The Reluctant Fundamentalist
Mohsin Hamid, 2007
Houghton Mifflin Harcourt
184 pp.
ISBN-13: 9780156034029
Summary
Excuse me, sir, but may I be of assistance? Ah, I see I have alarmed you. Do not be frightened by my beard: I am a lover of America. I noticed that you were looking for something; more than looking, in fact you seemed to beon a mission, and since I am both a native of this city and a speaker of your language, I thought I might offer you my services as a bridge.
From the author of the award-winning Moth Smoke comes a perspective on love, prejudice, and the war on terror that has never been seen in North American literature.
At a café table in Lahore, a bearded Pakistani man converses with a suspicious, and possibly armed, American stranger. As dusk deepens to night, he begins the tale that has brought them to this fateful meeting.
Changez is living an immigrant’s dream of America. At the top of his class at Princeton, he is snapped up by Underwood Samson, an elite firm that specializes in the “valuation” of companies ripe for acquisition. He thrives on the energy of New York and the intensity of his work, and his infatuation with regal Erica promises entrée into Manhattan society at the same exalted level once occupied by his own family back in Lahore.
For a time, it seems as though nothing will stand in the way of Changez’s meteoric rise to personal and professional success. But in the wake of September 11, he finds his position in his adopted city suddenly overturned, and his budding relationship with Erica eclipsed by the reawakened ghosts of her past. And Changez’s own identity is in seismic shift as well, unearthing allegiances more fundamental than money, power, and perhaps even love.
Elegant and compelling, Mohsin Hamid’s second novel is a devastating exploration of our divided and yet ultimately indivisible world. (From the publisher.)
Author Bio
• Birth—1971
• Where—Lahore, Pakistan
• Education—A.B., Princeton Univer.; J.D., Harvard Univer.
• Awards—Betty Trask Award; South Bank Show Award
• Currently—lives in London, England, UK
Although he was born and raised in Lahore, Pakistan, award-winning novelist Mohsin Hamid spent part of his childhood in California while his father attended grad school at Stanford. Returning to the U.S. to complete his own education, Hamid graduated from Princeton University and Harvard Law School. He worked for a while as a management consultant in New York, then moved to London, where he continues to work and write.
Hamid made his literary debut in 2000 with Moth Smoke, a noir-inflected story about a young banker living on the fringes of Lahore society who plummets into an underworld of drugs and crime when he is fired from his job. Providing a rare glimpse into the complexities of the Pakistani class system, the book was called "a brisk, absorbing novel" (New York Times Book Review), "a hip page-turner" (Los Angeles Times), and "a first novel of remarkable wit, poise, profundity, and strangeness" (Esquire). Moth Smoke received a Betty Trask Award and was named a New York Times Notable Book of the Year.
In 2007, Hamid added luster to his reputation with The Reluctant Fundamentalist. Written as a single, sustained monolog, this "elegant and chilling little novel" (New York Times) is an electrifying psychological thriller that puts a dazzling new spin on culture, success, and loyalty in the post-9/11 world. The book became an international bestseller; it was shortlisted for the Man Booker Prize, the Decibel Award, and the Commonwealth Writers Prize, and went on to win the South Bank Show Award for Literature. 2013 saw the publication of How to Get Filthy Rich in Rising Asia to both public and critical acclaim.
2013 saw the publication of How to Get Filthy Rich in Rising Asia to both public and critical acclaim. The New York Time's Michiko Kakutani called it "deeply moving," writing that How to Get Filthy Rich in Rising Asia "reaffirms [Hamid's] place as one of his generation's most inventive and gifted writers."
There is no question that Hamid's unusual life experience, a cross-cultural stew of influences and perspectives, has informed his fiction. In addition to consulting and writing novels, he remains a much-in-demand freelance journalist, contributing articles and op-ed pieces — often with a Pakistani slant — to publications like Time magazine, The Guardian, New York Times, Independent, and Washington Post. He holds dual citizenship in the U.K. and Pakistan.
Extras
From a 2007 Barnes & Noble interview:
• When I was three years old I spoke no English, but fluent Urdu. We moved from Pakistan to America for a few years. I got lost in the backyard because all the townhouses were identical. I was knocking on the door of the townhouse next to ours by mistake, and some kids gathered around, making fun of me. For a month after that I didn't say a word. When I started speaking again, it was entirely, and fluently, in English.
• I once woke up in Pakistan and found a bullet in the bonnet of my car. Someone had fired it into the air, probably to celebrate a wedding, and it had hit on the way down. That incident set in motion an entire line of the plot of my first novel, Moth Smoke. Without it, the protagonist would not have been an orphan.
