Lowcountry Summer
Dorothea Benton Frank, 2010
HarperCollins
352 pp.
ISBN-13: 9780061961175
Summary
When Caroline Wimbley Levine returned to Tall Pines Plantation, she never expected to make peace with long-buried truths about herself and her family. The Queen of Tall Pines, her late mother, was a force of nature, but now she is gone, leaving Caroline and the rest of the family uncertain of who will take her place.
In the lush South Carolina countryside, old hurts, betrayals, and dark secrets will surface, and a new generation will rise along the banks of the mighty Edisto River.
Wonderfully evocative, infused with humor and poignancy, and rich with the lyrical cadences of the South, Lowcountry Summer is vintage Dorothea Benton Frank, a deeply moving novel you'll want to savor and share. (From the publisher.)
Author Bio
• Birth—1951
• Where—Sullivan's Island, North Carolina, USA
• Education—Fashion Institute of America
• Currently—lives in New Jersey and on Sullivan Island
An author who has helped to put the South Carolina Lowcountry on the literary map, Dorothea Benton Frank hasn't always lived near the ocean, but the Sullivan's Island native has a powerful sense of connection to her birthplace. Even after marrying a New Yorker and settling in New Jersey, she returned to South Carolina regularly for visits, until her mother died and she and her siblings had to sell their family home. "It was very upsetting," she told the Raleigh News & Observer. "Suddenly, I couldn't come back and walk into my mother's house. I was grieving."
After her mother's death, writing down her memories of home was a private, therapeutic act for Frank. But as her stack of computer printouts grew, she began to try to shape them into a novel. Eventually a friend introduced her to the novelist Fern Michaels, who helped her polish her manuscript and find an agent for it.
Published in 2000, Frank's first "Lowcountry tale," Sullivan's Island made it to the New York Times bestseller list. Its quirky characters and tangled family relationships drew comparisons to the works of fellow southerners Anne Rivers Siddons and Pat Conroy (both of whom have provided blurbs for Frank's books). But while Conroy's novels are heavily angst-ridden, Frank sweetens her dysfunctional family tea with humor and a gabby, just-between-us-girls tone. To her way of thinking, there's a gap between serious literary fiction and standard beach-blanket fare that needs to be filled.
"I don't always want to read serious fiction," Frank explained to The Sun News of Myrtle Beach, South Carolina. "But when I read fiction that's not serious, I don't want to read brain candy. Entertain me, for God's sake." Since her debut, she has faithfully followed her own advice, entertaining thousands of readers with books Pat Conroy calls "hilarious and wise" and characters Booklist describes as "sassy and smart,."
These days, Frank has a house of her own on Sullivan's Island, where she spends part of each year. "The first thing I do when I get there is take a walk on the beach," she admits. Evidently, this transplanted Lowcountry gal is staying in touch with her soul.
Extras
From a Barnes & Noble interview:
• Before she started writing, Frank worked as a fashion buyer in New York City. She is also a nationally recognized volunteer fundraiser for the arts and education, and an advocate of literacy programs and women's issues.
• Her definition of a great beach read—"a fabulous story that sucks me in like a black hole and when it's over, it jettisons my bones across the galaxy with a hair on fire mission to convince everyone I know that they must read that book or they will die."
• When asked about her favorite books, here is what she said:
After working your way through all of F. Scott Fitzgerald, Jane Austen, Eudora Welty, Tennessee Williams, Flannery O'Connor, of course, you have to read Gone with the Wind a billion times, then [tackle these authors].
The Water is Wide by Pat Conroy; To Kill a Mockingbird by Harper Lee; The Handmaid's Tale by Margaret Atwood; A Thousand Acres by Jane Smiley; The Red Tent by Anita Diamant; Ladder of Years by Anne Tyler; Brunelleschi's Dome by Ross King; Making Waves and The Sunday Wife by Cassandra King; Islands by Anne Rivers Siddons; Rich in Love, Fireman's Fair, Dreams of Sleep, and Nowhere Else on Earth (all three) by Josephine Humphrey. (Author bio and interview from Barnes and Noble.)
Book Reviews
Here’s one for the Southern gals as well as Yankees who appreciate Frank’s signature mix of sass, sex, and gargantuan personalities. In this long-time-coming sequel to Plantation, opinionated and family-centric Caroline Wimbly Levine has just turned 47, but she’s less concerned with advancing middle age than she is with son Eric shacking up with an older single mom. She’s also dealing with a drunk and disorderly sister-in-law, Frances Mae; four nieces from hell; grieving brother Tripp; a pig-farmer boyfriend with a weak heart; and a serious crush on the local sheriff. Then there’s Caroline’s dead-but-not-forgotten mother, Miss Lavinia, whose presence both guides and troubles Caroline as she tries to keep her unruly family intact and out of jail. With a sizable cast of minor characters with major attitude, Frank lovingly mixes a brew of personalities who deliver nonstop clashes, mysteries, meltdowns, and commentaries; below the always funny theatrics, however, is a compelling saga of loss and acceptance. When Frank nails it, she really nails it, and she does so here.
Publishers Weekly
Reprising the characters introduced in Plantation (2001), Frank creates a richly atmospheric tale of a loving, if dysfunctional, southern family. —Carol Haggas
Booklist
More folksy love, marriage and magic in Frank's winning book. Caroline Wimbley Levine is at loose ends. The daughter of Wimbley matriarch, Miss Lavinia, she has returned to Tall Pines Plantation to take charge of the family home and, apparently, the lives of her relatives. The lowcountry of South Carolina may have limited romantic possibilities—neither of Caroline's major beaus (a barbecue chef and a local cop) tempt her to remarry—but its limited social circle is full of complications. The major one is her brother Trip's troubled separation from the falling-down drunk Frances Mae, a woman both Caroline and her mother had disapproved of from the start not because "she was a low class red neck slut from nowhere" but because "she was greedy, jealous, small-minded, petty and mean-spirited." The main conflict begins when Frances Mae crashes her car with her young daughter as a passenger, forcing Caroline—and an unwilling Trip—to take action. But as Caroline tries to channel Miss Lavinia's voice, she tends to hear only the old prejudices. While Frances Mae, a woman whose unrefined accent is made clear through her slurred protestations of "I love yew" when the extended family enacts an intervention, is hardly sympathetic, Caroline has a few lessons to learn about tolerance and commitment, too. Joined and amply supported by Frank's usual colorful lowcountry crew-particularly the ancient Miss Sweetie and the magical Millie Smoak-Caroline makes it through this particularly bumpy summer a little wiser and a lot happier. Although a particularly providential accident is necessary to bring about the usual happy ending, this chatty first-person tale of friendship, love and toothsome Southern food shares the appeal of its predecessors. Family complications and Southern charm bolster a proven formula.
Kirkus Reviews
Discussion Questions
1. Describe Caroline's relationship with her brother and the rest of her clan. How do the young people in the novel behave towards each other and towards their elders?
2. What things might Lavinia—coming from a different generation—have taken for granted that Caroline cannot? What accounts for these differences? How do the three generations of Wimbley women compare and contrast with one another?
3. What is Millie's role in the story? How would you characterize her relationship with Caroline?
4. Caroline firmly believes in good manners and propriety. Why? Do you think these attributes are out of date—or are they more necessary than ever in today's world?
5. Tradition is also important to Caroline. "Families like ours and Miss Sweetie's never downsized and moved to condos in Boca. Sell the blood-soaked land our ancestors had died to protect? Never in a million years! We stayed where we were born until we drew our last breath, making sure that our heirs swore the same fealty to the cause." How does such loyalty shape a person's life? Can someone be too loyal? When can loyalty to a cause, a place, a person become destructive?
