The Divine Secrets of the Ya-Ya Sisterhood
Rebecca Wells, 1996
HarperCollins
400 pp.
ISBN-13: 9780060759957
Summary
Sidda is a girl again in the hot heart of Louisiana, the bayou world of Catholic saints and voodoo queens. She walks barefoot into the humid night, moonlight on her freckled shoulders. Near a huge, live oak tree on the edge of her father's cotton fields, Sidda looks up into the sky. In the crook of the crescent moon sits the Holy Lady, with strong muscles and a merciful heart. She kicks her splendid legs like the moon is her swing and the sky, her front porch. She waves down at Sidda like she has just spotted an old buddy. Sidda stands in the moonlight and lets the Blessed Mother love every hair on her six-year-old head. Tenderness flows down from the moon and up from the earth. For one fleeting, luminous moment, Sidda Walker knows there has never been a time she has not been loved.
When Siddalee and Vivi Walker, an utterly original mother-daughter team, get into a savage fight over a New York Times article that refers to Vivi as a "tap-dancing child abuser," the fall-out is felt from Louisiana to New York to Seattle. Siddalee, a successful theatre director with a huge hit on her hands, panics and postpones her upcoming wedding to her lover and friend Connor McGill. But Vivi's intrepid gang of life-long girlfriends, the Ya-Yas, sashay in and conspire to bring everyone back together.
In 1932, Vivi and the Ya-Yas were disqualified from a Shirley Temple Look-Alike Contest for unladylike behavior. Sixty years later, they're "bucking seventy," and still making waves. They persuade Vivi to send Sidda a scrapbook of girlhood momentos entitled "The Divine Secrets of the Ya-Ya Sisterhood."
Sidda retreats to a cabin on Washington State's Olympic Peninsula, tormented by fear and uncertainty about the future, and intent on discovering a key to the tangle of anger and tenderness she feels toward her mother. But the album reveals more questions than answers, and leads Sidda to encounter the unknowable mystery of life and the legacy of imperfect love.
With passion and a rare gift of language, Rebecca Wells moves from present to past, unraveling Vivi's life, her enduring friendships with the Ya-Yas, and the reverberations on Siddalee. The collective power of the Ya-Yas, each of them totally individual and authentic, permeates this story of a tribe of Louisiana wild women impossible to tame. (From the publisher.)
The Divine Secrets of the Ya-Ya Sisterhood became a 2002 movie starring Sandra Bullock, Ellen Burstyn, James Garner, Ashley Judd, and Maggie Smith.
Author Bio
• Birth—N/A
• Where—Alexandria, Louisiana, USA
• Education—B.A., Louisiana State University; Graduate work,
Louisiana State and Naropa Institute
• Awards—Western States Book Award; ABBY Award
• Currently—lives near Seattle, Washington, USA
In 1992, a Louisiana-born playwright and actress introduced the world to a clan of quirky Southerners that instantly made an indelible imprint on readers all over the country. Little Altars Everywhere was the warm and witty story of the Walker family of Thornton, Louisiana, and it established Rebecca Wells as one of the most beloved writers in contemporary literature. She solidified that position further with Divine Secrets of the Ya-Ya Sisterhood in 1996. Now, nearly ten years later, Wells is giving her avid fans yet another reason to celebrate.
Wells originally made waves as an acclaimed playwright. After a childhood spent indulging in the Southern tradition of verbal story-telling, Wells decided to develop her innate skill for yarn-spinning by penning plays after moving to New York City to pursue a career as a stage actor.
It was not until the early '90s that Wells decided to try her hand at a novel. While telling the larger story of the dysfunctional Walkers, Little Altars Everywhere chiefly focused on a young girl named Siddalee, a character which author Andrew Ward once described as "one of the sharpest little chatterboxes since Huckleberry Finn." Little Altars became both a critical favorite and a bestseller, and paved the way for the smashingly successful Divine Secrets of the Ya-Ya Sisterhood, which continued Siddalee's story and revealed her mother Vivi's affiliation with an exuberant society of Southern women. The Ya-Ya Sisterhood not only wowed critics across the country, but it hit #1 on the New York Times bestseller list and inspired a cult-like following of readers to rival Wells's fictional sisterhood.
Unfortunately, during the years following the release of Wells's most beloved novel, she was diagnosed with Lyme disease, an illness that no doubt slowed her productivity. "Before I started treatment, on my weakest days, I was unable to lift my hands to type," she says on her web site. "My husband would hold a tape recorder for me so I could talk scenes that were in my imagination. On some days, I could not walk. My husband would lift me out of my wheelchair and into my writing chair. I could only write about 20 minutes, always at night. I learned to humble myself to limitations of energy, and I learned to be grateful that even though my body was so sick, my imagination was still very much alive. I consider Ya-Yas in Bloom to be my 'miracle baby.'"
Indeed, her legion of fans will agree that her latest release is nothing short of miraculous. After nearly a decade since the release of Divine Secrets of the Ya-Ya Sisterhood, Rebecca Wells has finally produced the third installment of her popular series. Ya-Yas in Bloom reaches further back than either of her previous novels, examining the origins of the Ya-Ya sisterhood in the 1930s through various narrators and a family album-like format. Wells's devoted followers will surely find much to enjoy in what the author describes as a "more tender book" than her last two works. "Illness—and the love and forgiveness I have been given have taught me about the need for Tenderness," she says. "Now I know more deeply that we all need more compassion and kindness than this fast, consumer-driven world encourages. Life is not easy. It is filled with pain. It is also filled with joy and moments of ...[a]nd all of a sudden, you realize how beautiful this raggedy life really is."
Wells's positive outlook should only glow more brightly as her health continues to improve. As for the Ya-Yas, Wells is happy to report, "Good Lord willing and the creek don't rise, I definitely hope to write more Ya-Ya books. The universe of the Ya-Yas has a million tales, and somebody has to tell them!"
Extras
From a 2006 Barnes & Noble interview:
• While attending the Naropa Institute in Boulder, Colorado, Wells studied language and consciousness with legendary beat poet Allen Ginsberg.
• Writing is not the only thing that this author takes seriously. In 1982, she formed a chapter of the Performing Artists for Nuclear Disarmament in Seattle, Washington.
Her own words
• Flowers heal me. Tulips make me happy. I keep myself surrounded by them as soon as they start coming to the island from Canada, and after that when they come from the fields in La Connor, not far from where I live. When their season is over, I surround myself with dahlias from my friend Tami's garden.
• I believe that we are given strength and help from a power much larger than ourselves. I believe if I humble myself that this power will come through me, and help me create work that is bigger than I would have ever been able to have done alone. I believe that illness has led me to a life of gratitude, so I consider Lyme disease at this point in my life to be a blessing in disguise.
• I value humor, kindness, and the ability to tell a good story far more than money, status, or the kind of car someone drives.
• love being with my husband and family, walking outside, standing in La Luz de La Luna in her ever-changing stages, playing with my dog, singing, dancing, having dinner with friends, playing word games in the parlor, thrilling at our sheep eating alfalfa out of my hand, going to the island farmer's market on Saturdays. I love being told by my doctors that there is every reason to believe that I will get ‘better and better' from Lyme disease. I love that I am privileged enough to have been diagnosed and treated for the fastest growing vector-born bacterial disease in this country."