• My wife was born four houses from the house in which I had been born in Lahore, Pakistan. But we met for the first time by chance in a bar in London, thirty-two years later. It's a small world.
•When asked what book most influenced his career as a writer, here is his response:
Toni Morrison's Jazz. Not because it is her best book, nor because it is my favorite book, but because it was the first book of hers I read and also the book I was reading when she read me. I wrote the first draft of my first novel, Moth Smoke, for a creative writing class with her in my final semester at Princeton. When she read my words aloud I understood something about writing, about the power of orality, of cadence and rhythm and the spoken word, that unlocked my own potential for finding voices and shaped everything I have written since. This book opened a door that I walked through without ever, in fourteen years, looking back.
(Author bio and interview from Barnes & Noble.)
Book Reviews
The novel begins a few years after 9/11. Changez happens upon the American in Lahore, invites him to tea and tells him the story of his life in the months just before and after the attacks. That monologue is the substance of Hamid's elegant and chilling little novel.... A less sophisticated author might have told a one-note story in which an immigrant's experiences of discrimination and ignorance cause his alienation. But Hamid's novel, while it contains a few such moments, is distinguished by its portrayal of Changez's class aspirations and inner struggle. His resentment is at least in part self-loathing, directed at the American he'd been on his way to becoming. For to be an American, he declares, is to view the world in a certain way—a perspective he absorbed in his eagerness to join the country's elite.
Karen Olsson - New York Times Book Review
The courage of The Reluctant Fundamentalist is in the telling of a story about a Pakistani man who makes it and then throws it away because he doesn't want it anymore, because he realizes that making it in America is not what he thought it was or what it used to be. The monologue form allows for an intimate conversation, as the reader and the American listener become one. Are we sitting across from Changez at a table in Lahore, joining him in a sumptuous dinner? Do his comments cause us to bristle, making us more and more uncomfortable? Extreme times call for extreme reactions, extreme writing. Hamid has done something extraordinary with this novel, and for those who want a different voice, a different view of the aftermath of 9/11, The Reluctant Fundamentalist is well worth reading.
Laila Halaby - Washington Post
It's a testament to author Mohsin Hamid's skill that Changez, despite this cold-blooded admission, remains a partly sympathetic character.... Everything we know comes to us by his voice, by turns emotionally raw, teasingly ambiguous, fawning and tinged with menace. We read on to see what he will reveal, increasingly certain that he will also conceal.
Dallas Morning News
Hamid's second book (after Moth Smoke) is an intelligent and absorbing 9/11 novel, written from the perspective of Changez, a young Pakistani whose sympathies, despite his fervid immigrant embrace of America, lie with the attackers. The book unfolds as a monologue that Changez delivers to a mysterious American operative over dinner at a Lahore, Pakistan, cafe. Pre-9/11, Princeton graduate Changez is on top of the world: recruited by an elite New York financial company, the 22-year-old quickly earns accolades from his hard-charging supervisor, plunges into Manhattan's hip social whirl and becomes infatuated with Erica, a fellow Princeton graduate pining for her dead boyfriend. But after the towers fall, Changez is subject to intensified scrutiny and physical threats, and his co-workers become markedly less affable as his beard grows in ("a form of protest," he says). Erica is committed to a mental institution, and Changez, upset by his adopted country's "growing and self-righteous rage," slacks off at work and is fired. Despite his off-putting commentary, the damaged Changez comes off as honest and thoughtful, and his creator handles him with a sympathetic grace.
Publishers Weekly
A Princeton degree, a high-class job, a well-connected girlfriend: immigrant Changez would seem to have it all, until the tumbling of the Twin Towers realigns his thinking.
Library Journal
A young Muslim's American experience raises his consciousness and shapes his future in this terse, disturbing successor to the London-based Pakistani author's first novel, Moth Smoke (2000). It's presented as a "conversation," of which we hear only the voice of protagonist Changez, speaking to the unnamed American stranger he encounters in a cafe in the former's native city of Lahore. Changez describes in eloquent detail his arrival in America as a scholarship student at Princeton, his academic success and lucrative employment at Underwood Samson, a "valuation firm" that analyzes its clients' businesses and counsels improvement via trimming expenses and abandoning inefficient practices-i.e., going back to "fundamentals." Changez's success story is crowned by his semi-romantic friendship with beautiful, rich classmate Erica, to whom he draws close during a summer vacation in Greece shared by several fellow students. But the idyll is marred by Erica's distracted love for a former boyfriend who died young and by the events of 9/11, which simultaneously make all "foreigners" objects of suspicion. Changez reacts in a manner sure to exacerbate such suspicions ("I was caught up in the symbolism of it all, the fact that someone had so visibly brought America to her knees"). A visit home to a country virtually under siege, a breakdown that removes the fragile Erica yet further from him and the increasing enmity toward "non-whites" all take their toll: Changez withdraws from his cocoon of career and financial security ("...my days of focusing on fundamentals were done") and exits the country that had promised so much, becoming himself the bearded, vaguely menacing "stranger" who accompanies his increasingly worried listener to the latter's hotel. The climax builds with masterfully controlled irony and suspense. A superb cautionary tale, and a grim reminder of the continuing cost of ethnic profiling, miscommunication and confrontation.