6. "In our world, women took care of everything, especially each other, and the art of making each other look good was something that gave us great joy and satisfaction," Caroline explains when pondering her niece, Belle's graduation. "Lesson one of adulthood was putting the needs or even just the wishes of others before your own and then taking pleasure in making them come to pass." Do you agree with Caroline's assessment?
7. Dorothea Benton Frank uses the Lowcounty as both a setting and a character in the novel. How does this place shape its inhabitants? How would you describe it? Have you ever had a connection with a place like Caroline does with Tall Pines Plantation? Would having such a link be comforting or confining?
8. Compare Caroline with her sister in law, Frances Mae. Why do they dislike each other? Are they alike in any way? How can the two join together in the name of the family? Could such a bond be strengthened? Can it last?
9. The bond—or lack of one—between parents and children—is a prevalent theme of Lowcountry Summer. What is Trip's relationship like with his daughters? Why is he so helpless to contain them? Was he placing too much of a burden on his beloved, Rusty, to care for them? What did the girls think about their mother? What makes a good mother?
10. Trip asks his sister if she thinks his relationship with Rusty is wrong. How would you answer this? Should Trip have stayed with Frances Mae? Do you agree with his choices at the end? Do you think reconciliation can work? How much does success depend on Caroline?
11. Did Caroline overreact when she discovered her other niece, Linnie, was smoking pot at Belle's graduation party? Could she have handled the situation better? Did Linnie deserve the slap she got from her aunt? Millie doesn't like hitting and slapping, "But maybe sometimes a chile needs something to shake 'em up. Specially that knucklehead [Linnie]." What do you think of this?
12. What about Caroline's feelings for Matthew—why was she so reluctant to admit how she really felt about him? What do you think the future holds for them?
13. The book is filled with several rites of passage: weddings, funerals, a graduation. How is Caroline's position as matriarch defined by these rites?
(Questions issued by publisher.)
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The Postmistress
Sarah Blake, 2010
Penguin Group USA
326 pp.
ISBN-13: 9780399156199
Summary
Filled with stunning parallels to today's world, The Postmistress is a sweeping novel about the loss of innocence of two extraordinary women-and of two countries torn apart by war.
On the eve of the United States's entrance into World War II in 1940, Iris James, the postmistress of Franklin, a small town on Cape Cod, does the unthinkable: She doesn't deliver a letter.
In London, American radio gal Frankie Bard is working with Edward R. Murrow, reporting on the Blitz. One night in a bomb shelter, she meets a doctor from Cape Cod with a letter in his pocket, a letter Frankie vows to deliver when she returns from Germany and France, where she is to record the stories of war refugees desperately trying to escape.
The residents of Franklin think the war can't touch them—but as Frankie's radio broadcasts air, some know that the war is indeed coming. And when Frankie arrives at their doorstep, the two stories collide in a way no one could have foreseen.
The Postmistress is an unforgettable tale of the secrets we must bear, or bury. It is about what happens to love during war-time, when those we cherish leave. And how every story—of love or war—is about looking left when we should have been looking right. (From the publisher.)
Author Bio
• Birth—December 10, 1960
• Where—New York, New York, USA
• Education—B.A., Yale University; M.A., San Francisco State University; Ph.D., New York University
• Currently—lives in Washington, DC
Born in New York City, Sarah Blake has a BA from Yale University and a PhD in English and American Literature from New York University. She is the author of a chapbook of poems, Full Turn (Pennywhistle Press, 1989); an artist book, Runaway Girls (Hand Made Press, 1997) in collaboration with the artist, Robin Kahn; and two novels. Her first novel, Grange House, (Picador, 2000) was named a "New and Noteworthy" paperback in August, 2001 by the New York Times. Her second novel, The Postmistress, was by Amy Einhorn Books/Putnam in February 2010. Her essays and reviews have appeared in Good Housekeeping, US News and World Reports, the Chicago Tribune and elsewhere.
Sarah taught high school and college English for many years in Colorado and New York. She has taught fiction workshops at the Fine Arts Works Center in Provincetown, MA, The Writer's Center in Bethesda, MD, the University of Maryland, and George Washington University. She lives in Washington, DC.
Extras
From a 2009 Barnes & Noble interview:
• In the three summers while I was in college, I tried out three different lives in my summer jobs—full immersion: intern at an Art Auction house in NYC; kitchen girl at a dude ranch in Montana; jewelry store clerk in a tiny shop on an island off the coast of Sicily. I took the immersion a little too close to heart for my mother—after the second summer, in my incarnation as a cowgirl, I announced I was thinking about quitting college, marrying the cowboy I was dating there, and becoming a rancher. How could I not? The cowboy left me love letters hidden in the horn of my saddle.
• I am a big gardener and re-arranger of furniture. The two are inextricably related, in my mind, to my writing. When I can't figure out a scene, or when I'm stumped as to why a character makes a certain choice—I go out and dig, and plot and plan and rearrange. In the winter, handily, there are similar chances to plot and plan and rearrange inside the house. When I get an idea in my head about how a room might look, I am completely obsessed with trying it out, right then and there. One night I was certain that the problem with our living room was the rug and that the answer to the problem lay upstairs on the third floor in my son's bedroom. Never mind that it was eleven o'clock and he was fast asleep, and the bed he slept in lay squarely on top of the rug. I jimmied and lifted and snatched the rug out from under the sleeping child, hauled it down the three flights, and then lifted and lowered and hauled the furniture around down in the living room. By the time my husband came home at midnight, I had just finished rolling the rug out in the living room. We both stared at it. It was completely and totally wrong.
• I come from a big family of singers—around the campfire, in a cappella groups in school, in the back of the car—and I love to sing, love to hear singing. Similarly, I grew up listening to grown ups talking at dinner, extending dinner late into the night, all of us ranged around a big table in the house my grandparents bought in the "30s in Maine. My idea of happiness is just that: many faces, many generations, much discussion, candles and talk while the dishes shift in the sink.
• I love fog. I love rain. I love the moment right after a play ends—the second of pure silence when everyone in the theatre, actors and audience, are joined—before the clapping starts and the actors bow and we pick up our lives again.
• When asked what book most influenced her life as a writer, here is her response:
There are all the books I read curled up on a couch in summer childhood—all the "Little House" books, The Secret Garden, The Little Princess, The Wolves of Willoughby Chase, A Wrinkle in Time—that gave me worlds right there where I sat, while the hot wind of New Haven drifted over the window sill. That feeling of reading worlds, of diving down below the surface of my own life made me a reader, an irredeemable bookworm.
But it was To the Lighthouse by Virginia Woolf that made me want to become a writer. I read her sentences—all the beauty and the longing in them—and I simply wanted to write them myself. The way her characters thought and moved, the light and sound she captured of a summer day—all this I wanted to make mine. She showed me how to capture what she calls "moments of being"—clear, resonant times in our lives of pure beauty, caught just as they vanish.
(Author bio and interview from Barnes & Noble.)
Book Reviews
A book that hits hard and pushes buttons expertly.... The real strength of The Postmistress lies in its ability to strip away readers' defenses against stories of wartime uncertainty and infuse that chaos with wrenching immediacy and terror. Ms. Blake writes powerfully about the fragility of life and about Frankie's efforts to explain how a person can be present in one instant and then in the next, gone forever.
