The Plague of Doves
Louise Erdrich, 2008
HarperCollins
336 pp.
ISBN-13: 9780060515133
Summary
Louise Erdrich's mesmerizing new novel, her first in almost three years, centers on a compelling mystery. The unsolved murder of a farm family haunts the small, white, off-reservation town of Pluto, North Dakota.
The vengeance exacted for this crime and the subsequent distortions of truth transform the lives of Ojibwe living on the nearby reservation and shape the passions of both communities for the next generation.
The descendants of Ojibwe and white intermarry, their lives intertwine; only the youngest generation, of mixed blood, remains unaware of the role the past continues to play in their lives.
Evelina Harp is a witty, ambitious young girl, part Ojibwe, part white, who is prone to falling hopelessly in love. Mooshum, Evelina's grandfather, is a seductive storyteller, a repository of family and tribal history with an all-too-intimate knowledge of the violent past.
Nobody understands the weight of historical injustice better than Judge Antone Bazil Coutts, a thoughtful mixed blood who witnesses the lives of those who appear before him, and whose own love life reflects the entire history of the territory.
In distinct and winning voices, Erdrich's narrators unravel the stories of different generations and families in this corner of North Dakota. Bound by love, torn by history, the two communities' collective stories finally come together in a wrenching truth revealed in the novel's final pages.
The Plague of Doves is one of the major achievements of Louise Erdrich's considerable oeuvre, a quintessentially American story and the most complex and original of her books. (From the publisher.)
Author Bio
• Birth—June 7, 1954
• Where—Little Falls, Minnesota, USA
• Education—A.B., Dartmouth College; M.A., Johns Hopkins
• Awards—National Book Award; National Book Critics Circle Award; Nelson Algren Prize
• Currently—lives in Minnesota
Karen Louise Erdrich is an author of some 20 novels, as well as poetry, short stories, and children's books. She has some Native American ancestry and is widely acclaimed as one of the most significant writers of the second wave of what critic Kenneth Lincoln has called the Native American Renaissance.
In 1984, Erdrich won the National Book Critics Circle Award for her debut novel, Love Medicine. In 2009, her novel The Plague of Doves was named a finalist for the Pulitzer Prize in Fiction, and three years later, in 2012, she won the National Book Award for Round House.
Erdrich is the owner of Birchbark Books, a small independent bookstore in Minneapolis, Minnesota. The eldest of seven children, Erdrich was born to Ralph and Rita Erdrich in Little Falls, Minnesota. Her father was German-American while her mother was French and Anishinaabe (Ojibwa). Her grandfather Patrick Gourneau served as a tribal chairman for the Turtle Mountain Band of Chippewa Indians. Erdrich grew up in Wahpeton, North Dakota where her parents taught at the Bureau of Indian Affairs school.
She attended Dartmouth College in 1972-1976, earning an AB degree and meeting her future husband, the Modoc anthropologist and writer Michael Dorris. He was then director of the college’s Native American Studies program. Subsequently, Erdrich worked in a wide variety of jobs, including as a lifeguard, waitress, poetry teacher at prisons, and construction flag signaler. She also became an editor for The Circle, a newspaper produced by and for the urban Native population in Boston. Erdrich graduated with a Master of Arts degree in creative writing from Johns Hopkins University in 1979.
In the period 1978-1982, Erdrich published many poems and short stories. It was also during this period that she began collaborating with Dorris, initially working through the mail while Dorris was working in New Zealand. The relationship progressed, and the two were married in 1981. During this time, Erdrich assembled the material that would eventually be published as the poetry collection Jacklight.
In 1982, Erdrich's story "The World’s Greatest Fisherman" was awarded the $5,000 Nelson Algren Prize for short fiction. This convinced Erdrich and Dorris, who continued to work collaboratively, that they should embark on writing a novel.
Early Novels
In 1984, Erdrich published the novel Love Medicine. Made up of a disjointed but interconnected series of short narratives, each told from the perspective of a different character, and moving backwards and forward in time through every decade between the 1930s and the present day, the book told the stories of several families living near each other on a North Dakota Ojibwe reservation.
The innovative techniques of the book, which owed a great deal to the works of William Faulkner but have little precedent in Native-authored fiction, allowed Erdrich to build up a picture of a community in a way entirely suited to the reservation setting. She received immediate praise from author/critics such as N. Scott Momaday and Gerald Vizenor, and the book was awarded the 1984 National Book Critics Circle Award. It has never subsequently been out of print.
Erdrich followed Love Medicine with The Beet Queen, which continued her technique of using multiple narrators, but surprised many critics by expanding the fictional reservation universe of Love Medicine to include the nearby town of Argus, North Dakota. Native characters are very much kept in the background in this novel, while Erdrich concentrates on the German-American community. The action of the novel takes place mostly before World War II.
The Beet Queen was subject to a bitter attack from Native novelist Leslie Marmon Silko, who accused Erdrich of being more concerned with postmodern technique than with the political struggles of Native peoples.
Erdrich and Dorris’ collaborations continued through the 1980s and into the 1990s, always occupying the same fictional universe.
Tracks goes back to the early 20th century at the formation of the reservation and introduces the trickster figure of Nanapush, who owes a clear debt to Nanabozho. Erdrich’s novel most rooted in Anishinaabe culture (at least until Four Souls), it shows early clashes between traditional ways and the Roman Catholic Church.
The Bingo Palace updates but does not resolve various conflicts from Love Medicine: set in the 1980s, it shows the effects both good and bad of a casino and a factory being set up among the reservation community. Finally, Tales of Burning Love finishes the story of Sister Leopolda, a recurring character from all the former books, and introduces a new set of white people to the reservation universe.
Erdrich and Dorris wrote The Crown of Columbus, the only novel to which both writers put their names, and A Yellow Raft in Blue Water, credited to Dorris. Both of these were set away from the Argus reservation.
Domestic Life
The couple had six children, three of them adopted. Dorris had adopted the children when he was single. After their marriage, Erdrich also adopted them, and the couple had three daughters together. Some of the children had difficulties.
In 1989 Dorris published The Broken Cord, a book about fetal alcohol syndrome, from which their adopted son Reynold Abel suffered. Dorris had found it was a widespread and until then relatively undiagnosed problem among Native American children because of mothers' alcohol issues. In 1991, Reynold Abel was hit by a car and killed at age 23.
In 1995 their son Jeffrey Sava accused them both of child abuse. Dorris and Erdrich unsuccessfully pursued an extortion case against him. Shortly afterward, Dorris and Erdrich separated and began divorce proceedings. Erdrich claimed that Dorris had been depressed since the second year of their marriage.
On April 11, 1997, Michael Dorris committed suicide in Concord, New Hampshire.
Later Writings
Erdrich’s first novel after divorce, The Antelope Wife, was the first to be set outside the continuity of the previous books. She has subsequently returned to the reservation and nearby towns, and has produced five novels since 1998 dealing with events in that fictional area. Among these are The Master Butchers Singing Club, a macabre mystery which again draws on Erdrich's Native American and German-American heritage, and The Last Report on the Miracles at Little No Horse. Both have geographic and character connections with The Beet Queen.
Together with several of her previous works, these have drawn comparisons with William Faulkner’s Yoknapatawpha novels. The successive novels have created multiple narratives in the same fictional area and combined the tapestry of local history with current themes and modern consciousness.