• When asked what book most influenced her career as a writer, here is what she said:
The Gift by Lewis Hyde. For me, this book is solid gold for those involved in making any kind of art. Hyde divides the book into two parts: first, a wide-reaching exploration of indigenous people's gift-giving societies; secondly, a study of what happens to a piece of art when it is put forth into a commodity society. Hyde gave me a way to look at not only my work, but also my life—and all life—as a gift. Pure gift.
This book, tattered from years of carrying it in suitcases, duffel bags, and carry-ons has been my talisman as I continue to try and understand how to keep the spirit of gift-giving while I work for profit. This book gave me a vocabulary for talking about any art form. After readings and re-readings, after success came to me, it helped me establish my personal aesthetic: Does a work of art constrict the heart or does it open it wider to more love and generosity? (From Barnes & Noble.)
Book Reviews
A very entertaining and, ultimately, deeply moving novel about the complex bonds between mother and daughter.
Carolyn See - Washington Post
Wells' voice is uniquely her own, funny and generous and full of love and heartbreak, in that grand Louisiana literary tradition of transforming family secrets into great stories.
New Orleans Time-Picayune
One heck of a rollicking good read...You'll laugh. You'll cry. But you'll mostly want to laugh and offer Wells a hearty merci.
Columbus Dispatch
Carrying echoes of both Fannie Flagg and Pat Conroy, Wells's second novel continues the story of Siddalee Walker, introduced in Little Altars Everywhere. When Sidda asks her mother, the aging belle Vivi, for help in researching women's friendships, Vivi sends her daughter a scrapbook. From this artifact of Vivi's own lifelong friendship with three women collectively known as 'the Ya-Ya's,' and from Sidda's response to it, a story unfolds regarding a dark period in Vivi and Sidda's past that plagues their present relationship. While anecdotes about the Ya-Ya's (such as the riotous scene at a Shirley Temple look-alike contest) are often very amusing, the narrative is beset by superficial characterization and forced colloquialisms. Told through several narrative vehicles and traveling through space and time from Depression-era Louisiana to present-day Seattle, this novel attempts to wed a folksy homespun tale to a soul-searching examination of conscience. But while Wells' ambition is admirable and her talent undeniable, she never quite makes this difficult marriage work.
Publishers Weekly
When a reporter uses upcoming theatrical director Siddalee Walker's description of her mother, Vivi, as a "tap-dancing child abuser," Vivi casts her daughter out of her life. Sidda, feeling unloved and unlovable, postpones her wedding and retreats to Washington State's Olympic Peninsula to try to understand why she cannot sustain emotional relationships. Vivi's three lifelong friends (known collectively as the "Ya-Yas") persuade her to send Sidda the scrapbook filled with mementos of Vivi's life in the small Central Louisiana town where she grew up, married, and raised her family. Paging through the scrapbook, Sidda begins to glimpse the dark shadows in her mother's life. The narrative deftly switches between first- and third-person viewpoints, from Vivi's past as revealed in the scrapbook to Sidda's childhood guilt about failing her mother. Wells (Little Altars Everywhere) demonstrates that with knowledge can come forgiveness. She has written an entertaining and engrossing novel filled with humor and heartbreak. Readers will envy Vivi her Ya-Ya "sisters" and Sidda, her lover, who is one of the most appealing men to be found in recent mainstream fiction. This entirely satisfactory novel belongs in public libraries of all sizes. — Nancy Pearl, Washington Center for the Book, Seattle.
Library Journal
Discussion Questions
1. Wells uses three quotations as epigraphs for the novel. Why might she have chosen the first two, which address the need for spiritual growth and love? What connection, might there be between the "unknowable" that sits there "licking its chops" and our need for spiritual growth and love?
2. While Vivi was not a perfect mother, Wells does not blame her as a mother. Discuss the concept of the "good enough" mother and what acceptance of that concept means to a woman's acceptance of self.
3. One of the dominant motifs in the novel focuses on the contrast between the spirit and the law. Sister Solange and Sister Fermin take very different approaches to teaching Vivi. The Ya-Yas and Buggy have very different ideas as to what makes a statue of the Virgin Mary beautiful. The Ya-Yas and the Catholic Church have very different ideas as to where Genevieve can be buried. And, on one occasion, Vivi thinks that "Sometimes higher laws than Thornton's must be obeyed." To what higher laws is Vivi referring? Do those higher laws have any connection with the conflict that Wells seems to see between the spirit and the law?
4. Religious imagery abounds in the novel. The young Ya-Yas prick their fingers and drink each other's blood and experience a communion. Sidda baptizes herself. Why might Wells rely so heavily on religious imagery to describe everyday experiences?
5. One of the themes of the novel is the necessity of and the difficulty of personal growth. For instance, Sidda must remind herself and be reminded that she is a "grown up." Which characters in the novel experience personal growth? What obstacles must those characters overcome in order to grow? How do those characters that grow overcome the obstacles that stand in their way?
6. Is there any special significance that can be attached to the fact that Wells ends her novel with a marriage?
7. Vivi is a tangled, charismatic, and haunted character. How much does the culture Vivi grew up in influence her? Does a woman face special problems when she grows up in the South during the 1940's? Look closely at Margaret Mitchell's Gone with the Wind to see how it influenced Vivi's idea of who she was. In what way might "being a lady" pose problems for Vivi, her friends, and their daughters?
8. Why does Wells switch back and forth between the present (Sidda's current life) and the past (Vivi's youth and early motherhood)? What might Wells be suggesting about mothers and daughters?
9. "The Holy Lady" appears at the beginning and at the end of the novel. Discuss her presence in the book and what Wells might be suggesting with such inclusions.
10. What role does humor serve throughout the novel? Discuss how closely Wells weaves humor and pathos.
(Questions issued by publisher.)
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Landscape of Lies
Peter Watson, 2005
Answers & Insights, Inc.
378 pp.
ISBN-13: 9781933397184
Summary
Isobel Sadler is dead broke, and the only thing left that might bring in any money is a stupendously bad painting that’s been in her family for generations. It’s so ugly she can’t imagine it would be worth much...until someone tries to steal it.
Mystified, she turns for advice to art dealer Michael Whiting, who identifies the painting as a 16th-century treasure map, pointing the way to a cache of priceless religious artifacts that were hidden by monks when Henry VIII was dissolving the monasteries. If he and Isobel can decipher the clues in the painting, Whiting reasons, her money troubles will be history. But if they can’t decode the painting quickly, Whiting and Isobel could be history themselves.
Even as they struggle to translate the arcane instructions — laced with references to everything from the Bible to Botticelli — a rival is dogging their trail, and he’ll stop at nothing, even murder, to get his hands on the medieval gold. (From the publisher.)
Author Bio
• Where—England, UK
• Education—Universities of Durham, London, and Rome
• Where—CWA Gold Dagger (for Double Dealer)
• Currently—Cambridge, England
Peter Watson is an intellectual historian and author from London, England. He was educated at the University of Durham, University of London, and University of Rome.