Janet Maslin - New York Times
It is, perhaps, the middle third of The Postmistress that is most poignant and authentic and, I believe, gets at the heart of Blake's intention for this novel: the idea that Americans were not paying attention between 1933 and 1941. In this section, Frankie travels on trains across France in 1941 with Jewish refugees trying to reach Spain or Portugal or a boat west to the Americas. Frankie is using a recording technology, Blake admits in an author's note, that wouldn't have been available to her for another two years, but her interviews with the families are profoundly affecting, and the tension is riveting as each visa is checked. The stakes are high for these refugees, and here the novel soars.
Chris Bohjalian - Washington Post
Splendid novel about the power of words to change people and the world.... The Postmistress possesses the sentimental quaintness of the 2008 hit The Guernsey Literary and Potato Peel Pie Society, but its spark comes from its enduring message about the need for humanity to step up and fight anyone and anything that threatens our fragile moral code.... In 2010, The Postmistress may stand alone, as did Kathryn Stockett's The Help (also published by Amy Einhorn) in 2009, as a refreshingly honest novel about how a handful of people can help change the world.
USA Today
The Postmistress, its cover emblazoned with a glowing blurb from The Help's Kathryn Stockett, will likely be snapped up by book clubs. There's both exquisite pain and pleasure to be found in these pages, which jump from the mass devastation in Europe to the intimate heartaches of an American small town. As a war rages, and the baby in Emma's belly grows, Frankie and Iris must answer an impossible question: When and how, if at all, should life-altering news be delivered? The ending is a bit of a miss. One final tragedy seems unnecessarily cruel. But in a novel about war, perhaps that is the point. A-
Karen Valby - Entertainment Weekly
Weaving together the stories of three very different women loosely tied to each other, debut novelist Blake takes readers back and forth between small town America and war-torn Europe in 1940. Single, 40-year-old postmistress Iris James and young newlywed Emma Trask are both new arrivals to Franklin, Mass., on Cape Cod. While Iris and Emma go about their daily lives, they follow American reporter Frankie Bard on the radio as she delivers powerful and personal accounts from the London Blitz and elsewhere in Europe. While Trask waits for the return of her husband—a volunteer doctor stationed in England—James comes across a letter with valuable information that she chooses to hide. Blake captures two different worlds—a naïve nation in denial and, across the ocean, a continent wracked with terror—with a deft sense of character and plot, and a perfect willingness to take on.
Publishers Weekly
Frankie Bard is a young female reporter in London during the Blitz, working with the likes of Edward R. Murrow and Eric Severeid. Her broadcasts make an impression on the residents of Franklin, MA —Dr. Will Fitch and wife Emma, garage owner Harry Vale, and postmaster Iris James—who in 1940–41 don't know how or if the war will affect them. Harry is sure the Germans are about to land on their beach, while, hearing Frankie talk of an orphaned boy, Emma and Will don't feel the news goes far enough. Iris insists that "there is an order and a reason" to everything, and "every letter sent...proves it." First novelist Blake doesn't let her work fall prey to easy sentimentality; this story is harsh and desperate, as indeed is war, but her writing is incisive and lush: a house missing a piece of mortar, "as if it had been bitten"; a distracted Iris, with "sand…dribbling out of the bag of her attention." Verdict: Even readers who don't think they like historical novels will love this one and talk it up to their friends. Highly recommended for all fans of beautifully wrought fiction. —Bette-Lee Fox, Library Journal
Library Journal
Three women on the eve of America's involvement in World War II consider the volatile nature of truth in the face of tragedy. Iris James is postmistress for the town of Franklin on the tip of Cape Cod. Everyone's secrets pass through her hands, but Iris, a 40-year-old virgin, reveres the ethical standards her position confers, order imposed on the chaos. New to Franklin in September 1940 is Emma, young Dr. Will Fitch's bride, an orphan who hopes that marriage and the close community will bring her the family she's missed. While residents enjoy the quiet of fall on the Cape—everyone but Harry Vale, who perches on the upper floor of Town Hall looking out to sea for U-boats—they listen to the radio broadcasts of Frankie Bard, a pioneering female American journalist covering the Blitz in London. Her report about an orphaned boy prompts Will, reeling from the recent death of a patient during childbirth, to go to London and help the wounded in penance. Frankie briefly meets Will in a bomb shelter, where he makes a disturbing confession: He can't return to his life on the Cape; the war and his usefulness during it have made him happy. Upper-crust Frankie is also exhilarated by the war, but as she and Will exit the shelter the next morning, she sees him hit and killed by a taxi. Frankie's boss, Ed Murrow, sends her to the continent to interview Jewish refugees fleeing Germany; she also witnesses executions and realizes the enormity of the task ahead. Back on the Cape, Emma, heavily pregnant, doesn't know what to make of Will's disappearance. But Iris does; she confiscated the letter informing Emma of Will's death. Then Frankie shows up, surprised that everyone thinks Will is still alive. The loose ends that plague every tale and the fractional nature of knowing are the central themes of this narrative, which plays with the idea of storytelling. Quietly effective work from first novelist Blake.
Kirkus Reviews
Discussion Questions
1. Much of The Postmistress is centered on Frankie’s radio broadcasts—either Frankie broadcasting them, or the other characters listening to them. How do you think the experience of listening to the news via radio in the 1940s differs from our experience of getting news from the television or the internet? What is the difference between hearing news and seeing pictures, or reading accounts of news? Do you think there is something that the human voice conveys that the printed word cannot?
2. “Get in. Get the story. Get out.” That is Murrow’s charge to Frankie. Does The Postmistress make you question whether it’s possible to ever really get the whole story? Or to get out?
3. When Thomas is killed, Frankie imagines his parents sitting miles away, not knowing what has happened to their son and realizes there is no way for her to tell them. Today it is rare that news can’t be delivered. In this age of news 24/7, are we better off?
4. Seek Truth. Report it. Minimize Harm. That is the journalist’s code. And it haunts Frankie during the book. Why wasn’t Frankie able to deliver the letter or tell Emma about meeting Will? For someone whose job was to deliver the news, did she fail?
5. If you were Iris, would you have delivered the letter? Why or why not? Was she wrong not to deliver it? What good, if any, grew up in the gap of time Emma didn’t know the news? What was taken from Emma in not knowing immediately what happened?
6. In the funk hole, Will says that “everything adds up”, but Frankie disagrees, saying that life is a series of “random, incomprehensible accidents”. Which philosophy do you believe? Which theory does The Postmistress make a better case for?
7. After Thomas tells his story of escape, the old woman in the train compartment says “There was God looking out for you at every turn.” Thomas disagrees. “People looked out. Not God.” He adds, “There is no God. Only us.” How does The Postmistress raise the questions of faith in wartime? How does this connect to the decisions Iris and Frankie make with regard to Emma?
8. Why do you think Maggie’s death compels Will to leave for England?
9. The novel deals with the last summer of innocence for the United States before it was drawn into WWII and before the United States was attacked. Do you see any modern-day parallels? And if so, what?
10. What are the pleasures and drawbacks of historical novels? Is there a case to be made the The Postmistress is not about the 1940’s so much as it uses the comfortable distance of that time and place in order to ask questions about war? About accident? Aren’t all novels historical? Why or why not?
11. We know that Emma was orphaned, that Will’s father had drinking problems, that Iris’s brother was killed in the First War, and that Frankie grew up in a brownstone in Washington Square. How do these characters’ backgrounds shape the decisions that they make? And if we didn’t have this information, would our opinion of the characters and their actions change?