In The Plague of Doves, Erdrich has continued the multi-ethnic dimension of her writing, weaving together the layered relationships among residents of farms, towns and reservations; their shared histories, secrets, relationships and antipathies; and the complexities for later generations of re-imagining their ancestors' overlapping pasts. The novel was a finalist for the Pulitzer Prize in 2009.
Erdrich's 2010 book, Shadow Tag, was a departure for her, as she focuses on a failed marriage.
Erdrich is an enrolled member of the Anishinaabe nation (also known as Ojibwa and Chippewa). Erdrich also has German, French and American ancestry. One sister, Heidi, publishes under the name Heid E. Erdrich; she is a poet who also resides in Minnesota. Another sister, Lise Erdrich, has written children's books and collections of fiction and essays. For the past few years, the three Erdrich sisters have hosted annual writers workshops on the Turtle Mountain Indian Reservation in North Dakota.
The award-winning photographer Ronald W. Erdrich is one of their cousins. He lives and works in Abilene, Texas. He was named "Star Photojournalist of the Year" in 2004 by the Texas Associated Press Managing Editors association. (Adapted from Wikipedia.)
Book Reviews
In The Plague of Doves, Erdrich has created an often gorgeous, sometimes maddeningly opaque portrait of a community strangled by its own history. Pluto is one of those places we read about now and then when big-city papers run features about the death of small-town America. When you grow up in such a place, people know that your mother was a wild child back in high school. They know why your uncle talks to himself in the grocery store. What Erdrich knows is that this history, built up over generations, yields a kind of claustrophobia that has only one cure: Leave.
Bruce Barcott - New York Times Review
Writing in prose that combines the magical sleight of hand of Gabriel Garcia Marquez with the earthy, American rhythms of Faulkner, Ms. Erdrich traces the connections between these characters and their many friends and relatives with sympathy, humor and the unsentimental ardor of a writer who sees that the tragedy and comedy in her people's lives are ineluctably commingled.... Her storytelling here is supple and assured, easily navigating the wavering line between a recognizable, psychological world and the more arcane world of legend and fable...arguably her most ambitious—and in many ways, her most deeply affecting—work yet.
Michiko Kakutani - New York Times
What marks these stories—some of which appeared in the New Yorker and the Atlantic—is what has always set Erdrich apart and made her work seem miraculous: the jostling of pathos and comedy, tragedy and slapstick in a peculiar dance. As horrific as the crimes at the heart of this novel are, other sections remind us that Erdrich is a great comic writer. When Mooshum isn't leading Eve through the history of her family, he's daring the local Catholic priest to save him or pursuing alcohol and romance with dogged, hilarious determination. Some of the funniest moments take place during a funeral, and even the murders and lynchings that bleed so much heartache are heightened by incongruous notes of humor.
Ron Charles - Washington Post
Erdrich's 13th novel, a multigenerational tour de force of sin, redemption, murder and vengeance, finds its roots in the 1911 slaughter of a farming family near Pluto, N. Dak. The family's infant daughter is spared, and a posse forms, incorrectly blames three Indians and lynches them. One, Mooshum Milk, miraculously survives. Over the next century, descendants of both the hanged men and the lynch mob develop relationships that become deeply entangled, and their disparate stories are held together via principal narrator Evelina, Mooshum Milk's granddaughter, who comes of age on an Indian reservation near Pluto in the 1960s and '70s and forms two fateful adolescent crushes: one on bad-boy schoolmate Corwin Peace and one on a nun. Though Evelina doesn't know it, both are descendants of lynch mob members. The plot splinters as Evelina enrolls in college and finds work at a mental asylum; Corwin spirals into a life of crime; and a long-lost violin (its backstory is another beautiful piece of the mosaic) takes on massive significance. Erdrich plays individual narratives off one another, dropping apparently insignificant clues that build to head-slapping revelations as fates intertwine and the person responsible for the 1911 killing is identified.
Publishers Weekly
Erdrich adds more layers of history to her community centered on an Ojibwe reservation in rural North Dakota, and as her loyal readers understand, she is going to make us work for it. This latest novel (after The Game of Silence, a novel for children) begins with a mysterious killing. As the people of the town of Pluto get the chance to tell their stories, they are attempting to reconcile the tangible with the spiritual, the native with the Eurocentric, and the reason behind the murders is hidden within the struggle. Be it the power of nature, the power of the holy, or the power of one's ancestry, the people that populate these linked tales are at the mercy of unseen forces. Erdrich's stories require our patience, as we are offered bits and scraps that we must somehow arrange in order to get to the sum of their parts. She gives us credit for being smart enough to see the big picture, and the end result is always worth the effort. This work serves to bolster her body of work, and we are fortunate that such a gifted storyteller continues to focus her gaze on this region of the continent. Highly recommended for all fiction collections.
Susanne Wells - Library Journal
The latest Erdrich novel about the Ojibwes and the whites they live among in North Dakota spirals around a terrible multiple murder that reverberates down through generations of a community. In the 1960s, Evelina Harp's Ojibwe grandfather, Mooshum, tells mesmerizing stories of his past. Having found a murdered family and saved the surviving baby, Mooshum and three Ojibwe friends were blamed for the killings and lynched by a mob of local whites in 1911. For reasons not immediately apparent, Mooshum was spared at the last moment, but his friends died. Evelina's first boyfriend is Corwin Peace, whose ancestor was one of those lynched. Her favorite teacher, a nun, descends from one of the mob leaders. And Evelina's middle-class parents of mixed heritage straddle the two cultures. Aunt Neve Harp sent her banker husband, who is Corwin's father, to prison after he arranged Neve's kidnapping by Corwin's then teenage uncle Billy in a phony ransom subplot (a little reminiscent of the movie Fargo). Spiritual Billy evolves into the tyrannical leader of a religious cult until his wife Marn Wolde, the daughter of farmers whose land he's taken over, kills him to save her children. While in college Evelina ends up briefly in a mental hospital where she gets to know Marn's lunatic uncle Warren. Corwin, under the positive influence of Judge Coutts and his new wife, Evelina's Aunt Geraldine, becomes a musician playing the same violin that once belonged to his ancestors. Judge Coutts's previous lover Cordelia, an older woman and a doctor who won't treat Indians, was once saved by Mooshum and his friends. Guilt and redemption pepper these self-sufficient, intertwining stories,and readers who can keep track of the characters will find their efforts rewarded. The magic lies in the details of Erdrich's ever-replenishing mythology, whether of a lost stamp collection or a boy's salvation. A lush, multilayered book.
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 The Plague of Doves:
1. Spirituality is a powerful theme in the book. What might be the symbolic meaning of the doves? (See also LitCourse 9 on symbolism.) Do you see them as Christian messengers, or (given that they're not white) do they represent a Chippewa heaven?
2. You might talk about the different kinds of spirituality as they compete for the human soul. Also, think about how sexuality is treated differently in the Chippewa and Christian religious traditions.
3. Another theme is the land—the Chippewa's ties to and identification with the land and their dispossession from it. Despite her dreams of Paris, Evelina comes to understand that her identity is tied up with her tribe's loss of their land.
4. Storytelling is a structural device Erdrich uses in the novel as a way to bind past and present—as well as a way to evoke Chippewa traditions and way of life. Do the stories enlarge your understanding of the novel or do you feel they are a distraction? Or what?
5. How does your understanding of Mooshum change by the end of the book?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
This Is Where I Leave You
Jonathan Tropper, 2009
Penguin Group USA
352 pp.
