For all the book's religious symbolism, the central character is a man without faith. Grant's refusal to attend church has deeply hurt his aunt and antagonized Reverend Ambrose, whose religion Grant at first dismisses as a sham. Yet at the book's climax he admits that Ambrose "is braver than I, " and he has his pupils pray in the hours before Jefferson's death. What kind of faith does Grant acquire in the course of this book? Why does the Reverend emerge as the stronger of the two men?
5. One of the novel's paradoxes is that Ambrose's faith—which Grant rejects because it is also the white man's—enables him to stand up against the white man's "justice." How do we resolve this paradox? How has faith served African-Americans as a source of personal empowerment and an axis of communal resistance?
6. Grant believes that black men in Louisiana have only three choices: to die violently, to be "brought down to the level of beasts, " or "to run and run." How does the way in which Gaines articulates these grim choices—and suggests an alternative to them—make A Lesson Before Dying applicable not only to Louisiana in 1948 but to the United States in the 1990s?
7. Women play a significant role in the book. Examine the scenes between Grant and Tante Lou, Grant and Vivian, and Jefferson and Miss Emma, and discuss the impetus that Gaines's women provide his male characters. In what ways do these interactions reflect the roles of black women within their families and in African-American society?
8. A Lesson Before Dying is concerned with obligation and commitment. Discuss this theme as it emerges in the exchanges between Emma Glenn and the Pichots, Grant and Vivian, and Grant and the Reverend Ambrose. What are the debts these people owe each other? In what ways do they variously try to honor, evade, or exploit them?
9. Like Faulkner and Joyce, Gaines has been acclaimed for his evocation of place. In A Lesson Before Dying his accomplishment is all the more impressive because of the book's brevity. What details in this book evoke its setting, and what is the relation between its setting and its themes?
10. From the manslaughter that begins this novel to the judicial murder at its close, death is a constant presence in A Lesson Before Dying. We are repeatedly reminded of all the untimely, violent deaths that have preceded Jefferson's and, in all likelihood, will follow it. Why then is Jefferson's death so disturbing to this book's black characters, and even to some of its white ones? What does Jefferson's death accomplish that his life could not?
(Questions issued by publisher.)
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