Kirkus Reviews
Discussion Questions
1. At the beginning of the book, Changez says that his companion's "bearing" gives him away as an American. What does Changez mean by this? What are his deeper implications?
2. What do we learn about the American who sits across the table from Changez? How does Hamid convey this information? What do we never learn about the American? Consider how what we don't know about him influences our understanding of both Changez's monologue and the author's intent.
3. Who is Jim, and why does he take such a liking to Changez? What do they have in common? Is his sympathy for Changez genuine?
4. In Chapter 5, Changez is in a hotel in Manila, packing his suitcase and watching television, when he sees the towers of the World Trade Center collapse. "And then I smiled," he confesses. Explore this scene as the turning point of the novel — in terms of plot, character, scope, and tone.
5. In Chile, Changez befriends the head of the publishing company his firm is there to value. Why are the two men drawn to each other? Why has Changez suddenly become so disinterested in his work? Who were the janissaries? Why does their history resonate so strongly with Changez?
6. Discuss the two meanings of "fundamentalist" Hamid's title plays on — the first religious, the second suggested by Underwood Samson's business commitment to "Focus on the fundamentals." What do the different meanings suggest about the novel's themes?
7. The Reluctant Fundamentalist turns out to be quite a page-turner — a political thriller that builds to a memorable conclusion. What exactly happens at the end of the novel? What clues or foreshadowings tipped you off as to how the book would end? Why does Changez tell this stranger his story?
8. Since 9/11, there has been a growing trend in contemporary fiction to write about the tragedy of that day and its aftermath. Compare The Reluctant Fundamentalist with some other "9/11 novels" you have read. What sets it apart or makes it unique?
(Questions issued by publisher.)
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A Walk in the Woods: Rediscovering America on the Appalachian Trail
Bill Bryson, 1999
Knopf Doubleday
274 pp.
ISBN-13: 9780307279460
Summary
For reasons even he didn't understand, Bill Bryson decided in 1996 to walk the 2,100-mile Appalachian trail.
Winding from Georgia to Maine, this uninterrupted 'hiker's highway' sweeps through the heart of some of America's most beautiful and treacherous terrain. Accompanied by his infamous crony, Stephen Katz, Bryson risks snake bite and hantavirus to trudge up unforgiving mountains, plod through swollen rivers, and yearn for cream sodas and hot showers.
This amusingly ill-conceived adventure brings Bryson to the height of his comic powers, but his acute eye also observes an astonishing landscape of silent forests, sparkling lakes, and other national treasures that are often ignored or endangered. Fresh, illuminating, and uproariously funny, A Walk in the Woods showcases Bill Bryson at his very best. (From the publisher.)
See the 2015 movie with Robert Redford and Nick Nolte.
Listen to our Movies Meet Book club Podcast as Hollister and O'Toole discuss the movie and book.
Author Bio
• Birth—December 8 1951
• Where—Des Moines, Iowa, USA
• Education—B.A., Drake University
• Awards—(see below)
• Currently—lives in Norfolk, England, UK
William McGuire "Bill" Bryson is a best-selling American author of humorous books on travel, as well as books on the English language and on science. Born an American, he was a resident of North Yorkshire, UK, for most of his professional life before moving back to the US in 1995. In 2003 Bryson moved back to the UK, living in Norfolk, and was appointed Chancellor of Durham University.
Early years
Bill Bryson was born in Des Moines, Iowa, the son of William and Mary Bryson. He has an older brother, Michael, and a sister, Mary Jane Elizabeth.
He was educated at Drake University but dropped out in 1972, deciding to instead backpack around Europe for four months. He returned to Europe the following year with a high school friend, the pseudonymous Stephen Katz (who later appears in Bryson's A Walk in the Woods). Some of Bryson's experiences from this European trip are included as flashbacks in a book about a similar excursion written 20 years later, Neither Here Nor There: Travels in Europe.