ISBN-13: 9780452296367
Summary
The death of Judd Foxman's father marks the first time that the entire Foxman family—including Judd's mother, brothers, and sister—have been together in years. Conspicuously absent: Judd's wife, Jen, whose fourteen-month affair with Judd's radio-shock-jock boss has recently become painfully public.
Simultaneously mourning the death of his father and the demise of his marriage, Judd joins the rest of the Foxmans as they reluctantly submit to their patriarch's dying request: to spend the seven days following the funeral together. In the same house. Like a family.
As the week quickly spins out of control, longstanding grudges resurface, secrets are revealed, and old passions reawakened. For Judd, it's a weeklong attempt to make sense of the mess his life has become while trying in vain not to get sucked into the regressive battles of his madly dysfunctional family. All of which would be hard enough without the bomb Jen dropped the day Judd's father died: She's pregnant.
This Is Where I Leave You is Jonathan Tropper's most accomplished work to date, a riotously funny, emotionally raw novel about love, marriage, divorce, family, and the ties that bind—whether we like it or not. (From the publisher.)
Author Bio
• Birth—1970
• Where—Riverdale, New York, USA
• Education—N/A
• Currently—lives in Westchester, New York
Jonathan Tropper is also the author of This is Where I Leave You, How to Talk to a Widower, Everything Changes, and Plan B. He lives with his wife, Elizabeth, and their children in Westchester, New York, where he teaches writing at Manhattanville College.
How To Talk To A Widower, was the 2007 selection for the Richard and Judy Show in the United Kingdom. Everything Changes was a Booksense selection. Three of Tropper's books are currently being adapted into movies. Tropper is also currently working on a television series How to Talk to a Widower which was optioned by Paramount Pictures, and Everything Changes and The Book of Joe are also in development as feature films. (Adapted from the publisher and Wikipedia.)
Book Reviews
[The] Foxman family gets together to mourn the loss of its partriarch in Jonathan Tropper's smartly comic novel.... In a wry domestic tone nicely akin to Tom Perrotta, Tropper goes on to introduce a darkly entertaining bunch of disfunctional relatives.... Although Mr. Tropper's dialogue here is fast and fresh, his book also has ballast.... Still, this author's strong suit is wisecracks, the more irreverent the better. And he gives snarky allure to Judd's observations.
Janet Maslin - New York Times
Hilarious and often heartbreaking.... [A] novel that charms by allowing for messes, loose ends and the reality that there's only one sure ending for everyone.
Los Angeles Times
Usually when a relationship goes belly-up, the focus is on the emotionally gutted woman, who cries and seethes and grieves her way through the split. Naturally, she rebounds and meets Mr. Right, after learning a few poignant life lessons. How bracing and refreshing to read something from the male perspective.... Tropper gets men. He's a more sincere, insightful version of Nick Hornby, that other master of male psyche.
USA Today
Tropper returns with a snappy and heartfelt family drama/belated coming-of-age story. Judd Foxman's wife, Jen, has left him for his boss, a Howard Stern–like radio personality, but it is the death of his father and the week of sitting shivah with his enjoyably dysfunctional family that motivates him. Jen's announcement of her pregnancy—doubly tragic because of a previous miscarriage—is followed by the dramas of Judd's siblings: his sister, Wendy, is stuck in an emotionless marriage; brother Paul—always Judd's defender—and his wife struggle with infertility; and the charming youngest, Phillip, attempts a grown-up relationship that only highlights his rakishness. Presided over by their mother, a celebrated parenting expert despite her children's difficulties, the mourning period brings each of the family members to unexpected epiphanies about their own lives and each other. The family's interactions are sharp, raw and often laugh-out-loud funny, and Judd's narration is unflinching, occasionally lewd and very keen. Tropper strikes an excellent balance between the family history and its present-day fallout, proving his ability to create touchingly human characters and a deliciously page-turning story.
Publishers Weekly
According to Genesis, the earth was created in six days. In the newest work from Tropper, the Foxman family spend a week together and the world practically implodes. Recently separated Judd, his two brothers, his sister, and their mother sit shiva for Foxman patriarch Mort. This seven-day Jewish ritual allows family members to mourn together while friends and relatives come to pay their respects—and have a little nosh. But the Foxman siblings don't get along, despite the best efforts of their celebrity child-care expert mother. As narrator Judd says, "Some families…become toxic to each other after prolonged exposure." Verdict: With its frat-house language and sexual obsessions, this hilarious, testosterone-driven thrill-ride comes with all the weaponry at the Foxmans' disposal: physical blows, verbal darts, psychological barbs, friendly jousts, and loving punches to the solar plexus. And the women have their say as well; there are no neutral corners in this melee. Highly recommended for Tropper fans, who will rejoice at the opportunity to indulge; others will wonder where he's been all their lives.
Bette Lee Fox - Library Journal
Reeling from the sudden collapse of his marriage, Judd Foxman spends an illuminating week with his dysfunctional family. It's bad enough that he walks in on his wife Jen making love to another man in their bed, but the betrayal is doubly devastating when Judd realizes her partner is his boss Wade, a macho talk-radio blowhard. With the image of the two of them likely to be seared permanently onto his retinas, Judd crawls off to a sad basement rental, only to be roused a short time later by the news that his cancer-stricken father has finally died. Judd's pop-psychologist mother Hillary calls her four grown children home to sit shiva for a full seven days, but it's doubtful that her atheist husband would have truly appreciated this nod to Jewish tradition. Unhappy as he is, Judd can take some comfort in the fact that the rest of the Foxmans are just as screwed up. His older brother Paul, once a gifted athlete, still blames Judd for the dog attack that brought his baseball career to a halt. Paul's wife Alice is so eager to get pregnant that she makes Judd an indecent proposal any sensible brother-in-law would refuse. Sister Wendy, married to a self-absorbed jerk, still carries a torch for her childhood sweetheart Horry, who suffered permanent brain injury in a college bar fight. And prodigal youngest Phillip shows up in a Ferrari with his much older life coach/girlfriend Tracy in tow. Thrown into the mix is potential new love interest Penny, who tantalized Judd in high school, and the news that Jen is pregnant with his (not Wade's) baby. All this sets up Judd for a major day of reckoning, and the realization that maybe, just maybe, he has contributed to some of the problems in his life. Tropper (How to Talk to a Widower, 2007, etc.) has covered this man-child territory before, but few can rival his poignant depictions of damaged men befuddled by the women they love.
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 This Is Where I Leave You:
1. Is the Foxman family really in mourning? How can you tell? As an atheist, why does Mort request that his family sit shiva after his death?
2. What's wrong with these people! Whom do you finger as the most dysfunctional family member, including spouses? Which character do you find...funniest...most despicable...most sympathetic? Be honest, now: any of them you identify with?
3. What has caused the tension between Judd and his brother Paul? What are some of the other family secrets and entanglements?
4. Clearly, Judd is an adult, yet this book can also be seen as a delayed coming-of-age story. What does Judd learn in the end about himself and his role in helping to create the world in which he finds himself?
5. How 'bout that rabbi? Is the Foxman's assessment of him fair?
6. What do the Foxman offspring come to understand about their parents by the book's finale?
7. How does Judd respond to becoming a father, and how does he connect his role as soon-to-be parent with the loss of his own father? In what way does parenthood take on meaning for him?
8. What is the significance of the book's title?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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Plainsong
Kent Haruf, 1999
Knopf Doubleday
320 pp.