He was the deputy editor of New Society, and was on the "Insight" team of the London Sunday Times for four years. He was also the New York correspondent of The Times, and has written for the New York Times, Sunday Times, The Observer, Punch, and The Spectator.
He has also been a television presenter for the arts. In 1997 he was appointed Research Associate, based in London and France, at the McDonald Institute for Archaeological Research at the University of Cambridge. He has written thirteen books. (From Wikipedia.)
Book Reviews
When someone tries to steal a medieval painting long owned by her family, Isobel Sadler turns for help to London art gallery owner Michael Whiting. She is amazed to learn that the picture, titled Landscape of Lies , is a "puzzle map'' whose nine male figures each symbolize priceless silver relics that were squirreled away by monks when Henry VIII dissolved the monasteries. Isobel and Michael—who, naturally, fall in love—set out to find the treasure, but an obsessed academic who will stop at nothing, not even murder, stays a few steps ahead of them. Watson, who proved himself a master of the art-world thriller in The Caravaggio Conspiracy, has turned out an amiable entertainment that is more a self-indulgent exercise than a suspense novel. The path to the silver is strewn with red herrings and arcane clues involving Botticelli, the Bible, horticulture, classical lore and medieval iconography
Publishers Weekly
After foiling a determined burglar's attempt to steal an apparently valueless 16th-century painting, Isobel Sadler enlists the aid of art dealer Michael Whiting. Soon convinced the picture reveals the location of long-lost sacred treasures worth millions, the two compete with the mysterious, increasingly ruthless burglar to solve the painted puzzle first. As Michael and Isobel cross London and the countryside, art history, budding romance, and deepening suspense merge in a credible journey related with sustained literariness, refinement, and polish. A wonderful, charming offering from the author of The Caravaggio Conspiracy.
Library Journal
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
The Physick Book of Deliverance Dane
Katherine Howe, 2009
Hyperion
384 pp.
ISBN-13: 9781401341336
Summary
A spellbinding, beautifully written novel that moves between contemporary times and one of the most fascinating and disturbing periods in American history—the Salem witch trials.
Harvard graduate student Connie Goodwin needs to spend her summer doing research for her doctoral dissertation. But when her mother asks her to handle the sale of Connie's grandmother's abandoned home near Salem, she can't refuse. As she is drawn deeper into the mysteries of the family house, Connie discovers an ancient key secreted within a seventeenth-century Bible. The key contains a yellowing fragment of parchment with a name written upon it: Deliverance Dane. This discovery launches Connie on a quest to find out who this woman was, and to unearth a rare colonial artifact of singular power: a physick book, its pages a secret repository for lost knowledge of herbs and other, stranger things.
As the pieces of Deliverance's harrowing story begin to fall into place, Connie is haunted by visions of the long-ago witch trials, and begins to fear that she is more tied to Salem's dark past then she could have ever imagined.
Written with astonishing conviction and grace, The Physick Book of Deliverance Dane travels seamlessly between the trials in the 1690s, and a modern woman's story of mystery, intrigue, and revelation. (From the publisher.)
Author Bio
• Birth—ca. 1977-78
• Where—Houston, Texas, USA
• Education—B.A., Columbia University; M.A., Boston
University (completing Ph.D. at Boston U.)
• Currently—lives in Marblehead, Massachusetts
Katherine Howe's ancestors settled Essex County, Massachusetts, in the 1620s and stayed there through the 20th century. Family members included Elizabeth Proctor, who survived the Salem witch trials, and Elizabeth Howe, who did not.
Katherine is completing a Ph.D. in American and New England Studies at Boston University, which included teaching a research seminar on New England witchcraft. The idea for her debut novel, The Physick Book of Deliverance Dane, developed while she was studying for her doctoral qualifying exams, walking her dog through the woods between Marblehead and Salem. She lives in Marblehead, Massachusetts with her husband and assorted animals.
Extras
From a 2009 Barnes & Noble interview:
• I had a diverse array of pre-academia jobs, including late-night experimental music disc jockey, teaching assistant at a science museum, Madison Avenue shop girl, and researcher at the Museum of Modern Art. This means that at various moments in time I have, for professional reasons, fed dead mice to a corn snake, have handled world class artwork, have been asked to please stop playing so much Captain Beefheart, and have tried to fit fragile silk chiffon over too-perky breast implants. It also means that I have learned that children love corn snakes, that art museums do a vital service to our culture, that sale shopping is terrifying for everyone involved, and that the hour from three to four AM is the hardest.
• I often play a game with myself that I have started to call "time travel tourism." I will be walking along in Boston or Cambridge, and I will imagine what would happen if, all of a sudden, I stepped through some kind of time fabric rip and found myself on the exact spot where I was standing—but in, say, 1877. How would people react to seeing a woman suddenly appear in blue jeans and a pea coat? Would anyone accept the cash I was carrying? Where could I go for help? Would the hologram on my driver's license prove that I was from the future? If I couldn't get back, how would I support myself? A lot of my writing grows out of these kinds of thought experiments.
• A few years ago my husband and I adopted a shaggy orange mutt, who is the rather transparent inspiration for Arlo in Physick Book. Like Arlo, he is of indeterminate size and color, depending on his mood, and like Arlo, he is both brave and noble while also being kind of a wimp. He also tends to show up unexpectedly under my desk or in the armchair that I have just left to get something to eat. I take him walking in the woods with me, and when I sit on my favorite rock to think, he will sit with his back to mine, keeping watch.
• A few years ago Douglas Coupland wrote an essay called "Harolding in West Vancouver," about his habit of poking around in graveyards ("Harolding" comes from the cult film Harold and Maude, in which the morbid title character likes to hang out in graveyards). I also enjoy Harolding, especially in the very old graveyards and burying grounds scattered around New England. The iconography on colonial headstones has been the subject of a good amount of scholarship—weeping willows, cherubic angel faces, skulls and crossbones. I enjoy the quiet in graveyards, and in wondering about the back stories of the people who are buried there.
• This past summer my husband and I bought our first house, and so, whether I want to or not, I have discovered gardening. We planted a few tomato plants, just to see what would happen, and to our surprise the tomatoes entirely took over one whole wall of the kitchen. We had so many tomatoes that we started bringing plastic bags of them, unsolicited, whenever we went to friends' houses for dinner. Big tomatoes, small tomatoes, pink tomatoes, yellow tomatoes—and the passage describing the tomato plants in Physick Book had been written a year earlier! Physick Book also features a character who is a steeplejack, or someone who restores antique church steeples. We live across the street from a meeting house, and one afternoon I was working in the garden and heard scraping coming from some indeterminate place. I looked up and saw a man on a scaffold around the steeple, scraping off all the old paint: a steeplejack at work. I think living here is going to make me superstitious.
• When asked what book most influenced her career as a writer here is her response:
When I was about 13, a friend of my parents gave me a copy of he Writing Life by Annie Dillard. It was, quite frankly, way over my head at the time, but I already thought of myself as a writer by then, had already learned that writing was an activity on which I absolutely depended, and so I was determined to absorb from it what I could. What struck me first was the spareness of Dillard's language; like a lot of people I have to force myself not to use too many adjectives or adverbs, and as a teenager that problem was especially acute. Dillard writes with a clarity and precision that astonishes me, and I still spend time with her sentences to see how she is able to accomplish so much in such an efficient space.