12. Early in the novel, Frankie reflects on the fact that most people believed that “women shouldn’t be reporting the war.” Do you think that Frankie’s gender influences her reporting? How does Frankie deal with being a female in a male-dominated field? And do you think female reporters today are under closer scrutiny because of their gender?
13. Why does Otto refuse to tell the townspeople that he’s Jewish? Do you think he’s right not to do so?
14. Why is the certificate of virginity so important to Iris? What does it tell us about her character?
15. When Frankie returns to America, she doesn’t understand finds it impossible to grasp that people are calmly going about their lives while war rages in Europe. What part does complacency play in The Postmistress?
16. Discuss the significance of the Martha Gellhorn quote at the beginning of the book, “War happens to people, one by one. That is really all I have to say, and it seems to me I have been saying it forever.” What stance towards war, and of telling a war story does this reveal? How does it inform your reading of The Postmistress?
(Questions issued by publisher.)
Christmas Box Collection: The Christmas Box, Timepiece, The Letter
Richard Paul Evans, 1993, '96, '97
Simon & Schuster
672 pp.
ISBN-13: 9780671027643
Summary
Richard Paul Evans' #1 New York Times bestseller The Christmas Box has become a holiday classic, a tale so touching that it continues to "tug families' heartstrings" (USA Today). His exquisite prequel, Timepiece, and The Letter completed the glorious trilogy of the Parkin family. Now all three magical stories are compiled in one extraordinary treasury that -reaches into that place where all broken hearts will forever be made whole" (The Star, Chicago).
The Christmas Box
A Christmas story unlike any other, The Christmas Box is the poignant tale of a widow and the young family who moves in with her. Together, they discover the first gift of Christmas — and what the holiday is really all about.
Timepiece
Tracing the lives of a young couple as they discover love, loyalty, and the power of forgiveness, Timepiece is a tale of wisdom and of hope — and a gentle reminder that the connections from one generation to the next are indelible.
The Letter
A mysterious letter is found at the grave of a couple's only child in this unforgettable conclusion to the collection. As they face love's greatest challenge, they find its truest meaning and learn the lessons that are echoed throughout. (From the publisher.)
Author Bio
• Birth—October 11, 1962
• Where—Salt Lake City, Utah, USA
• Education—B.A., University of Utah
• Awards—American Mother Book Award; two Story Telling
World Awards (2000, 2001)
• Currently—lives in Salt Lake City, Utah
The story of Richard Paul Evans's massive success is so miraculous that it could have been the subject of one of his inspirational stories if it hadn't been true. He'd written his very first book The Christmas Box as a holiday gift for his daughters in 1993. As he saw it, this story of a widow and the young family that moves into her home was a tangible, timeless expression of his fatherly love. So, Evans produced twenty copies of the novella, which he then handed out to a select group of friends and family as Christmas gifts.
Incredibly, those mere twenty books began to circulate. And circulate. And circulate. By the following month, copies of The Christmas Box had passed through no less than 160 pairs of hands, some of which belonged to people who were rather influential. Amazingly, book stores began calling Evans at home, asking for copies of his little homemade opus.
The story of The Christmas Box does not end there. This moving tale about the meaning of Christmas was soon picked up by Simon & Schuster and went on to make publishing history when it simultaneously became both the bestselling hardcover and the bestselling paperback book in America. Suddenly, former advertising executive and clay animator Evans was a bestselling writer with a whole new career ahead of him.
Evans followed up The Christmas Box with a prequel titled Timepiece in 1996. Timepiece was another major hit with readers, as was The Letter, the final installment in the Christmas Box trilogy. From there, Evans expanded his repertoire while continuing to focus on the themes dearest to him: faith, family, forgiveness, love, and loyalty. He published The Christmas Candle, his first book for kids.
His work also often became subject to small-screen adaptations. In fact, a 1995 production of The Christmas Box starring Maureen O'Hara and Richard Thomas snared an Emmy for best costuming in a miniseries or special. The following year, a version of Timepiece featured an early appearance by future superstar Naomi Watts, not to mention choice performances by James Earl Jones and Ellen Burstyn, as well as an associate producer credit for the author, himself.
Meanwhile, Evans continued penning and publishing heart-warming mega-sellers like The Locket, The Looking Glass, and The Carousel. In 2001, he took some time to reflect on his stunning success in The Christmas Box Miracle, which recounted his most unusual journey to the top of the bestseller list.
Another string of crowd pleasers followed, including the romantic The Last Promise, A Perfect Day, and The Sunflower, a critically acclaimed account of blossoming love at a humanitarian mission in Peru. Now, Evans is back with Finding Noel, the story of Mark Smart, whose pained life is completely turned around after a chance encounter in a coffee shop. Fans of Evans—and there are legions of them—will no doubt be delighted and deeply touched by his latest work.
Extras
From a 2003 Barnes & Noble interview:
• Evans is one of the few writers in history to place on both the fiction and nonfiction bestseller lists.
• When Evans is not writing bestsellers, he often makes public appearances as a motivational speaker. He has shared the stage with such notable people as director Ron Howard, writer Deepak Chopra, humorist Steven Allen, and both George Bush senior and George W. Bush.
• In 1997, Evans founded The Christmas Box House International, a foundation responsible for building shelters for abused, neglected, and homeless children throughout the world. More than 16,000 kids have found homes in one of Evans's shelters.
• Evans is the father of five children, who take up most of his time.
• He is the founder of The Christmas Box House International, which builds shelter assessment facilities for abused children. According to Evans, "The most interesting trip I have been on lately was in the jungles of Peru, where we hunted crocodiles in leaky canoes at midnight. I have lived in both China and Italy, which is why I often have characters from those lands."
• Evans loves playing the game Risk. Also Paintball. He says, "When possible, I round up my friends and go down to our ranch in southern Utah, where we play weekend soldiers."
• When asked what book most influenced his career as a writer, here is his response:
Cannery Row by John Steinbeck. I was 20 years old when I read it. I was visiting my brother in Monterey, California, where the book takes place, and I became so enraptured by Steinbeck's writing that I decided then that I wanted to write a book someday.
(Author bio and interview from Barnes & Noble.)
Book Reviews
Timepiece — A small treasury of wisdom....You will probably read many books this year; you will not read one written with more skill or more heart than
Yulsa World
Timepiece — Like the titular treasure chest of Evans's bestselling The Christmas Box, the eponymous timepiece-"a beautiful rose-gold wristwatch"-of this heart-plucking prequel fairly vibrates with sentimentality. Readers of the former novel will recall how the author met aged widow MaryAnne Parkin and learned of her deceased husband, David, a successful businessman, and how their infant daughter, Andrea, died a tragic death. Here, Evans traces events some 80-odd years back to tell this family's story, but not before recalling the eve of his own daughter's wedding, in 1967, when he presents her with the wristwatch, given to him by MaryAnne. Fragments of David Parkin's diary, dated 1908-1918 and set in Salt Lake City, weave evocatively throughout the author's account of the Parkins' courtship, marriage and family tragedy. At the thematic center of the tale lies the timepiece, bequeathed by a wealthy widow to David's friend Lawrence Flake, a black man who repairs clocks. Events force Lawrence to kill another in self-defense; fearing for his friend, David tells police that he fired the shot, and is exonerated. In revenge, the dead man's friends set a fatal fire at the Parkin house and steal the symbolic timepiece, which will come back to the Parkins only after an extraordinary act of kindness and forgiveness by MaryAnne. Evans has a more ambitious tale to tell here than in The Christmas Box, and he generally carries it off with aplomb, though the dark events of the central story and an unabashedly sappy wedding-eve coda don't quite mesh. The nation's supply of Kleenex is bound to deplete after this hits the bookstore shelves.