ISBN-13: 9780375724794
Summary
Plainsong is set in Holt, Colorado, a rural community well outside Denver; the setting is timeless, with only the occasional, fleeting reference to VCRs or pop culture indicating that the book takes place closer to "now" than "then."
Tom Guthrie is a high—school teacher left raising two young sons after his depressed and disappointed wife moves to the city. His children bake cookies, ride horses, and run a paper route, but at the same time they almost consciously seek out a cool, hardened, cowboy sense of maturity.
Meanwhile, another teacher helps a pregnant teen disowned by her mother find love and acceptance in two hilariously well-intentioned elderly brothers. The two tentatively take the girl on as a boarder on their cattle farm even though they barely know how to communicate with anyone but each other.
These seven characters form the core of Plainsong, which switches vantages from chapter to chapter like a more direct Faulkner, though the prose is no less poetic and evocative. Through this device, Haruf illustrates how relationships are formed and what makes them last, how responsibility and accountability make people good, and how cooperation can make a small town strong in times of conflict.
A fast, encouraging, enlightening read, Plainsong is beautiful, real, and wise: a true great American novel. (By Joshua Klein, Barnes & Noble.)
Author Bio
• Birth—February 24, 1943
• Where—Pueblo, Colorado, USA
• Died—November 30, 2014
• Where—Salida, Colorado
• Education—B.A., Nebraska Wesleyan University; M.F.A., Iowa Writers' Workshop
• Awards—(see below)
Alan Kent Haruf was an American novelist and author of six novels, all set in the fictional town of Holt, Colorado.
Life
Haruf was born in Pueblo, Colorado, the son of a Methodist minister. He graduated with a BA from Nebraska Wesleyan University in 1965, where he would later teach, and earned an MFA from the Iowa Writers' Workshop at the University of Iowa in 1973.
Before becoming a writer, Haruf worked in a variety of places, including a chicken farm in Colorado, a construction site in Wyoming, a rehabilitation hospital in Denver, a hospital in Phoenix, a presidential library in Iowa, an alternative high school in Wisconsin, as an English teacher with the Peace Corps in Turkey, and colleges in Nebraska and Illinois.
He lived with his wife, Cathy, in Salida, Colorado until his death in 2014. He had three daughters from his first marriage.
Works
All of Haruf's novels take place in the fictional town of Holt, in eastern Colorado, a town based on Yuma, Colorado, one of Haruf's residences in the early 1980s. His first novel, The Tie That Binds (1984), received a Whiting Award and a special Hemingway Foundation/PEN citation. Where You Once Belonged followed in 1990. A number of his short stories have appeared in literary magazines.
Plainsong was published in 1999 and became a U.S. bestseller. The New York Times' Verlyn Klinkenborg called it "a novel so foursquare, so delicate and lovely, that it has the power to exalt the reader." Plainsong won the Mountains & Plains Booksellers Award and the Maria Thomas Award in Fiction and was a finalist for the National Book Award for Fiction.
Eventide, a sequel to Plainsong, was published in 2004. Library Journal described the writing as "honest storytelling that is compelling and rings true." Jonathan Miles saw it as a "repeat performance" and "too goodhearted."
On November 30, 2014, at the age of 71, Kent Haruf died at his home in Salida, Colorado, of interstitial lung disease.
Our Souls at Night, his final work, was published posthumously in 2015 and received wide praise. Ron Charles of the Washington Post called it "a tender, carefully polished work that it seems like a blessing we had no right to expect."
Recognition
1986 - Whiting Award for fiction
1999 - Finalist for the 1999 National Book Award for Plainsong
2005 - Colorado Book Award for Eventide
2005 - Finalist for the Book Sense Award for Eventide
2009 - Dos Passos Prize for Literature
2012 - Wallace Stegner Award
2014 - Folio Prize shortlist for Benediction
(Author bio adapted from Wikipedia. Retrieved 8/26/2015.)
Book Reviews
Plainsong is a hymn of praise—a paean to the power of place and to the capacity of individuals to transcend loneliness and despair, coming together in community. Haruf's writing has a graininess that lingers on tiny details as characters move from place to place.
A LitLovers LitPick (Dec. 07)
Haruf has made a novel so foursquare, so delicate and lovely, that it has the power to exalt the reader.... At times, a sentence almost suggests Flannery O'Connor.... But the prose and the outlook are always Haruf's own.
Verlyn Klinkenborg - New York Times Book Review
Although the intersection of these three sets of lonely lives might normally have all the melodramatic makings of a provincial soap opera, Mr. Haruf orchestrates their convergence with such authority and grace that their stories materialize before the reader's eyes without a shred of contrivance. As his critically acclaimed first novel, The Tie That Binds (1985), demonstrated, he possesses an intimate knowledge of farm and small town life, and in this novel, he uses that knowledge to immerse the reader in the daily rhythms of life in Holt, Colo. His language borrows the spareness and measured cadences of Hemingway, but it has a folksy, down-home inflection, the sound of the prairies and great plains.
Michiko Kakutani - New York Times
Handled by a lesser writer, some of these plots would be predictable, but Haruf's prose transcends any formula. The writing is simple and understated, with no quotation marks around the dialogue. The novel has a timeless quality to it. This gentle book is a beautiful read, appropriate for high school collections and public library young adult collections. Hard to imagine it being any better written; Broad general YA appeal.
VOYA
In the same way that the plains define the American landscape, small-town life in the heartlands is a quintessentially American experience. Holt, Colo., a tiny prairie community near Denver, is both the setting for and the psychological matrix of Haruf's beautifully executed new novel. Alternating chapters focus on eight compassionately imagined characters whose lives undergo radical change during the course of one year. High school teacher Tom Guthrie's depressed wife moves out of their house, leaving him to care for their young sons. Ike, 10, and Bobby, nine, are polite, sensitive boys who mature as they observe the puzzling behavior of adults they love. At school, Guthrie must deal with a vicious student bully whose violent behavior eventually menaces Ike and Bobby, in a scene that will leave readers with palpitating hearts. Meanwhile, pregnant teenager Victoria Roubideaux, evicted by her mother, seeks help from kindhearted, pragmatic teacher Maggie Jones, who convinces the elderly McPheron brothers, Raymond and Harold, to let Victoria live with them in their old farmhouse. After many decades of bachelor existence, these gruff, unpolished cattle farmers must relearn the art of conversation when Victoria enters their lives. The touching humor of their awkward interaction endows the story with a heartwarming dimensionality. Haruf's (The Tie That Binds) descriptions of rural existence are a richly nuanced mixture of stark details and poetic evocations of the natural world. Weather and landscape are integral to tone and mood, serving as backdrop to every scene. His plain, Hemingwayesque prose takes flight in lyrical descriptions of sunsets and birdsong, and condenses to the matter-of-fact in describing the routines of animal husbandry. In one scene, a rancher's ungloved hand repeatedly reaches though fecal matter to check cows for pregnancy; in another, readers follow the step-by-step procedure of an autopsy on a horse. Walking a tightrope of restrained design, Haruf steers clear of sentimentality and melodrama while constructing a taut narrative in which revelations of character and rising emotional tensions are held in perfect balance. This is a compelling story of grief, bereavement, loneliness and anger, but also of kindness, benevolence, love and the making of a strange new family. In depicting the stalwart courage of decent, troubled people going on with their lives, Haruf's quietly eloquent account illumines the possibilities of grace.