Of course, the book itself is also a meditation on the act of being a writer, or on writing as an activity in everyday life. She captures the fear that undergirds the practice of writing, which is something I did not fully understand until recently. Revision, Dillard says, is the rebuilding of a house; at times, a supporting wall must come down, and there is nothing that you can do about it but grab a sledgehammer, swing, and duck. It takes courage to throw out bad work, she is saying, and seeing another writer name and confront that fear helps me to confront my own. Bio and interview from Barnes & Noble.)
Book Reviews
This charming novel is both a tale of New England grad-student life in 1991 and the Salem witch hunts in 1692.... I liked this book very much, but I want to ask the author's editor to please, in the future, keep her from wrapping or folding her characters' arms around their middles. And also point out that Connie's shoulder bag gets dropped on the floor so often it begins to sound like a character itself. But these are minor complaints. And by the end of this book, as any graduate student should, Katherine Howe has filled us in on much more than we used to know about that group of unfortunate women who paid the price of their lives due to a town's irrational fears.
Carolyn See - Washington Post
Set in Cambridge and Marblehead, Mass., Howe's propulsive if derivative novel alternates between the 1991 story of college student Connie Goodwin and a group of 17th-century outcasts. After moving into her grandmother's crumbling house to get it in shape for sale, Connie comes across a small key and piece of paper reading only "Deliverance Dane." The Salem witch trials, contemporary Wicca and women's roles in early American history figure prominently as Connie does her academic detective work. What follows is a breezy read in which Connie must uncover the mystery of a shadowy book written by the enigmatic Deliverance Dane. During Connie's investigation, she relies on a handsome steeplejack for romance and her mother and an expert on American colonial history for clues and support. While the twisty plot and Howe's habit of ending chapters with cliffhangers are straight out of the thriller playbook, the writing is solid overall, and Howe's depiction of early American life and the witch trials should appeal to readers who enjoyed The Heretic's Daughter. The witchcraft angle and frenetic pacing beg for a screen adaptation.
Publishers Weekly
Howe's debut novel explores the Salem witch trials from the perspective of Connie Goodwin, a Ph.D. candidate in history at Harvard. While cleaning out her grandmother's house near Salem in the summer of 1991, Connie discovers an old key along with a fragment of paper bearing only the words Deliverance Dane. At the urging of her adviser, Connie embarks upon a frenzy of research in local archives. Evidence mounts that Deliverance was a local herbalist and wise woman who became a victim of the witch trials. Finding Deliverance's "physick book" of recipes becomes a priority for Connie, particularly when she realizes that it may hold the key to curing her new boyfriend of his mysterious ailment. Howe inserts short interludes featuring Deliverance and her descendants, adding depth to the story. Howe's own connection to Salem (two of her ancestors were accused of witchcraft) adds a welcome personal touch. This enjoyable novel is too slow-paced to be considered a thriller, but it's a solid selection that may appeal to readers who enjoyed recent novels about Salem's witches (i.e., Brunonia Barry's The Lace Reader and Kathleen Kent's The Heretic's Daughter).
Laura Bliss - Library Journal
(Starred review.) Historian Howe’s spellbinding, vividly detailed, witty, and astutely plotted debut is deeply rooted in her family connection to accused seventeenth-century witches Elizabeth Howe and Elizabeth Proctor and propelled by an illuminating view of witchcraft. In all a keen and magical historical mystery laced with romance and sly digs at society’s persistent underestimation of women. —Donna Seaman
Booklist
A first novel about alchemy, magic and witchcraft, set unsurprisingly in Salem, Mass., in the late 17th century and also, perhaps surprisingly, in Marblehead, Mass., in 1991. Connie Goodwin has just passed her doctoral oral exam in colonial American history at Harvard, and she looks forward to working with her mentor, Professor Manning Chilton, on breaking new ground in her dissertation. Then Connie gets an unexpected call from her New Age-y mother Grace, who is about to lose the house in Marblehead she inherited from her own mother because she's neglected for 20 years to pay the taxes on it-can Connie get it cleaned up and on the market for her? The house is, of course, eerie as well as abandoned. As Connie begins to look through Granna's house, she picks up an old Bible that gives her both an otherworldly feeling and an electric charge. Out of the Bible falls an antique key with a tiny scroll bearing the cryptic words "Deliverance Dane." Ever the good historian, Connie begins to track down the name. Eventually she finds allusions to a "Physick Book": a manual of medicine used by knowledgeable women in the colonial era, but also a book of spells. The volume seems ever more elusive as Connie's desire grows stronger to track it down. She's also feeling some uncomfortable pressure from Professor Chilton, who wants the book as badly as Connie, ostensibly because he thinks it will be helpful in a scholarly presentation he plans to make but more overtly because he seems to have some sinister agenda of his own. Howe alternates her narrative between Connie's groping attempts to track down the truth about the past and flashbacks to the real story of Deliverance Dane. We learn that she was a witch condemned in the 17th century, desperate for good reasons to keep her book hidden from ecclesiastical authorities. Informative, though not as creepy as it purports to be.
Kirkus Reviews
Discussion Questions
1. The story follows several sets of mothers and daughters: Connie and Grace, Grace and Sophia, Deliverance and Mercy, Mercy and Prudence. How do these mother/daughter relationships differ from one another? How are they the same? Did you identify with one set more than the others?
2. Most of the main characters in the novel are women. How have women’s roles changed from the 17th century to the 20th century? What about their obligations and opportunities?
3. As an historian, Connie likes to interpret the past in light of the present. Sam, however, is a preservationist: he likes to keep the past intact, sometimes at the expense of the present. How are their opposing feelings about the past made apparent? Would you classify yourself as an historian or a preservationist?
4. How do some of the buildings, such as Saltonstall Court, the Harvard Faculty Club, and the Milk Street House, function as characters in the story?
5. Discuss the role of Arlo in the novel. Does he share characteristics with the "cunning folk" in Connie’s past?
6. What role does religion play in the novel? Is Christianity contradictory or complementary to magic in this story?
7. Do you think magic, as represented in this book, exists in the real world? If so, how does it manifest itself? Do we use different terms to describe it today?
8. Deliverance has a chance to escape with her daughter the night before she is put to death. Why does she make the choice she does?
9. The Physick Book of Deliverance Dane is the latest in a long line of books about witchcraft in Salem. Why do you think we’re still so enthralled by this moment in history? What does Salem have to teach us about our culture today?
(Questions issued by publisher.)
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Things Fall Apart
Chinua Achebe, 1958
Knopf Doubleday
212 pp.
ISBN-13: 9780385474542
Summary
The 1958 novel chronicles the life of Okonkwo, the leader of an Igbo (Ibo) community, from the events leading up to his banishment from the community for accidentally killing a clansman, through the seven years of his exile, to his return.
Achebe addresses the problem of the 1890's intrusion of white missionaries and colonial government into tribal Igbo society, and describes the simultaneous disintegration of protagonist Okonkwo and his village.