Publishers Weekly
Timepiece — The prequel to Evans's mega bestseller, The Christmas Box, is longer than the earlier book, has its same cartoony thinness, is just as creaky at the joints—and reveals, if anything, a considerable rise in the tears-per-page ratio.We go back to Salt Lake City, this time to 1908, when David Parkin— thoughtful and sensitive person, millionaire head of Parkin Machinery Co., and collector of clocks—hires as his secretary one MaryAnne Chandler, the young woman (originally from England) destined to become David's wife, to live in his big mansion, and, in time, to become the benevolent, devout, mysteriously wise widow of The Christmas Box. How MaryAnne achieved such wisdom (quick answer: through suffering a lot) is the real subject of this book, and Evans out-Dickenses Dickens in his facile uses of melodrama in getting to his desired end. In Evans's world of tears and truth, people are by and large either all good or all bad, and if MaryAnne's perfections include being attractive, spunky, quick, principled, courageous, loving, and morally unwavering, the qualities of the base and degenerate villains who reduce her life to ashes are her perfect opposites not in some but all ways ("The men entered clumsily, growling in foul and guttural tones, drunk with whiskey and hatred"). In the beginning, there will be marriage, birth, and immeasurable happiness; and then, with purest villainy as its catalyst, there will be profound and equally immeasurable sorrow. But the healing spirit of human love and hope and goodness will not be destroyed entirely, living on in the muted but unquenchable goodness of MaryAnne's heart; in Evans's perfectly choreographed little flurry of symbols at the close; and even in the transformation of one of those pure villains into purely sensitive penitent. Certain handkerchief heaven for many, while others may experience the stirring of—well, let's just say other feelings
Kirkus Reviews
The Christmas Box — Self-published in paperback during the Christmas season 1994, Evans's first novel quickly gained national media attention. Now the cleverly told tale, which the author reputedly wrote for his daughters and which revels in sentimentality, is available in hardcover. The story relates how a young couple, Richard (who narrates) and Keri, accept a position to care for a lonely widow, Mary Parkin, in her spacious Victorian mansion. As Christmas draws near, Mary becomes anxious about Richard's obsession with success and his failure to make time for his family. She urges him to reconsider his priorities, but he is always too busy to heed her advice. It is only when Mary is on her deathbed and her secret sorrow is revealed through the letter-laden Christmas box of the title that Richard realizes what she has been trying to tell him. The message concerns love, of course, and the strings Evans pulls to vivify it should squeeze sobs from even the stoniest of hearts. It's notable, however, that unlike many well-known Christmas tales (such as Dickens's), which carry that message in a basically nonsectarian manner, this is steeped in specific Christian imagery and belief as the author draws on the drama of Jesus as God's sacrifice for the world's sins, and of his crucifixion and resurrection.
Publishers Weekly
Discussion Questions
1. What is the significance of the ornately carved wooden box that Richard finds in the attic of MaryAnne Parkin's home? Which, if any, of the various explanations Richard Paul Evans offers for the source of the box's magic has particular appeal for you? Do you think it is important that a reader believe in the magic of the box in order to experience the full emotional and spiritual impact of the story? Why or why not?
2. In what sense is the story of The Christmas Box allegorical? What is the central message of the story? In what ways did you find that message meaningful for your own life? Why does it become a matter of such urgency for Mary that Richard understand what the first gift of Christmas was?
3. The #1 bestseller in the nation when it was first published, The Christmas Box has become a modern Christmas classic, selling more than seven million copies in 17 languages worldwide, and inspiring an award-winning CBS television movie starring Maureen O'Hara and Richard Thomas. Why do you think The Christmas Box has become so hugely popular? How do you think it compares with other classic Christmas stories?
4. Asked to tell which of the senses she most identifies with Christmas, Mary points to the sounds of the Yuletide season, while for Richard it is the sense of smell. Which of the senses do you think is most affected by Christmas and why? Are any of your senses more acute than the others? If you were to lose one of your senses, which do you think would be the most difficult to do without? Which one would be the easiest? How do the various senses stir your memories of childhood or other important moments in your past?
5. The author explains to the reader that he believes in angels, "though not the picture-book kind with wings and harps." What kind of angels does Evans believe in and what function do they serve in The Christmas Box? What is the meaning of the recurrent angel dreams that start haunting Richard's slumber once he moves into the Parkin home? Why does the angel that visits Richard in his dreams turn to stone? What role, if any, do angels play in your own life? Why do you think there has been such an explosion of interest in angels in our popular culture—from books and television shows about angels to angel motifs on a wide range of objects from jewelry to clothes?
6. Many of the events of The Christmas Box are shrouded in mystery. Why does Richard hear a lullaby in the middle of the night that seems to be emanating from the Christmas Box? How could the box play music without possessing any mechanism normally found in a music box? Why is Richard, a man who ordinarily wouldn't consider intruding on anyone's privacy, irresistibly drawn to read the letters contained in the Christmas Box? Why are the leaves of MaryAnne's Bible stained from tears—both dried tears from the past and moist ones that seem to have just been spilled? How do you account for these mysterious occurrences? Do you think they are meant to be interpreted literally or symbolically? Do they require a supernatural explanation?
7. As Mary lies in a hospital bed dying, why do the "gentle, sweet tines of the Christmas Box" fill the room? Why does Mary finally seem so at peace? How do you think Richard's life will change now that Mary has helped him to see that "in my quest for success in this world I had been trading diamonds for stones"? Talk about a transforming experience in your own life when you came to a realization that you were pursuing the wrong dreams. Have you ever read a book that inspired you to reorder your priorities? Why do you think so many readers of The Christmas Box have described it as a heartwarming story that not only touched their emotions but actually transformed their lives? Do you think the book will have such a transforming effect on you? Why or why not?
8. Why at the end of the book does Richard throw the letters from the Christmas Box into the fireplace and let the flames devour them one by one? What does Richard mean when he says, "it is the emptiness of the box that I will treasure most"? Is the box really empty?
9. The Christmas Box is the first novel in a trilogy that also includes the prequel, Timepiece, in which we discover the source of the wisdom that MaryAnne bequeaths to Richard; and the sequel, The Letter, in which David and MaryAnne Parkin face love's greatest challenge and discover its truest meaning. When you enjoy a work of fiction do you often wish you could spend more time with the characters? Do you prefer that to be time in the past, or in the future? When reading a prequel, how does it affect your reading pleasure to step back in time to witness earlier events unfolding in characters' lives even though you already know what has happened? Were you inspired by The Christmas Box to read the other books in the trilogy? Why or why not?
10. Fans of Richard Paul Evans's books have often pointed to their multiple-hanky appeal. One captivated reader, sharing her opinion on the web, calls "The Christmas Box" trilogy "perfect to sit down and cry over." Why do you think so many people relish a book that gives the reader a good cry?
11. Before reading The Christmas Box, if you knew that USA Today expected the book to "tug families' heartstrings," would you have been more or less inclined to read it? Why? The Daily Universe, reviewing the final book in the trilogy, has said: "In a day when popular fiction often fails to inspiregoodness...Evans's story manages to wrap warm hands around its readers, instilling in them a hunger for goodness to prevail." Do you think that the ability to inspire goodness is an appropriate standard by which to evaluate a book? Why or why not? The angel statue described in The Christmas Box has inspired the erection of similar angel monuments in cities across America, from Salt Lake City, Utah, to West Palm Beach, Florida, where parents who have lost a child can come to grieve and heal. Does knowing this change the way you feel about the book? How?