Publishers Weekly
Two bachelor farmer brothers, a pregnant high school girl, two young brothers, and two devoted high school teachers—this is the interesting group of people, some related by blood but most not, featured in the award-winning Haruf's touching new novel. Set in the plains of Colorado, east of Denver, the novel comprises several story lines that flow into one. Tom Guthrie, a high school history teacher, is having problems with his wife and with an unruly student at school—problems that affect his young sons, Ike and Bob, as well. Meanwhile, the pregnant Victoria Roubideaux has been abandoned by her family. With the assistance of another teacher, Maggie Jones, she finds refuge with the McPheron brothers—who seem to know more about cows than people. Lyrical and well crafted, the tight narrative about how families can be made between folks who are not necessarily blood relatives makes for enjoyable reading. Highly recommended for public libraries.
Library Journal
A stirring meditation on the true nature and necessity of the family. Among the several damaged families in this beautifully cadenced and understated tale is that of Tom Guthrie, a high-school history teacher in small Holt, Colorado, who's left to raise his two young sons, Ike and Bobby, alone when his troubled wife first withdraws from them and then, without explanation, abandons them altogether. Victoria Roubideaux, a high-school senior, is thrown out of her house when her mother discovers she's pregnant. Harold and Raymond McPheron, two aging but self-reliant cattle ranchers, are haunted by their imaginings of what they may have missed in life by electing never to get married, never to strike out on their own. Haruf (Where You Once Belonged, 1989, etc.) believably draws these various incomplete or troubled figures together. Victoria, pretty, insecure, uncertain of her own worth, has allowed herself to be seduced by a weak, spoiled lout who quickly disappears. When her bitter mother locks her out, she turns to Maggie Jones, a compassionate teacher and a neighbor, for help. Maggie places Victoria with the McPheron brothers, an arrangement that Guthrie, a friend of both Maggie and the McPherons, supports. Some of Haruf's best passages trace with precision and delicacy the ways in which, gradually, the gentle, the lonely brothers and Victoria begin to adapt to each other and then, over the course of Victoria's pregnancy, to form a resilient family unit. Harold and Raymond's growing affection for Victoria gives her a sense of self-worth, which proves crucial when her vanished (and abusive) boyfriend, comes briefly back into her life. Haruf is equally good at catching the ways inwhich Tom and his sons must quietly struggle to deal with their differing feelings of loss, guilt, and abandonment. Everyone is struggling here, and it's their decency, and their determination to care for one another, Haruf suggests, that gets them through. A touching work, as honest and precise as the McPheron brothers themselves.
Kirkus Reviews
Discussion Questions
1. Why might Kent Haruf have chosen "Plainsong" as the title for this novel? What meaning, or meanings, does the title have in relation to Haruf's story and characters?
2. How does the small town of Holt figure as a character in each novel? How are the characters in each of the novels completely believable and different? How does Haruf repeat some character traits in his novels and to what effect? How do the characters and the image of the town change from book to book?
3. Few hints are given in the novel about what life might have been like for the Guthrie family before Ella left. What do you imagine that life to have been like? What sort of a marriage did Tom and Ella have, and what made it go wrong? What might account for Ella's nearly total withdrawal even from the children she seems to love?
4. How do the three teenagers having sex in the abandoned house inform and affect Ike and Bobby? What does this sight tell them about sex? About love? About the relationships and power struggle between men and women?
5. Do you believe there are marked differences between Raymond and Harold McPheron? If so, what are they?
6. Why do you think the McPheron brothers have chosen to spend their lives together rather than start families of their own? Are they lonely or unhappy before Victoria's arrival, or do they feel sufficient in themselves? What does Maggie mean when she tells them, "This is your chance" [p. 110]?
7. What parallels can you draw between the McPheron brothers and the young Guthrie boys? Why is the relationship so close in each case? What sort of a future do you see for the Guthrie boys? Do you think they will marry and have families?
8. The McPheron brothers think they know nothing about young girls. Is that the case? Has their solitary life close to the earth handicapped them so far as human relations go, or has it, in fact, provided them with hidden advantages?
9. What examples of parents abandoning children—either by desertion, emotional withdrawal, or death—can be found in this novel? What do these incidents have in common? How does abandonment affect children, and how does it shape their lives and relationships?
10. It is usually women who are portrayed as nurturers, but in this novel, men--Tom Guthrie and the McPheron brothers—provide shelter and comfort. How do men differ from women in this respect? What do these men offer that a woman might not be able to?
11. "These are crazy times," Maggie Jones says. "I sometimes believe these must be the craziest times ever" [p. 124]. What does she mean by this? In what way are our times "crazier" than earlier eras? How does such "craziness" affect the lives of young people such as Victoria, Ike, and Bobby?
12. What motives and feelings might have driven Tom to sleep with Judy when it was really Maggie he was interested in? Why might Maggie have seemed momentarily frightening or intimidating to him?
13. Why do the Guthrie boys befriend Iva Stearns? What are they looking for in this tentative friendship? Do they find what they are seeking?
14. Why do the Guthrie boys go to the McPheron brothers after Iva's death rather than to someone closer to home, like their father or Maggie? Is there any indication that they connect Iva's death with their mother's abandonment? Why do they place their mother's bracelet on the train tracks, then bury it?
15. The inhabitants of Holt and its surroundings are extremely laconic: they speak only sparingly, as though they mistrust words. What might cause this? In what way does it affect the characters' relationships with one another?
16. How would you describe Holt, Colorado? What are its limitations, its disadvantages, and what are its strengths? In what ways is it typical of any American small town, and in what ways is it different? What help does it provide for people who need healing, like the characters in this book?
17. Plainsong depicts some unusual "family" groups. How might Kent Haruf define family?
18. For general discussion of Kent Haruf's works—
a. How does Kent Haruf's writing style change from his first novel to the National Book Award finalist Plainsong? What is the effect of Haruf's style in each and use of language on the reader?
b. How does the small town of Holt figure as a character in each novel? How are the characters in each of the novels completely believable and different? How does Haruf repeat some character traits in his novels and to what effect? How do the characters and the image of the town change from book to book?
(Questions issued by publisher.)
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Precious / Push
Sapphire, 1996
Knopf Doubleday
192 pp.
ISBN-13: 9780307474841
Summary
An electrifying first novel that shocks by its language, its circumstances, and its brutal honesty, Push recounts a young black street-girl's horrendous and redemptive journey through a Harlem inferno.
For Precious Jones, 16 and pregnant with her father's child, miraculous hope appears and the world begins to open up for her when a courageous, determined teacher bullies, cajoles, and inspires her to learn to read, to define her own feelings and set them down in a diary. (From the publisher.)
Author Bio
• Aka—Ramona Lofton
• Birth—August 4, 1950
• Where—Fort Ord, California, USA
• Education—B.A., City College of New York; M.F.A., Brooklyn
College
• Awards—Fellow Award in Literature from United States
Artists
• Currently—lives in New York City, New York
Ramona Lofton, known professionally as Sapphire, is an American author and performance poet.
Sapphire was born Ramona Lofton in Fort Ord, California. She was one of four children of an Army couple who moved all over the world. After a disagreement over where the family would live, the family parted ways, with Sapphire’s mother "kind of abandon[ing] them". Sapphire dropped out of high school, moved to San Francisco where she enrolled in City College of San Francisco, only to drop out and become a “hippie”.
She attended City College of New York and obtained her master's degree at Brooklyn College. Sapphire held various jobs before starting her writing career, working as a performance artist, a social worker, and a teacher of reading and writing.