The novel was praised for its intelligent and realistic treatment of tribal beliefs and of psychological disintegration coincident with social unraveling. Things Fall Apart helped create the Nigerian literary renaissance of the 1960s. (From the publishers.)
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The bulk of the novel takes place in Umuofia, one of nine villages on the lower Niger. Umuofia is a powerful clan, skilled in war and with a great population, with proud traditions and advanced social institutions.
Okonkwo has risen from nothing to a high position. His father, a lazy flute-player named Unoka, has many debts with people throughout the village. Unoka's life represents everything Okonkwo strives to overcome. Through hard work, Okonkwo has become a great man among his people. He has taken three wives and his barn is full of yams, the staple crop. He rules his family with an iron fist, struggling to demonstrate how he does not have the laziness and weakness that characterized his father.
One day, a neighboring clan commits an offense against Umuofia. To avoid war, the offending clan gives Umuofia one virgin and one young boy. The girl is to become the offended party's new wife. The boy, whose name is Ikemefuna, is to be sacrificed, but not immediately. He lives in Umuofia for three years, and during that time he lives under Okonkwo's roof. He becomes like a part of Okonkwo's family. In particular, Nwoye, Okonkwo's oldest son, loves Ikemefuna like a brother. But eventually the Oracle calls for the boy's death, and a group of men take Ikemefuna away to kill him in the desert. Okonkwo, fearful of being perceived as soft-hearted and weak, participates in the boy's death, despite the advice of the clan elders. Nwoye is spiritually broken by the event.
Okonkwo is shaken as well, but he continues with his drive to become a lord of his clan. He is constantly disappointed by Nwoye, but he has great love for his daughter Ezinma, his child by his second wife Ekwefi. Ekwefi bore nine children, but only Ezinma has survived. She loves the girl fiercely. Ezinma is sickly, and sometimes Ekwefi fears that Ezinma, too, will die. Late one night, the powerful Oracle of Umuofia brings Ezinma with her for a spiritual encounter with the earth goddess. Terrified, Ekwefi follows the Oracle at a distance, fearing harm might come to her child.
Okonkwo follows, too. Later, during a funeral for one of the great men of the clan, Okonkwo's gun explodes, killing a boy. In accordance with Umuofia's law, Okonkwo and his family must be exiled for seven years.
Okonkwo bears the exile bitterly. Central to his beliefs is faith that a man masters his own destiny. But the accident and exile are proof that at times man cannot control his own fate, and Okonkwo is forced to start over again without the strength and energy of his youth. He flees with his family to Mbanta, his mother's homeland. There they are received by his mother's family, who treat them generously. His mother's family is headed by Uchendu, Okonkwo's uncle, a generous and wise old man.
During Okonkwo's exile, the white man comes to both Umuofia and Mbanta. The missionaries arrive first, preaching a religion that seems mad to the Igbo people. They do win converts though, generally men of low rank or outcasts. However, with time, the new religion gains momentum. Nwoye becomes a convert. When Okonkwo learns of Nwoye's conversion, he beats the boy. Nwoye leaves home. Okonkwo returns to Umuofia to find the clan sadly changed. The church has won some converts, some of whom are fanatical and disrespectful of clan custom. Worse, the white man's government has come to Umuofia. The clan is no longer free to judge its own; a District Commissioner judges cases in ignorance. He is backed by armed power.
During a religious gathering, a convert unmasks one of the clan spirits. The offense is grave, and in response the clan decides that the church will no longer be allowed in Umuofia. They tear the building down. Soon afterward, the District Commissioner asks the leaders of the clan, Okonkwo among them, to come see him for a peaceful meeting. The leaders arrive, and are quickly seized. In prison, they are humiliated and beaten, and they are held until the clan pays a heavy fine.
After a release of the men, the clan calls a meeting to decide whether they will fight or try to live peacefully with the whites. Okonkwo wants war. During the meeting, court messengers come to order the men to break up their gathering. The clan meetings are the heart of Umuofia's government; all decisions are reached democratically, and an interference with this institution means the end of the last vestiges of Umuofia's independence.
Enraged, Okonkwo kills the court messenger. The other court messengers escape, and because the other people of his clan did not seize them, Okonkwo knows that his people will not choose war. His act of resistance will not be followed by others. Embittered and grieving for the destruction of his people's independence, and fearing the humiliation of dying under white law, Okonkwo returns home and hangs himself.
The District Commissioner and his messengers arrive at Umuofia to see Okonkwo dead, and are asked to take down his body since Ibo mores forbid clan members to do this. The Commissioner considers writing a book about his experiences of undignified behavior in the area, with a chapter—or a reasonable paragraph—about Okonkwo's community. (From Wikipedia.)
Author Bio
• Birth—November 16, 1930
• Where—Anambra State, Nigeria
• Education—Dennis Memorial Grammar School (in Onitsha);
Government College (in Umuahia); University of Ibadan
• Awards—Commonwealth Poetry Prize
• Currently—lives in Annandale-on-Hudson, New York, USA
Chinua Achebe was cited in the London Sunday Times as one of the "1,000 Makers of the Twentieth Century" for defining "a modern African literature that was truly African" and thereby making "a major contribution to world literature."
Achebe has published novels short stories, essays, and children's books. His volume of poetry, Christmas in Biafra, written during the Biafran War, was the joint winner of the first Commonwealth Poetry Prize. Of his novels, Arrow of God won the New Statesman-Jock Campbell Award, and Anthills of the Savannah was a finalist for the 1987 Booker Prize.
Things Fall Apart, Chinua Achebe's masterpiece, has been published in fifty different languages and has sold millions of copies in the United States since its original publication in 1958-1959. (From the publisher.)
More
Chinua was born Albert Chinualumogu Achebe in the Igbo village of Nneobi, on November 16, 1930. His parents stood at a crossroads of traditional culture and Christian influence; this made a significant impact on the children, especially Chinualumogu. After the youngest daughter was born, the family moved to Isaiah Achebe's ancestral village of Ogidi, in what is now the Nigerian state of Anambra.
Storytelling was a mainstay of the Igbo tradition and an integral part of the community. Chinua's mother and sister Zinobia Uzoma told him many stories as a child, which he repeatedly requested. His education was furthered by the collages his father hung on the walls of their home, as well as almanacs and numerous books—including a prose adaptation of A Midsummer Night's Dream (c. 1590) and an Igbo version of The Pilgrim's Progress (1678). Chinua also eagerly anticipated traditional village events, like the frequent masquerade ceremonies, which he recreated later in his novels and stories.
In 1936 Achebe entered St Philips' Central School. Despite his protests, he spent a week in the religious class for young children, but was quickly moved to a higher class when the school's chaplain took note of his intelligence. One teacher described him as the student with the best handwriting in class, and the best reading skills. He also attended Sunday school every week and the special evangelical services held monthly, often carrying his father's bag. A controversy erupted at one such session, when apostates from the new church challenged the catechist about the tenets of Christianity. Achebe later included a scene from this incident in Things Fall Apart
Early schooling
At the age of twelve, Achebe moved away from his family to the village of Nekede, four kilometres from Owerri. He enrolled as a student at the Central School, where his older brother John taught. In Nekede, Achebe gained an appreciation for Mbari, a traditional art form which seeks to invoke the gods' protection through symbolic sacrifices in the form of sculpture and collage. When the time came to change to secondary school, in 1944, Achebe sat entrance examinations for and was accepted at both the prestigious Dennis Memorial Grammar School in Onitsha and the even more prestigious Government College in Umuahia.