(Questions from author's website.)
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The Line of Beauty
Alan Hollinghurst, 2004
Bloomsbury USA
400 pp.
ISBN-13: 9781582345086
Summary
Winner, 2004 Man Booker Prize
In the summer of 1983, twenty-year-old Nick Guest moves into an attic room in the Notting Hill home of the Feddens: conservative Member of Parliament Gerald, his wealthy wife Rachel, and their two children, Toby—whom Nick had idolized at Oxford—and Catherine, highly critical of her family's assumptions and ambitions.
As the boom years of the eighties unfold, Nick, an innocent in the world of politics and money, finds his life altered by the rising fortunes of this glamorous family. His two vividly contrasting love affairs, one with a young black clerk and one with a Lebanese millionaire, dramatize the dangers and rewards of his own private pursuit of beauty, a pursuit as compelling to Nick as the desire for power and riches among his friends. Richly textured, emotionally charged, disarmingly comic, this is a major work by one of our finest writers. (From the publisher.)
Author Bio
• Birth—May 26, 1954
• Where—Stroud, Gloucestershire, England, UK
• Education—Oxford University
• Awards—Man Booker Prize; Newdigate Prize for Poetry.
• Currently—lives in London, England
Alan Hollinghurst is an English novelist and winner of the 2005 Man Booker Prize for The Line of Beauty. His 2011 novel, The Stranger's Child was longlisted for the Man Booker.
The only child of James Kenneth Holinghurst (a bank manager) and his wife Lilian, he attended Canford School in Dorset. He read English at Magdalen College, Oxford graduating in 1975; and subsequently took the further degree of Master of Literature (1979). While at Oxford he shared a house with Andrew Motion, and was awarded the Newdigate Prize for poetry in 1974, the year before Motion.
In the late 1970s he became a lecturer at Magdalen, and then at Somerville College and Corpus Christi College, Oxford. In 1981 he moved on to lecture at University College London. In 1997, he went on an Asia book tour in Singapore.
In 1981 he joined The Times Literary Supplement and was the paper's deputy editor from 1982 to 1995. Hollinghurst is openly gay and lives in London. (From Wikipedia.)
Book Reviews
It is highly characteristic of Hollinghurst to oscillate between the high and the low, often within the same paragraph: consider the moment of weird hilarity as Nick, ever the aesthete, absently recalls the details of a Gothic-style church seen through the windshield of his drug dealer's car. The pathos of old buildings is later reprised as Nick surveys the tearing down of a Victorian workshop, a melancholy intimation that beautifully dovetails with the sudden dramatic unraveling of his family idyll. It is also of a piece with the elegiac close, rendered with a grace and decorum entirely appropriate to this outstanding novel.
Anthony Quinn - New York Times
Edmund White has said that Alan Hollinghurst "writes the best prose we have today." I might not go that far—White himself is no slouch with a sentence—but if you value style, wit and social satire in your reading, don't miss this elegant and passionate novel.
Michael Dirda - Washington Post
Line for line, Hollinghurst's novel about London during the 1980s is the most exquisitely written book I've read in years. Witty observations about politics, society, and family open like little revelations on every page.
Christian Science Monitor
She is either Muse or she is nothing," Robert Graves wrote. After the Renaissance, the Greek goddesses of artistic inspiration were replaced by real—if idealized—women (think Dante and Beatrice). In these well-researched essays, Prose examines the lives of nine women who inspired some of history's most prominent artists and writers, including Samuel Johnson, Man Ray, and John Lennon. Nearly all these muse-artist relationships were distinguished by tragedy, and only five were sexually consummated; as Prose notes, "The power of longing is more durable than the thrill of possession." What emerges by the end of the book, oddly, is a case for the singularity of artistic influence: the author shows that Lewis Carroll's attachment to Alice Liddell was not at all like Nietzsche's sense of intellectual kinship with Lou Andreas-Salomé, nor was Yoko Ono's involvement with John Lennon as fruitful as Suzanne Farrell's with George Balanchine. The strongest essays here, on Liddell, Farrell, Ono, and Lee Miller (a Vogue model and photographer who posed for and worked with Man Ray), pointedly refute the notion that the role of the muse is a passive one, and offer in its place a complicated vision of the necessary contradictions of artistic life—including the desire for both feverish devotion and artistic independence, and a sense of the truth of beauty and the transience of it. Prose's broader conclusions about culture can seem hasty, but the book's achievement is its quiet reëvaluation of the received notion that genius is solitary in nature.
The New Yorker
Mr. Hollinghurst's great gift as a novelist is for social satire as sharp and transparent as glass, catching his quarry from an angle just an inch to the left of the view they themselves would catch in the mantelpiece mirror. The Line of Beauty is unlikely to be surpassed.
New York Observer
Among its other wonders, this almost perfectly written novel, recently longlisted for the Man Booker, delineates what's arguably the most coruscating portrait of a plutocracy since Goya painted the Spanish Bourbons. To shade in the nuances of class, Hollingsworth uses plot the way it was meant to be used-not as a line of utility, but as a thematically connected sequence of events that creates its own mini-value system and symbols. The book is divided into three sections, dated 1983, 1986 and 1987. The protagonist, Nick Guest, is a James scholar in the making and a tripper in the fast gay culture of the time. The first section shows Nick moving into the Notting Hill mansion of Gerald Fedden, one of Thatcher's Tory MPs, at the request of the minister's son, Toby, Nick's all-too-straight Oxford crush. Nick becomes Toby's sister Catherine's confidante, securing his place in the house, and loses his virginity spectacularly to Leo, a black council worker. The next section jumps the reader ahead to a more sophisticated Nick. Leo has dropped out of the picture; cocaine, three-ways and another Oxford alum, the sinisterly alluring, wealthy Lebanese Wani Ouradi, have taken his place. Nick is dimly aware of running too many risks with Wani, and becomes accidentally aware that Gerald is running a few, too. Disaster comes in 1987, with a media scandal that engulfs Gerald and then entangles Nick. While Hollinghurst's story has the true feel of Jamesian drama, it is the authorial intelligence illuminating otherwise trivial pieces of story business so as to make them seem alive and mysteriously significant that gives the most pleasure. This is Nick coming home for the first and only time with the closeted Leo: "there were two front doors set side by side in the shallow recess of the porch. Leo applied himself to the right hand one, and it was one of those locks that require tender probings and tuggings, infinitesimal withdrawals, to get the key to turn." This novel has the air of a classic. Forecast: Widely praised for his three previous novels, Hollinghurst (The Swimming-Pool Library) is primed for even greater acclaim and sales with this masterful volume, the latest in a wave of Jamesian novels.