She moved to New York City in 1977 and immersed herself in poetry. She also became a member of a gay organization named United Lesbians of Color for Change Inc. She wrote, performed and eventually published her poetry during the height of the Slam Poetry movement in New York. She took the name Sapphire because of its association at one time in American culture with the image of a "belligerent black woman" and because she could picture the name on a book cover more than her birth name.
Sapphire self-published the collection of poems Meditations on the Rainbow in 1987. As Cheryl Clarke notes, Sapphire's 1994 book of poems, American Dreams, is often erroneously referred to as her first book. One critic referred to it as "one of the strongest debut collections of the '90s".
Her novel, Push, was unpublished before being discovered by the renowned feminist literary agent Charlotte Sheedy, whose interest created demand and eventually led to a bidding war. Sapphire submitted the first 100 pages of Push to a publisher auction in 1995 and the highest bidder offered her $500,000 to finish the novel. After its publishing, Sapphire noted in an interview with William Powers that "she noticed Push for sale in one of the Penn Station bookstores, and that moment it struck her she's no longer a creature of the tiny world of art magazines and homeless-shelters from which she came." The novel brought Sapphire praise and much controversy for its graphic account of a young woman growing up in a cycle of incest and abuse.
The film based on her novel premiered at the Sundance Film Festival in January 2009; it was renamed Precious to avoid confusion with the 2009 action film Push. Gabourey Sidibe was nominated for best actress for her role as Precious; Mo'Nique was nominated for best supporting—and won—for her portrayal of as Mary. Sapphire herself appears briefly in the film as a daycare worker.
Sapphire's writing was the subject of an academic symposium at Arizona State University in 2007. In 2009 she was the recipient of a Fellow Award in Literature from United States Artists.
Sapphire lives and works in New York City. Push is actually based on her own childhood. (From Wikipedia.)
Book Reviews
Precious's street-smart, angry voice, [is] a voice that may shock readers with its liberal use of four-letter words and graphic descriptions of sex, but a voice that also conjures up Precious's gritty, unforgiving world. Sapphire somehow finds lyricism in Precious's life, and in endowing Precious with her own generous gifts for language, she allows us entree into her heroine's state of mind.... Although the reader comes to feel enormous sympathy for Precious, one is constantly aware of the author standing behind the scenes, orchestrating her heroine's terrifying plummet into the abyss and her equally dramatic rescue.
Michiko Kakutani - New York Times
To read the story [is] magic.... [It is] paint-peelingly profane and thoroughly real.
Washington Post
Precious's story, told through her own unique style and spelling, is a major achievement. It documents a remarkable resilience of spirit.
Boston Globe
A fascinating novel that may well find a place in the African-American literary canon.... With a fresh new voice that echoes the streets, Sapphire's work is sure to win as many hearts as it disturbs minds.
Philadelphia Inquirer
Brutal, redemptive.... You just can't take your eyes off Precious Jones.
Newsweek
With this much anticipated first novel, told from the point of view of an illiterate, brutalized Harlem teenager, Sapphire (American Dreams), a writer affiliated with the Nuyorican poets, charts the psychic damage of the most ghettoized of inner-city inhabitants. Obese, dark-skinned, HIV-positive, bullied by her sexually abusive mother, Clareece, Precious Jones is, at the novel's outset, pregnant for the second time with her father's child. (Precious had her first daughter at 12, named Little Mongo, "short for Mongoloid Down Sinder, which is what she is; sometimes what I feel I is. I feel so stupid sometimes. So ugly, worth nuffin.") Referred to a pilot program by an unusually solicitous principal, Precious comes under the experimental pedagogy of a lesbian miracle worker named, implausibly enough, Blue Rain. Under her angelic mentorship, Precious, who has never before experienced real nurturing, learns to voice her long suppressed feelings in a journal. As her language skills improve, she finds sustenance in writing poetry, in friendships and in support groups-one for "insect" survivors and one for HIV-positive teens. It is here that Sapphire falters, as her slim and harrowing novel, with its references to Harriet Tubman, Langston Hughes and The Color Purple (a parallel the author hints at again and again), becomes a conventional, albeit dark and unresolved, allegory about redemption. The ending, composed of excerpts from the journals of Precious's classmates, lends heightened realism and a wider scope to the narrative, but also gives it a quality of incompleteness. Sapphire has created a remarkable heroine in Precious, whose first-person street talk is by turns blisteringly savvy, rawly lyrical, hilariously pig-headed and wrenchingly vulnerable. Yet that voice begs to be heard in a larger novel of more depth and complexity.
Publishers Weekly
Performance poet Sapphire unflinchingly probes the consciousness of an all-too-real teenager from a severely abusive household. Push opens to find Precious fat, unloved, illiterate, deeply confused, routinely raped by her father, and physically and emotionally molested by her mother, enduring her second incestuous pregnancy. Crawling from self-hatred and violent loneliness to determination and, occasionally, hope, Precious enters a pre-GED program, learns to read, bears her second child, and breaks from her parents, all under the inspiration of Blue Rain, her steadfastly encouraging and apparently tireless new teacher. Precious's name loses its irony but soon takes on a dark new meaning as she learns the extent of her father's abuse. Written as an internal monolog and journal entries by Precious, with her rudimentary spelling skills and abrupt transitions, Push is compelling, graphic, and occasionally facile but disturbing and not soon forgotten. Recommended.
Library Journal
Clareece Precious Jones is a study in abuse. Continually raped by her father since the age of five, she's now pregnant for the second time with his baby, the first having been born with Down's syndrome when Precious was 12. Meantime, her mother is no help, calling the overweight girl a "fat cunt bucket slut," beating her at will, and satisfying her own bizarre sexual needs from her daughter. Schools have also all failed her; teachers find her "uncooperative," and she considers her last a "retarded hoe." Finally, Precious enrolls in a Harlem alternative school where she begins the tough climb out of illiteracy. No longer dreaming impossible ideas about rappers and movie star fame, she joins six others in a basic-skills class run by Blue Rain, a self-proclaimed lesbian who isn't afraid to editorialize in class. In short order, Precious discovers the joys of the alphabet and journal-writing, the pleasures of owning books and composing poetry. Although she raises herself to a seventh-grade level by narrative's end, she also finds out she's HIV positive. All of this is transcribed in a phonetic spelling that's supposed to reflect Precious's actual abilities, but seems condescending—and woefully unauthentic—since Sapphire often loses control of the voice. The homage to The Color Purple ("One thing I say about Farrakhan and Alice Walker they help me like being black") highlights Sapphire's commercial aspirations, as well as, by contrast, her technical inadequacies.
Kirkus Reviews
Discussion Questions
1. What does this story tell us about the inadequacy of ordinary schools to deal with students' problems and with their resulting learning handicaps? "I got A in English and never say nuffin', do nuffin'" [p. 49], Precious says. Precious's principal in effect tells her teacher to give up on her, saying, "Focus on the ones who can learn" [p. 37]. Is this an understandable or forgivable attitude? How would you describe Mr. Wicher and his teaching methods? Is he merely a coward or is he trying his best?
2. "The tesses paint a picture of me wif no brain," says Precious. "The tesses paint a pictureof me an' my muver—my whole family, we more than dumb, we invisible" [p. 30]. In what way are Precious and her family members invisible to the larger world? If you have read Ralph Ellison's Invisible Man, can you compare the way the two authors use the metaphor of invisibility for their characters?