Modelled on the British public school, and funded by the colonial administration, Government College had been established in 1929 to educate Nigeria's future elite. It had rigorous academic standards and was vigorously egalitarian, accepting boys purely on the basis of ability. The language of the school was English, not only to develop proficiency but also to provide a common tongue for pupils from different Nigerian language groups. Achebe described this later as being ordered to "put away their different mother tongues and communicate in the language of their colonisers". The rule was strictly enforced and Achebe recalls that his first punishment was for asking another boy to pass the soap in Igbo.
Once there, Achebe was double-promoted in his first year, completing the first two years' studies in one, and spending only four years in secondary school, instead of the standard five. Achebe was unsuited to the school's sports regimen and belonged instead to a group of six exceedingly studious pupils. So intense were their study habits that the headmaster banned the reading of textbooks from five to six o'clock in the afternoon (though other activities and other books were allowed).
Achebe started to explore the school's "wonderful library". There he discovered Booker T. Washington's Up From Slavery (1901), the autobiography of an American former slave; Achebe "found it sad, but it showed him another dimension of reality". He also read classic novels, such as Gulliver's Travels (1726), David Copperfield (1850), and Treasure Island (1883) together with tales of colonial derring-do such as H. Rider Haggard's Allan Quatermain (1887) and John Buchan's Prester John (1910). Achebe later recalled that, as a reader, he "took sides with the white characters against the savages" and even developed a dislike for Africans. "The white man was good and reasonable and intelligent and courageous. The savages arrayed against him were sinister and stupid or, at the most, cunning. I hated their guts."
University of Ibadan
In 1948, in preparation for independence, Nigeria's first university opened. Known as University College, (now the University of Ibadan), it was an associate college of the University of London. Achebe obtained such high marks in the entrance examination that he was admitted as a Major Scholar in the university's first intake and given a bursary to study medicine. After a year of gruelling work, however, he decided science was not for him and he changed to English, history, and theology. Because he switched his field, however, he lost his scholarship and had to pay tuition fees. He received a government bursary, and his family also donated money—his older brother Augustine even gave up money for a trip home from his job as a civil servant so Chinua could continue his studies.
From its inception, the university had a strong English faculty and it includes many famous writers amongst its alumni. These include Nobel Laureate Wole Soyinka, novelist Elechi Amadi, poet and playwright John Pepper Clark, and poet Christopher Okigbo. In 1950 Achebe wrote a piece for the University Herald entitled "Polar Undergraduate", his debut as an author. It used irony and humour to celebrate the intellectual vigour of his classmates. He followed this with other essays and letters about philosophy and freedom in academia, some of which were published in another campus magazine, The Bug. He served as the Herald's editor during the 1951–2 school year.
While at the university, Achebe wrote his first short story, "In a Village Church", which combines details of life in rural Nigeria with Christian institutions and icons, a style which appears in many of his later works. Other short stories he wrote during his time at Ibadan (including "The Old Order in Conflict with the New" and "Dead Men's Path") examine conflicts between tradition and modernity, with an eye toward dialogue and understanding on both sides. When Geoffrey Parrinder, a professor, arrived at the university to teach comparative religion, Achebe began to explore the fields of Christian history and African traditional religions.
It was during his studies at Ibadan that Achebe began to become critical of European literature about Africa. He read Irish novelist Joyce Cary's 1939 book Mister Johnson, about a cheerful Nigerian man who (among other things) works for an abusive British store owner. Achebe recognised his dislike for the African protagonist as a sign of the author's cultural ignorance. One of his classmates announced to the professor that the only enjoyable moment in the book is when Johnson is shot.
After the final examinations at Ibadan in 1953, Achebe was awarded a second-class degree. Rattled by not receiving the highest result possible, he was uncertain how to proceed after graduation. He returned to his hometown of Ogidi to sort through his options.
While he meditated on his possible career paths, Achebe was visited by a friend from the university, who convinced him to apply for an English teaching position at the Merchants of Light school at Oba. It was a ramshackle institution with a crumbling infrastructure and a meagre library; the school was built on what the residents called "bad bush"—a section of land thought to be tainted by unfriendly spirits. Later, in Things Fall Apart, Achebe describes a similar area called the "evil forest", where the Christian missionaries are given a place to build their church.
As a teacher he urged his students to read extensively and be original in their work. The students did not have access to the newspapers he had read as a student, so Achebe made his own available in the classroom. He taught in Oba for four months, but when an opportunity arose in 1954 to work for the Nigerian Broadcasting Service (NBS), he left the school and moved to Lagos.
The NBS, a radio network started in 1933 by the colonial government, assigned Achebe to the Talks Department, preparing scripts for oral delivery. This helped him master the subtle nuances between written and spoken language, a skill that helped him later to write realistic dialogue.
The city of Lagos also made a significant impression on him. The city teemed with recent migrants from the rural villages. Achebe revelled in the social and political activity around him and later drew upon his experiences when describing the city in his 1960 novel No Longer At Ease.
Things Fall Apart
While in Lagos, Achebe started work on a novel. This was challenging, since very little African fiction had been written in English, although Amos Tutuola's Palm-Wine Drinkard (1952) and Cyprian Ekwensi's People of the City (1954) were notable exceptions. While appreciating Ekwensi's work, Achebe worked hard to develop his own style, even as he pioneered the creation of the Nigerian novel itself. A visit to Nigeria by Queen Elizabeth II in 1956 brought issues of colonialism and politics to the surface, and was a significant moment for Achebe.
Also in 1956, Achebe was selected for training in London at the Staff School run by the British Broadcasting Corporation (BBC). His first trip outside Nigeria was an opportunity to advance his technical production skills, and to solicit feedback on his novel (which was later split into two books). In London he met novelist Gilbert Phelps, to whom he offered the manuscript. Phelps responded with great enthusiasm, asking Achebe if he could show it to his editor and publishers. Achebe declined, insisting that it needed more work.
Back in Nigeria, Achebe set to work revising and editing his novel (now titled Things Fall Apart, after a line in the poem "The Second Coming" by William Butler Yeats). He cut away the second and third sections of the book, leaving only the story of a yam farmer named Okonkwo. He added sections, improved various chapters, and restructured the prose.
By 1957, he had sculpted it to his liking, and took advantage of an advertisement offering a typing service. He sent his only copy of his handwritten manuscript (along with the ₤22 fee) to the London company. After he waited several months without receiving any communication from the typing service, Achebe began to worry. His boss at the NBS, Angela Beattie, was going to London for her annual leave; he asked her to visit the company. She did, and angrily demanded to know why it was lying ignored in the corner of the office. The company quickly sent a typed copy to Achebe. Beattie's intervention was crucial for his ability to continue as a writer. Had the novel been lost, he later said, "I would have been so discouraged that I would probably have given up altogether.