Publishers Weekly
(Starred review.) Hollinghurst's first novel, The Swimming Pool (1988), won major acclaim and many awards. His latest novel engages similar themes—a young man new to both his sexuality and the manners of high society.... The material and social excesses of the 1980s are deftly portrayed in Hollinghurst's latest success. —Michael Spinella
Booklist
Britisher Hollinghurst (The Spell, 1998, etc.) isn't shy: At 400-plus pages sprinkled with references to Henry James, his fourth outing aspires to the status of an epic about sex, politics, money, and high society. Though he's best known for his elegant descriptions of gay male life and pitch-perfect prose, Hollinghurst is most striking here for his successful, often damning, observations about the vast divides between the ruling class and everyone else. It's 1983, and narrator Nick Guest, age 20, is literally a guest in the household of Conservative MP Gerald Fedden, whose son, Toby, Nick befriended at Oxford. Given an attic room and loosely assigned the task of looking after the Feddens' unstable manic-depressive daughter Catherine, Nick is given entree into a world of drunken, drug-laced parties at ancestral manors, high-stakes financial transactions, and politicians all obsessed with catching a glimpse of "The Lady"-Thatcher herself (who finally does make a cameo-hilariously-toward the end). Nick pursues his studies in James (though they may seem overkill in a novel already so saturated in the Jamesian) and his search for love-with a young Jamaican office worker, then with a closeted and cokehead Lebanese millionaire-though, as becomes clear, both his scholarship and sexuality are painfully peripheral in the world he's chosen to inhabit. Oddly, Nick is less interesting as a character than as an observer: His youthful affairs do gain gravitas as the '80s progress under the specter of AIDS, but over the story's course he goes from a virginal 20-year-old to a wizened 24-year-old. More fascinating are Hollinghurst's incisive depictions of the brilliance and ease that insulate and animatethe Feddens—especially the witty and difficult Gerald and the spectacular mess that is Catherine—and the crushing realization that Nick, unlike those around him, does not have the casual luxury to crash up his own life and survive. A beautifully realized portrait of a decade and a social class, but without a well-developed emotional core.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• Generic Discussion Questions
• Read-Think-Talk About a Book
Also, consider these LitLovers talking points to help get a discussion started for The Line of Beauty:
1. Very early on in the novel, Nick meets his landlady's neurotic, self-destructive daughter and disarms her, removing knives from her possession. Is there a symbolic or thematic significance to this episode? Is it somehow a foreshadowing of future events in the book?
2. In what way could Catherine be seen as the moral conscience of this novel?
3. Describe Nick: what kind of character is he? In what way can The Line of Beauty be seen as a coming-of-age story for Nick? Does he change during the course of the novel? If so, in what way? What, if anything, does he come to learn by the end?
4. Consider the significance of Nick's last name. How is it a reference to his larger societal status?
5. The book is set in the 1980's, the era of Prime Minister Margaret Thatcher. In what way is this wider political context important to the novel? Put another way: why might the author have chosen to set his novel in this time period?
6. The Line of Beauty is described as social comedy, a sly commentary on the world of politics, affluence, Thatcherism and homosexuality—with the attendant pride, hypocrisy, corruption and hedonism those things entail. The Fedden family stands in for much of what this novel critiques. For starters, what kind of people are the Feddens, what is important to them, what drives the various family members? What function, for instance, does art play in their home—is their appreciation genuine...or something else? Talk about Gerald's obsession with Maggie Thatcher—and the visit which she pays them.
7. Discuss the book's title and where it comes from. What is an "ogee," and what are the ways in which Nick applies the word? How does Wani's father misunderstand the word? Do you see an ironic significance in that misinterpretation?
8. What role do drugs play in this novel? Does the book celebrate or disparage drug use? Consider this passage: "Nick loved the etiquette of the thing, the chopping with a credit card, the passing of the rolled note, the procedure courteous and dry, 'all done with money,' as Wani said." How does this quotation reflect the book's portrayal of London's societal values?
9. What are the attitudes of the various characters, and London society (as portrayed in the novel), toward gay people? What about the book's sexual episodes—do you feel they are overly explicit or gratuitous? Or do they form an integral part of the novel's plot and thematic meaning?
10. How does the widening shadow of AIDS affect this story—both its tone and plot?
11. Class distinctions are also on display in this book. Consider Leo's introduction to the Fedden household and, moments later, the arrival of Lady Partridge and her greeting to Leo. Also consider "the shock of class difference" when Nick visits Leo's family.
12. While reading, could you sense the impending calamities toward which the novel builds? What were the signs, if any, that dire things were going to happen?
13. Is this novel a cautionary tale? If so, what are we being warned against?
14. Hollinghurst's novel is hugely literary, with explicit allusions and implicit references to other famous works, each of which may (or may not) carry some symbolic meaning for this story.
• Consider, for instance, the name Nick, which seems to reference both Nick Carraway in The Great Gatsby and Nicholas Jenkins in A Dance to the Music of Time. If you are familiar with either of those works, how does Hollinghurst's character relate to the other Nicks?
• Comparisons have also been made of this work to Evelyn Waugh's Brideshead Revisited. If you know that work, what similarities do you see?
• The works of Henry James are also mentioned by critics as forebears of this novel. And James is outwardly alluded to at a dinner party when Nick is asked what James would have made of the guests. He replies, ''He'd have been very kind to us, he'd have said how wonderful we were and how beautiful we were, he'd have given us incredibly subtle things to say, and we wouldn't have realized until just before the end that he'd seen right through us." How does this observation about Henry James relate to Hollinghurst's own work?
• What other literary references or allusions can you find?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
Loving Frank
Nancy Horan, 2007
Random House
222 pp.
ISBN-13: 9780345495006
Summary
I have been standing on the side of life, watching it float by. I want to swim in the river. I want to feel the current.
So writes Mamah Borthwick Cheney in her diary as she struggles to justify her clandestine love affair with Frank Lloyd Wright. Four years earlier, in 1903, Mamah and her husband, Edwin, had commissioned the renowned architect to design a new home for them. During the construction of the house, a powerful attraction developed between Mamah and Frank, and in time the lovers, each married with children, embarked on a course that would shock Chicago society and forever change their lives.
In this groundbreaking historical novel, fact and fiction blend together brilliantly. While scholars have largely relegated Mamah to a footnote in the life of America's greatest architect, author Nancy Horan gives full weight to their dramatic love story and illuminates Mamah's profound influence on Wright.
Drawing on years of research, Horan weaves little-known facts into a compelling narrative, vividly portraying the conflicts and struggles of a woman forced to choose between the roles of mother, wife, lover, and intellectual. Horan's Mamah is a woman seeking to find her own place, her own creative calling in the world, and her unforgettable journey, marked by choices that reshape her notions of love and responsibility, leads inexorably to this novel's stunning conclusion. (From the publisher.)
Author Bio
Nancy Horan is the American author of Loving Frank (2007) and Under the Wide and Starry Sky (2014). The first is a novel about Mamah Borthwick and her relationship with American architect Frank Lloyd Wright. The author was awarded the James Fenimore Cooper Prize for Best Historical Fiction by the Society of American Historians in 2009 for works written in 2007-2008.
Under the Wide and Starry Sky is her second biographical novel, this one detailing the marriage of Fanny Van de Grift Osbourne to Robert Louis Stevenson.
A native Midwesterner, Nancy Horan was a teacher and journalist before turning to fiction writing. She lived for 24 years in Oak Park, Illinois, a suburb of Chicago, where she raised her two sons. She now lives with her husband on an island in Puget Sound. (Adapted from the publisher and Wikipedia. Retrieved 1/9/2014.)
Book Reviews
Though engrossing and beautifully imagined, this book is disturbing. When real-life Mamah Cheney leaves her husband and children to elope with Frank Lloyd Wright, she pays a price. Throughout, one wonders: is the price too high or not high enough?