3. During the course of the story, Precious is obliged to confront her own prejudices and modify or reject them. Her experience with the Hispanic EMS man makes her look at Hispanics for the first time as human beings like herself; her friendship with Ms. Rain and Jermaine makes her reexamine her knee-jerk homophobia. Early in the novel she says, "I hate crack addicts. They give the race a bad name" [p. 14], but later she questions that uncompromising position. In an interview, Sapphire said of Precious that "she doesn't know that hating gay people or hating Jews or hating foreigners is detrimental to her" (Interview, June 1996). Why is it detrimental to her? Why is it imperative that she lose her prejudices before she, herself, can be helped?
4. How would you describe Precious's self-image at the beginning of the book, and how would you describe it at the end? How have her friends and supporters succeeded in helping to alter her view of herself?
5. What is Precious's attitude toward Louis Farrakhan and his movement at the beginning of the story? How does this attitude change during the course of her education? Why have Farrakhan and his opinions become such a vital part of her worldview? What do you deduce the author's attitude toward him to be?
6. A famous—or perhaps infamous—Labor Department study, the Moynihan Report, blamed the absence of fathers and the dominance of women (rather than economic and racial inequality) for the problems confronting the African American family. Many black scholars and activists have argued against the report's conclusions. Which side of the argument do you believe Push to support?
7. Push presents what one reviewer called "one of the most disturbing portraits of motherhood ever published" (City Paper, November 1996). How would you explain or interpret Precious's mother's behavior?
8. "Miz Rain say we is a nation of raped children, that the black man in America today is the product of rape" [pp. 68–69]. What does Ms. Rain mean by this metaphor, and does it strike you as an accurate one?
9. Precious tells Ms. Rain that the welfare helps her mother, to which Ms. Rain responds, "When you get home from the hospital look and see how much welfare has helped your mother" [p. 73]. What does this novel indicate about abuses and inadequacies in the system? How might an ideal system be constructed?
10. Precious's file reflects the government "workfare" point of view, that Precious should already be earning her own living, possibly as a home attendant. Precious objects violently to this idea. Can you understand the social worker's point of view? Have Precious's and Jermaine's arguments [pp. 121–123] changed any opinions you previously held on this subject?
11. "Miz Rain say value. Values determine how we live much as money do. I say Miz Rain stupid there. All I can think she don't know to have NOTHIN'" [p. 64]. Which opinion do you agree with, or is there something to be said for both? What answer, if any, does the novel offer?
12. "One of the myths we've been taught," Sapphire has said, "is that oppression creates moral superiority. I'm here to tell you that the more oppressed a person is, the more oppressive they will be" (Bomb, Fall 1996). How does the novel illustrate the concept of the cycle of abuse? How does Precious break that cycle, and what aspects of her own character enable her to do so?
13. Push has been called a Dickensian novel, to which Sapphire has responded, "Part of what's so wrong in this story is that we're not in a Dickensian era. Those things shouldn't be happening in a post–industrial society" (Bomb, Fall 1996). She sees the novel as "an indictment of American culture, which is both black and white" (ibid). What aspects of our culture have enabled the inequities described in the novel to develop? Would you say that contemporary American cities consist, as Dickens's London was said to, of two entirely different cultures, the rich one and the poor?
14. Why do you think Sapphire has chosen to end the story where she does? Does the book end on a sad or hopeful note? What sort of future do you envision for Precious?
15. What is the significance of the novel's title, Push? At what points in her life is Precious enjoined to "push"? What is meant by this word, and how does Precious respond to the injunctions?
(Questions issued by publisher.)
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Playing for Pizza
John Grisham, 2007
Random House
304 pp.
ISBN-13: 9780440244714
Summary
Rick Dockery was the third-string quarterback for the Cleveland Browns. In the AFC Championship game, to the surprise and dismay of virtually everyone, Rick actually got into the game. With a 17-point lead and just minutes to go, Rick provided what was arguably the worst single performance in the history of the NFL. Overnight, he became a national laughingstock—and was immediately cut by the Browns and shunned by all other teams.
But all Rick knows is football, and he insists that his agent find a team that needs him. Against enormous odds, Rick finally gets a job—as the starting quarterback for the Mighty Panthers...of Parma, Italy. The Parma Panthers desperately want a former NFL player—any former NFL player—at their helm. And now they’ve got Rick, who knows nothing about Parma (not even where it is) and doesn’t speak a word of Italian.
To say that Italy—the land of fine wines, extremely small cars, and football americano—holds a few surprises for Rick Dockery would be something of an understatement. (From the publisher.)
Author Bio
• Birth—February 8, 1955
• Where—Jonesboro, Arkansas, USA
• Education—B.S., Mississippi State; J.D., University of Mississippi
• Currently—lives in Oxford, Mississippi and Albermarle, Virginia
John Ray Grisham, Jr. is an American lawyer, politician, and author, best known for his popular legal thrillers. He has written more than 25 novels, a short story collection (Ford County), two works of nonfiction, and a children's series.
Grisham's first bestseller was The Firm. Released in 1991, it sold more than seven million copies. The book was later adapted into a feature film, of the same name starring Tom Cruise in 1993, and a TV series in 2012 which "continues the story of attorney Mitchell McDeere and his family 10 years after the events of the film and novel." Eight of his other novels have also been adapted into films: The Chamber, The Client, A Painted House, The Pelican Brief, Skipping Christmas, The Rainmaker, The Runaway Jury, and his first novel, A Time to Kill. His books have been translated into 29 languages and published worldwide.
As of 2008, his books had sold over 250 million copies worldwide. Grisham is one of only three authors to sell two million copies on a first printing; the others are Tom Clancy and J.K. Rowling.
Early life and education
Grisham, the second oldest of five siblings, was born in Jonesboro, Arkansas, to Wanda Skidmore Grisham and John Grisham. His father was a construction worker and cotton farmer; his mother a homemaker. When Grisham was four years old, his family started traveling around the South, until they finally settled in Southaven in DeSoto County, Mississippi. As a child, Grisham wanted to be a baseball player. neither of his parents had advanced education, he was encouraged to read and prepare for college.
As a teenager, Grisham worked for a nursery watering bushes for $1.00 an hour. He was soon promoted to a fence crew for $1.50 an hour. At 16, Grisham took a job with a plumbing contractor. Through a contact of his father, he managed to find work on a highway asphalt crew in Mississippi at the age of 17.
It was during this time that an unfortunate incident made him think more seriously about college. A fight broke out among the crew with gunfire, and Grisham ran to the restroom for safety. He did not come out until after the police had "hauled away rednecks." He hitchhiked home and started thinking about college.
His next work was in retail, as a salesclerk in a department store men's underwear section, which he described as "humiliating." He decided to quit but stayed when he was offered a raise. He was given another raise after asking to be transferred to toys and then to appliances. A confrontation with a company spy posing as a customer convinced him to leave the store. By this time, Grisham was halfway through college.
He went to the Northwest Mississippi Community College in Senatobia, Mississippi and later attended Delta State University in Cleveland. Grisham drifted so much during his time at the college that he changed colleges three times before completing a degree. He graduated from Mississippi State University in 1977, receiving a BS degree in accounting.
He later enrolled in the University of Mississippi School of Law planning to become a tax lawyer. But he was soon overcome by "the complexity and lunacy" of it. He decided to return to his hometown as a trial lawyer, but his interest shifted to general civil litigation. He graduated in 1983 with a JD degree.