In 1958, Achebe sent his novel to the agent recommended by Gilbert Phelps in London. It was sent to several publishing houses; some rejected it immediately, claiming that fiction from African writers had no market potential. Finally it reached the office of Heinemann, where executives hesitated until an educational adviser, Donald MacRae—just back in England after a trip through west Africa read the book and forced the company's hand with his succinct report: "This is the best novel I have read since the war."
Reception
Heinemann published 2,000 hardcover copies of Things Fall Apart on 17 June 1958. According to Alan Hill, employed by the publisher at the time, the company did not "touch a word of it" in preparation for release. The book was received well by the British press, and received positive reviews from critic Walter Allen and novelist Angus Wilson. Three days after publication, the Times Literary Supplement wrote that the book "genuinely succeeds in presenting tribal life from the inside". The Observer called it "an excellent novel", and the literary magazine Time and Tide said that "Mr. Achebe's style is a model for aspirants."
Initial reception in Nigeria was mixed. When Hill tried to promote the book in West Africa, he was met with scepticism and ridicule. The faculty at the University of Ibadan was amused at the thought of a worthwhile novel being written by an alumnus. Others were more supportive; one review in the magazine Black Orpheus said: "The book as a whole creates for the reader such a vivid picture of Ibo life that the plot and characters are little more than symbols representing a way of life lost irrevocably within living memory."
In the book Okonkwo struggles with the legacy of his father—a shiftless debtor fond of playing the flute—as well as the complications and contradictions that arise when white missionaries arrive in his village of Umuofia. Exploring the terrain of cultural conflict, particularly the encounter between Igbo tradition and Christian doctrine, Achebe returns to the themes of his earlier stories, which grew from his own background.
Things Fall Apart has become one of the most important books in African literature. Selling over 8 million copies around the world, it has been translated into 50 languages, making Achebe the most translated African writer of all time. ("More" to end, from Wikipedia.)
Book Reviews
(Older works have few mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
Things Fall Apart is one of the most widely read African novels ever published. It is written by one of Nigeria’s leading novelists, Chinua Achebe. Set in the Ibo village of Umuofia, Things Fall Apart recounts a stunning moment in African history—its colonization by Britain. The novel, first published in 1958, has by today sold over 8 million copies, been translated into at least forty-five languages, and earned Achebe the somewhat misleading and patronizing title of "the man who invented African literature." It carefully re-creates tribal life before the arrival of Europeans in Africa, and then details the jarring changes brought on by the advent of colonialism and Christianity.
The book is a parable that examines the colonial experience from an African perspective, through Okonkwo, who was "a strong individual and an Igbo hero struggling to maintain the cultural integrity of his people against the overwhelming power of colonial rule." Okonkwo is banished from the community for accidentally killing a clansman and is forced to live seven years in exile. He returns to his home village, only to witness its disintegration as it abandons tradition for European ways. The book describes the simultaneous disintegration of Okonkwo and his village, as his pleas to his people not to exchange their culture for that of the English fall on deaf ears.
The brilliance of Things Fall Apart is that it addresses the imposition of colonization and the crisis in African culture caused by the collapse of colonial rule. Achebe prophetically argued that colonial domination and the culture it left in Africa had such a stranglehold on African peoples that its consequences would haunt African society long after colonizers had left the continent.
Sacred Fire
Discussion Questions
1. The Ibo religious structure consists of chi—the personal god—and many other gods and goddesses. What advantages and disadvantages does such a religion provide when compared with your own?
2. The text includes many original African terms and there is a glossary provided. Do you find that this lends atmospheric authenticity, thus bringing you closer to the work? Do you find it helpful?
3. There is an issue here of fate versus personal control over destiny. For example, Okonkwo's father is sometimes held responsible for his own actions, while at other times he is referred to as ill-fated and a victim of evil-fortune. Which do you think Okonkwo believes is true? What do you think Achebe believes is true? What do you believe?
4. The threads of the story are related in a circular fashion, as opposed to a conventional linear time pattern. What effect does this impose on the tale of Ikemefuma? What effect does it have on the story of Ezinma?
5. The villagers believe—or pretend to believe—that the "Supreme Court" of the nine egwugwu are ancestral spirits. In fact, they are men of the village in disguise. What does this say about the nature of justice in general, and in this village in particular?
6. Our own news media pre-programs us to view the kind of culture clash represented here as being purely racial in basis. Does Achebe's work impress as being primarily concerned with black versus white tensions? If not, what else is going on here?
7. Certain aspects of the clan's religious practice, such as the mutilation of a dead child to prevent its spirit from returning, might impress us as being barbaric. Casting an honest eye on our own religiouspractices, which ones might appear barbaric or bizarre to an outsider?
8. In an essay entitled "The Novelist as Teacher, " Achebe states: "Here then is an adequate revolution for me to espouse--to help my society regain belief in itself and put away the complexes of the years of denigration and self-abasement" (Hopes and Impediments, p. 44). In what ways do you feel that this novel places Achebe closer to the fulfillment of this noble aspiration?
9. Nature plays an integral role in the mythic and real life of the Ibo villagers, much more so than in our own society. Discuss ways in which their perception of animals—such as the cat, the locust, the python—differ from your own, and how these different beliefs shape our behavior.
10. The sacrifice of Ikemefuma could be seen as being a parallel to the crucifixion of Jesus. The event also raises a series of questions. Ikemefuma and the villagers that are left behind are told that he is "going home" (p. 58). Does this euphemism for dying contain truth for them? Do they believe they are doing him a favor? Why do they wait three years, him and Okonkwo's family to think of him as a member of the family? Finally, Okonkwo, "the father, " allows the sacrifice to occur as God presumably allowed Christ's sacrifice, with no resistance. How can one accept this behavior and maintain love for the father or God?
11. Of Ezinma, Okonkwo thinks: "She should have been a boy" (p. 64). Why is it necessary to the story that Okonkwo's most favored child be a girl?
12. Of one of the goddesses, it is said: "It was not the same Chielo who sat with her in the market... Chielo was not a woman that night" (p. 106). What do you make of this culture where people can be both themselves and also assume other personas? Can you think of any parallels in your own world?
13. There are many proverbs related during the course of the narrative. Recalling specific ones, what function do you perceive these proverbs as fulfilling in the life of the Ibo? What do you surmise Achebe's purpose to be in the inclusion of them here?
14. While the traditional figure of Okonkwo can in no doubt be seen as the central figure in the tale, Achebe chooses to relate his story in the third person rather than the first person narrative style. What benefits does he reap by adopting this approach?
15. Okonkwo rejects his father's way and is, in turn, rejected by Nwoye. Do you feel this pattern evolves inevitably through the nature of the father/son relationship? Or is there something more being here than mere generational conflict?
16. The lives of Ikemefuma and Okonkwo can be deemed parallel to the extent that they both have fathers whose behavior is judged unacceptable. What do you think the contributing factors are to the divergent paths their fate takes them on as a result of their respective fathers' shadows?
17. The title of the novel is derived from the William Butler Yeats poem entitled "The Second Coming," concerned with the second coming of Christ. The completed line reads: "Things fall apart; the centre cannot hold." What layers of meaning are discernible when this completed line is applied to the story?