A LitLovers LitPick (Apr '08)
An enthralling first novel.... A century after pathbreakers like Emma Goldman, Charlotte Perkins Gilman and Ellen Key struggled to raise female consciousness, there is still no satisfactory answer to the question of how a woman dedicated to her own self-expression can fulfill the tradition-bound, justly demanding needs of her children when presented with a competitor for their love. The problem Ellen Key wrestled with in her philosophy, and that Mamah could not solve in her life, had no solution in 1907 and still has none in 2007. In Loving Frank, bringing the buried truths of the ill-starred relationship of Mamah Borthwick Cheney and Frank Lloyd Wright to light, Horan only increases her heroine's mystery. Mamah Borthwick Cheney wasn't just any woman, but Horan makes her into an enigmatic Everywoman—a symbol of both the freedoms women yearn to have and of the consequences that may await when they try to take them.
Liesl Schillinger - New York Times Book Review
The novel belongs to the feminist genre not only in its depiction of a woman's conflicting desires for love and motherhood and a central role in society, but also through its sophisticated—and welcome—focus on the topic of feminism itself.... Loving Frank is a novel of impressive scope and ambition. Like her characters, Horan is going for something big and lasting here, and that is to be admired. In writing about tenderness between lovers or describing a physical setting, she uses prose that is is knowing and natural. At other times, she allows us a glimpse of the hand of fact guiding the hand of art, taking it places where it might not necessarily have chosen to go.
Meg Wolitzer - Washington Post
Horan's ambitious first novel is a fictionalization of the life of Mamah Borthwick Cheney, best known as the woman who wrecked Frank Lloyd Wright's first marriage. Despite the title, this is not a romance, but a portrayal of an independent, educated woman at odds with the restrictions of the early 20th century. Frank and Mamah, both married and with children, met when Mamah's husband, Edwin, commissioned Frank to design a house. Their affair became the stuff of headlines when they left their families to live and travel together, going first to Germany, where Mamah found rewarding work doing scholarly translations of Swedish feminist Ellen Key's books. Frank and Mamah eventually settled in Wisconsin, where they were hounded by a scandal-hungry press, with tragic repercussions. Horan puts considerable effort into recreating Frank's vibrant, overwhelming personality, but her primary interest is in Mamah, who pursued her intellectual interests and love for Frank at great personal cost. As is often the case when a life story is novelized, historical fact inconveniently intrudes: Mamah's life is cut short in the most unexpected and violent of ways, leaving the narrative to crawl toward a startlingly quiet conclusion. Nevertheless, this spirited novel brings Mamah the attention she deserves as an intellectual and feminist.
Publishers Weekly
In 1904, architect Frank Lloyd Wright designed a house for Edwin and Mamah Borthwick Cheney, respectable members of Oak Park, IL, society. Five years later, after a clandestine affair, Frank and Mamah scandalized that society by leaving their families to live together in Europe. Stunned by the furor, Mamah wanted to stay there, particularly after she met women's rights advocate Ellen Key, who rejected conventional ideas of marriage and divorce. Eventually, Frank convinced her to return to Wisconsin, where he was building Taliesin as a home and retreat. Horan's extensive research provides substantial underpinnings for this engrossing novel, and the focus on Mamah lets readers see her attraction to the creative, flamboyant architect but also her recognition of his arrogance. Mamah's own drive to achieve something important is tinged with guilt over abandoning her children. Tentative steps toward reconciliation end in a shocking, violent conclusion that would seem melodramatic if it weren't based on true events. The plot, characters, and ideas meld into a novel that will be a treat for fans of historical fiction but should not be pigeonholed in a genre section. Highly recommended.
Kathy Piehl - Library Journal
Journalist Horan's debut novel reflects her fascination with the brilliant, erratic architect Frank Lloyd Wright and his scandalous love affair with a married woman and mother of two. The book capitalizes on Horan's research into both the architect's private and professional lives. The story opens when Mamah (pronounced May-Muh) Cheney, an Oak Park, Ill., woman, and her husband Edwin, a successful local businessman, contract with Frank to build their new home. Although both Frank and Mamah are married and seem content, the architect and his female client soon find they not only like being together-they must be together. Mamah, an early feminist longing for a more meaningful life, succumbs to Frank's charms as the two enter an affair that is both physical and spiritual. Soon, their relationship is the hook for all of Oak Park's gossip. After leaving their spouses, the pair flees to Europe, finding delight in a less- disapproving continental society, as well as an outlet for their cultural pursuits. Frank, father of the "prairie style" of architecture, proves a thoughtless and irresponsible businessman, but Mamah remains by his side until the couple finally quits Europe and returns home. There, Frank builds a home they call Taliesin. Eventually, Mamah makes peace with her former husband and her two children-son John and daughter Martha-who visit her at the rural estate. However, Frank's wife, Catherine, adamantly continues her refusal to grant her husband a divorce. But just when it appears that their relationship problems have lessened, a terrible and unanticipated tragedy strikes and changes forever the lives of the two lovers who were forbidden to marry. Lovers Frank and Mamah fail to generate sympathy, and the story closes with the unsubtle reminder that real life is never quite as tidy as fiction.
Kirkus Reviews
Discussion Questions
1. Do you think that Mamah is right to leave her husband and children in order to pursue her personal growth and the relationship with Frank Lloyd Wright? Is she being selfish to put her own happiness and fulfillment first?
2. Why do you think the author, Nancy Horan, gave her novel the title Loving Frank? Does this title work against the feminist message of the novel? Is there a feminist message?
3. Do you think that a woman today who made the choices that Mamah makes would receive a more sympathetic or understanding hearing from the media and the general public?
4. If Mamah were alive today, would she be satisfied with the progress women have achieved or would she believe there was still a long way to go?
5. In Sonnet 116, Shakespeare writes, "Let me not to the marriage of true minds/Admit impediments. Love is not love/That alters where it alteration finds..." How does the relationship of Mamah and Frank bear out the sentiments of Shakespeare’s sonnet? What other famous love matches fill the bill?
6. Is Mamah’s story relevant to the women of today?
7. Is Frank Lloyd Wright an admirable figure in this novel? Would it change your opinion of him to know that he married twice more in his life?
8. What about Edwin Cheney, Mamah’s husband? Did he behave as you might have expected after learning of the affair between his wife and Wright?
9. Edwin’s philosophy of life and love might be summed up in the following words from the novel: "Tell her happiness is just practice. If she acted happy, she would be happy." Do you agree or disagree with this philosophy?
10. "Carved over Wright's fireplace in his Oak Park home are the words "Life is Truth." What do you think these words mean, and do Frank and Mamah live up to them?
11. Why do you think Horan chose to give her novel the epigraph from Goethe, "One lives but once in the world."?
12. When Mamah confesses her affair to her friend Mattie, Mattie demands, "What about duty? What about honor?" Discuss some of the different meanings that characters in the novel attach to these two words.
13. In analyzing the failure of the women’s movement to make more progress, Mamah says, "Yet women are part of the problem. We plan dinner parties and make flowers out of crepe paper. Too many of us make small lives for ourselves." Was this a valid criticism at the time, and is it one today?
14. Why does seeing a performance of the opera Mefistofele affect Mamah so strongly?
15. Why is Mamah's friendship with Else Lasker Schuler important in the book?
16. Ellen Key, the Swedish feminist whose work so profoundly influences Mamah, states at one point, "The very legitimate right of a free love can never be acceptable if it is enjoyed at the expense of maternal love." Do you agree?
17. Another of Ellen Key’s beliefs was that motherhood should be recompensed by the state. Do you think an idea like this could ever catch on in America? Why or why not?
18. Is there anything that Frank and Mamah could have done differently after their return to America that would have ameliorated the harsh welcome they received from the press? Have things changed very much in that regard today?
19. What part did racism play in Julian Carlton’s crime? Were his actions the product of pure insanity, or was he goaded into violence?
(Questions issued by publisher.)
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