Law and politics
Grisham practiced law for about a decade and also won election as a Democrat in the Mississippi House of Representatives from 1983 to 1990 at an annual salary of $8,000. By his second term at the Mississippi state legislature, he was the vice-chairman of the Apportionment and Elections Committee and a member of several other committees.
With the success of his second book The Firm, published in 1991, Grisham gave up practicing law. He returned briefly in 1996 to fight for the family of a railroad worker who had been killed on the job. It was a commitment made to the family before leaving law to become a full-time writer. Grisham successfully argued his clients' case, earning them a jury award of $683,500—the biggest verdict of his career.
Writing
Grisham said that, sometime in the mid-1980s, he had been hanging around the court one day when he overheard a 12-year-old girl telling the jury how she been beaten and raped. Her story intrigued Grisham, so he began to watch the trial, noting how members of the jury wept during her testimony. It was then, Grisham later wrote in the New York Times, that a story was born. Musing over "what would have happened if the girl's father had murdered her assailants," Grisham took three years to complete his first book, A Time to Kill.
Finding a publisher was not easy. The book was rejected by 28 publishers before Wynwood Press, an unknown publisher, agreed to give it a modest 5,000-copy printing. It was published in June 1989. The day after Grisham completed A Time to Kill, he began work on his second novel, the story of an ambitious young attorney "lured to an apparently perfect law firm that was not what it appeared." The Firm remained on the the New York Times' bestseller list for 47 weeks and became the bestselling novel of 1991.
Beginning with A Painted House in 2001, the author broadened his focus from law to the more general rural South, but continued to write legal thrillers. He has also written sports fiction and comedy fiction.
In 2005, Grisham received the Peggy V. Helmerich Distinguished Author Award. The award is presented annually by the Tulsa Library Trust.
In 2010, Grisham started writing legal thrillers for children 9-12 years old. The books featured Theodore Boone, a 13-year-old boy, who gives his classmates legal advice—everything from rescuing impounded dogs to helping their parents prevent their house from being repossessed. His daughter, Shea, inspired him to write the Boone series.
Marriage and family
Grisham married Renee Jones in 1981, and the couple have two grown children together, Shea and Ty. The family spends their time in their Victorian home on a farm outside Oxford, Mississippi, and their other home near Charlottesville, Virginia.
The Innocence Project
Grisham is a member of the Board of Directors of The Innocence Project, which campaigns to free unjustly convicted people on the basis of DNA evidence. The Innocence Project argues that wrongful convictions are not isolated or rare events but instead arise from systemic defects. Grisham has testified before Congress on behalf of the Project and appeared on Dateline on NBC, Bill Moyers Journal on PBS, and other programs. He also wrote for the New York Times in 2013 about an unjustly held prisoner at Guantanamo.
Libel suit
In 2007, former legal officials from Oklahoma filed a civil suit for libel against Grisham and two other authors. They claimed that Grisham and the others critical of Peterson and his prosecution of murder cases conspired to commit libel and generate publicity for themselves by portraying the plaintiffs in a false light and intentionally inflicting emotional distress. Grisham was named due to his publication of the non-fiction book, The Innocent Man. He examined the faults in the investigation and trial of defendants in the murder of a cocktail waitress in Ada, Oklahoma, and the exoneration by DNA evidence more than 12 years later of wrongfully convicted defendants Ron Williamson and Dennis Fritz. The judge dismissed the libel case after a year, saying, "The wrongful convictions of Ron Williamson and Dennis Fritz must be discussed openly and with great vigor."
Misc.
The Mississippi State University Libraries maintains the John Grisham Room, an archive containing materials related to his writings and to his tenure as Mississippi State Representative.
Grisham has a lifelong passion for baseball demonstrated partly by his support of Little League activities in both Oxford, Mississippi, and Charlottesville, Virginia. He wrote the original screenplay for and produced the 2004 baseball movie Mickey, starring Harry Connick, Jr. He remains a fan of Mississippi State University's baseball team and wrote about his ties to the university and the Left Field Lounge in the introduction for the book Dudy Noble Field: A Celebration of MSU Baseball.
In an October 2006 interview on the Charlie Rose Show, Grisham stated that he usually takes only six months to write a book and that his favorite author is John le Carre. (Adapted from Wikipedia. Retrieved 10/6/2013.)
Book Reviews
Grisham is a storyteller who keeps the narrative flowing at a swift pace. He also has a penchant for humorous dialogue.... What could have been a painful exile for a disgraced American quarterback becomes a delightfully unexpected homecoming.
Boston Globe
Unfortunately, [John Grisham] neglected the primary duty of the storyteller, which is to tell a story. The suspense builds as the veteran Grisham reader waits for the surprising plot turn, or the overlooked character detail on which the story will pivot, or the unveiling of a mystery begging to be solved. He waits in vain. The book rumbles straight ahead, as simple and direct and unadorned as a fullback pushing up the middle for a three-yard gain.... The contrived, game-by-game (and even play-by-play) adventures of a real team in a real league that even the Italians don't care about. Its dramatic arc roughly resembles that of Coach Clair Bee's adolescent Chip Hilton stories—the early defeat that teaches a lesson, the loss of an injured star, the coming together against adversity, the improbable upset victory—while its lead character, Rick Dockery, is the sort of implausible American boor usually seen in dopey television commercials. That he finds true happiness after he picks up a Georgia cheerleader at a sidewalk cafe is only fitting, I suppose. But it doesn't exactly make for thrill-a-minute reading.
Bruce Schoenfeld - Washington Post
Fans of John Grisham live for his legal thrillers, but now and then he serves up something unexpected. That's exactly what he does, with great success, in his new novel.... This is a feel-good story, a tale of maturing and finding your way in the world, but it's not a book of predictable game plays.
USA Today
Reads like part Frances Mayes' Under the Tuscan Sun, part Mario Batali culinary diary and part Fodor guidebook.
Los Angeles Times
Third-string Cleveland Browns quarterback Rick Dockery becomes the greatest goat ever by throwing three interceptions in the closing minutes of the AFC championship game. Fleeing vengeful fans, he finds refuge in the grungiest corner of professional football, the Italian National Football League, as quarterback of the inept but full-of-heart Parma Panthers. What ensues is a winsome football fable, replete with team bonding and character building as the underdog Panthers challenge the powerhouse Bergamo Lions for a shot at the Italian Superbowl. The book is also the author’s love letter to Italy. Rick is first baffled and then enchanted by all things Italian—tiny cars! opera! benign corruption!—and through him Grisham instructs his readers in the art of gracious living, featuring sumptuous four-hour, umpteen-course meals. The writing sometimes lapses into travel guide (“most Italian cities are sort of configured around a central square, called a piazza”) and food porn (“the veal cutlets are beaten with a small bat, then dipped in eggs, fried in a skillet, and then baked in the oven with a mix of parmigiano cheese and stock until the cheese melts”), but it’s invigorated by appealing characters and lively play-by-play. The result is a charming fish-out-of-water story.
Publishers Weekly
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 Playing for Pizza:
1. Do you find the book's plot "contrived" as one critic puts it—another triumph-of-the-underdog story? Or do you find it humorous and face-paced as others have said? Could it be both?
2. One reviewer refers to it as a fable? What might that mean? In other words, what is a fable, and what elements of it fable can be found in Playing for Pizza?
3. Do you feel the descriptions of Italian culture add to or detract from the the story?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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