18. The District Commissioner is going to title his work The Pacification of the Primitive Tribes of the Niger (p. 209). What do you interpret from this to be his perception of Okonkwo and the people of Umuofia? And what do you imagine this augurs in the ensuing volumes in Achebe's trilogy of Nigerian life?
(Questions issued by publisher.)
Dominic
Kathleen Robinson
eReads
412 pp.
ISBN-13: 9781585860852
Summary
A beautifully written and stunningly evocative debut novel, Dominic follows the title character's adventures through the collapse of the ancient Roman Empire, depicting a society rife with reckless abandon and chaos, a world of display and caprice.
Into this milieu arrives Dominic, an orphaned dwarf child from Gaul. Left to fend for himself, his travels bring him into contact with many lively personalities, such as a caravan of gypsies and the inmates of a dungeon. His adventures eventually land him in the company of a friend, the gigantic Danish bard Kevin Dunskaldir, who helps him to defeat an evil as sinister as any force threatening the empire.
Creating two unique heroes, acting against the mighty backdrop of a society in transition, Robinson successfully brings together all of the elements of a literary masterpiece in this classic tale of friendship, fate and adversity. Dominic is exhilarating historical fiction, featuring characters you won't easily forget. (From the publisher.)
About the Author
Dominic is Kathleen Robinson's first novel. She lives in Texas, USA.
Book Reviews
Robinson begins her episodic debut novel with the birth of the dwarf, Dominic, in Gaul in A.D. 375. As Dominic travels through the provinces to Rome, Constantinople and the borders of the Roman empire, the daily lives of Gauls, Greeks, Goths, pagans, Christians, peasants and aristocrats are portrayed in detail. Orphaned as a child, Dominic is sold to the owner of an itinerant Greek circus troupe, becomes an accomplished acrobat and learns to enjoy the vagabond life. After escaping the wrath of a Roman senator, he is betrayed and sold to an Arab trader who in turn sells him to an enlightened master in Constantinople. The death of this master leads into a drawn-out account of Dominic's subsequent torture and degradation at the hands of the bestial commander of a Roman garrison on the Rhine. Pagan, Greek, Roman and Viking myths color this lively but overlong chronicle.
Publishers Weekly
A picaresque first novel about a sharp-witted dwarf growing up in ancient Rome, Dominic is a study of contrasts: personal, emotional, geographical, religious, and philosophical. Dominic, a Christian child, is orphaned in Gaul, sold into slavery, and trained as an acrobat in a circus troupe of pagan vagabonds. The slave's changing fortunes include higher education and travels throughout the ancient world. His incredible journeys bring cruelty and unmitigated misery to this engaging dwarf, who also finally experiences the joys of friendship and caring. Thoroughly good reading, Dominic makes an unfamiliar era live. This is well recommended. —Ellen R. Cohen, Rockville, Md.
Library Journal
A fourth-century A.D. young dwarf narrates his adventures—some fairly hideous—here and there within the disintegrating Roman Empire. Dominic, the son of a poor Gallic goatherder, is raised with love and tenderness. Both parents dead (the father is killed by Roman troops), the boy is taken in by an uncle, who after two years sells him into slavery. Then through extraordinary luck Dominic is bought by the leader of a band of vagabond performers, learns their skills, is introduced to a new religion (worship of the Egyptian Isis), and becomes part of a devoted family. Off to Rome for revels—and terrible tragedy. Twice again Dominic will be sold into slavery—some experiences will net him learning, travels to exotic places, and even affection. But later he'll return to the Gallic provinces—and hell itself—in the castle of a sadistic noble. There'll be, happily, a miraculous rescue. Among the lands Dominic travels: Rome, Athens, Constantinople, Alexandria, and some lovely, scenic wild places. An earnest narration unfolds elementary characters, relentless adventures, and views of ancient urban splendors. It all moves along at a lively clip.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Dominic:
1. Talk about the exchange between young Dominic and his mother, in which he wonders why stories can't always have happy endings.
Mama says, Life is like that—true tales don't always have happy endings.... Sad things happen and wonderful things happen and they all mix up together...and the end is a little of both.... so you cry and laugh at the same time. Living is like that.
How does that passage foreshadow the events in the novel? And how does it reflect life in general? It's a wise observation, but when hardships come, can any of us be that wise and philosophical?
2. What is Dominic's full name, and what does it mean?
3. His parents tell Dominic that being a dwarf was "God's choice..... He must have some purpose of His own for you, Lad." At first Dominic doesn't accept that explanation for his dwarfism. Does he eventually come to do so?
4. Were you able to keep separate the different Germanic tribes: Goths, Visigoths, Huns and Burgundians? What was the nature of their threat to the Roman Empire? Today, some European nations still refer to Germany as Allemagne (French) or Alemania (Spanish). According to the account in Dominc, what is the derivation of that name?
5. Talk about the life and work of the circus. Why did Dominic take such pleasure in being part of the troupe?
6. What about the tension between the new Christian and the old Pagan religions. Why is it important to Dominic, upon first joinning the circus troupe, that he maintain his Christian faith? What is the bargain that he strikes with Ronaldo with regards to the Pagan festivals? Talk about why Domnic eventually decides to become a follower of Isis?
7. The novel is filled with allusions and references to mythology...Norse, Egyptian and Roman. It might be fun to a research those myths and trace their presence within this novel. Gerrick, for instance, alludes to the mountian Dwarves and he, himself, wears the headgear of the Forest King—both of which are significant mythological figures. Or perhaps look into the festival of Saturnalia.
8. Dominic travels the world, achieving a degree of enlightened wisdom. One could even retitle this book "The Education of Dominic." What does Dominic come to learn, both worldly and spiritually? (Dominic, like Pi in The Life of Pi, is a quester, and so this question lies at the heart of the book.)
9. Are the torture scenes too realistic, too long, too drawn-out for you? Or do you feel they are necessary to the plot?
10. Traveling alone through the Alps in Gaul, Dominic contemplates the universe and his role in it. Read this passage and comment on its significance to you, to all humans who hold faith, of one kind or another:
Lucretius may have been right, that there exist no gods to toy with our lives, that the universe is one magnificent galaxy of suns—thousands of suns shining on thousands of worlds like this one.... In such moments I am visited with a strange sense of aloneness, a feeling that I and my joys and sorrows and yearnings are meaningless, and I am hopelessly lost in the enormity of a universe I cannot even begin to comprehend.... I did not even know what life was for or what I was supposed to do with it. A tumult of philosophies clamored in my brain.... The Alps, even at their most turbulent, were peace. Their solitude was all the peace I had—or needed.
11. Toward the end of the novel, as Dominic and Kevin make their way to Lausanna, they come across a statue of Mary and the infant Jesus. Dominic sees that it had formerly been a statue of Isis and Horus. What does this suggest about the co-mingling of the different faiths in the 4th century?
12. In the same episode, Dominic says that he has made his "peace with Isis." What does he mean?
13. What character in this novel do you particularly like? And what episodes do you like? How, in particular, do you feel about the character of Dominic? In what ways does he emerge as a full human being?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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