Staying in the UK, Bryson landed a job working in a psychiatric hospital—the now defunct Holloway Sanatorium in Virginia Water in Surrey. There he met his wife Cynthia, a nurse. After marring, the couple moved to the US, in 1975, so Bryson could complete his college degree. In 1977 they moved back to the UK where they remained until 1995.
Living in North Yorkshire and working primarily as a journalist, Bryson eventually became chief copy editor of the business section of The Times, and then deputy national news editor of the business section of The Independent.
He left journalism in 1987, three years after the birth of his third child. Still living in Kirkby Malham, North Yorkshire, Bryson started writing independently, and in 1990 their fourth and final child, Sam, was born.
Books
Bryson came to prominence in the UK with his 1995 publication of Notes from a Small Island, an exploration of Britain. Eight years later, as part of the 2003 World Book Day, Notes was voted by UK readers as the best summing up of British identity and the state of the nation. (The same year, 2003, saw Bryson appointed a Commissioner for English Heritage.)
In 1995, Bryson and his family returned to the US, living in Hanover, New Hampshire for the next eight years. His time there is recounted in the 1999 story collection, I'm A Stranger Here Myself: Notes on Returning to American After 20 Years Away (known as Notes from a Big Country in the UK, Canada and Australia).
It was during this time that Bryson decided to walk the Appalachian Trail with his friend Stephen Katz. The resulting book is the 1998 A Walk in the Woods: Rediscovering America on the Appalachian Trail. The book became one of Bryson's all-time bestsellers and was adapted to film in 2015, starring Robert Redford and Nick Nolte.
In 2003, the Brysons and their four children returned to the UK. They now live in Norfolk.
That same year, Bryson published A Short History of Nearly Everything, a 500-page exploration, in nonscientific terms, of the history of some of our scientific knowledge. The book reveals the often humble, even humorous, beginnings of some of the discoveries which we now take for granted.
The book won Bryson the prestigious 2004 Aventis Prize for best general science book and the 2005 EU Descartes Prize for science communication. Although one scientist is alleged to have jokingly described A Brief History as "annoyingly free of mistakes," Bryson himself makes no such claim, and a list of nine reported errors in the book is available online.
Bryson has also written two popular works on the history of the English language—Mother Tongue: English and How It Got That Way (1990) and Made in America: An Informal History of the English Language in the United States (1994). He also updated of his 1983 guide to usage, Bryson's Dictionary of Troublesome Words. These books were popularly acclaimed and well-reviewed, despite occasional criticism of factual errors, urban myths, and folk etymologies.
In 2016, Bryson published The Road to Little Dribbling: Adventures of an American in England, a sequel to his Notes from a Small Island.
Honors
In 2005, Bryson was appointed Chancellor of Durham University, succeeding the late Sir Peter Ustinov, and has been particularly active with student activities, even appearing in a Durham student film (the sequel to The Assassinator) and promoting litter picks in the city. He had praised Durham as "a perfect little city" in Notes from a Small Island. He has also been awarded honorary degrees by numerous universities, including Bournemouth University and in April 2002 the Open University.
In 2006, Frank Cownie, the mayor of Des Moines, awarded Bryson the key to the city and announced that 21 October 2006 would be known as "Bill Bryson, The Thunderbolt Kid, Day."
In November 2006, Bryson interviewed the then Prime Minister of the United Kingdom Tony Blair on the state of science and education.
On 13 December 2006, Bryson was awarded an honorary OBE for his contribution to literature. The following year, he was awarded the James Joyce Award of the Literary and Historical Society of University College Dublin.
In January 2007, Bryson was the Schwartz Visiting Fellow of the Pomfret School in Connecticut.
In May 2007, he became the President of the Campaign to Protect Rural England. His first area focus in this role was the establishment of an anti-littering campaign across England. He discussed the future of the countryside with Richard Mabey, Sue Clifford, Nicholas Crane and Richard Girling at CPRE's Volunteer Conference in November 2007. (From Wikipedia. Adapted 2/1/2016.)
Book Reviews
Funny, yes. But Bryson also provides valuable lessons in history, geology, botany, zoology, meteorology, and bureaucratic failures. He’s a "walking" encyclopedia and endlessly fascinating.... Some have commented that Bryson’s jeremiads on politics, commercialism, and rural southerners are unreasonable and unfair.
A LitLovers LitPick (July '07)
Don't look to A Walk in the Woods for forced revelations about failed relationships or financial ruin or artistic insecurity. Bryson is hiking the trail because it's there, and he's great company right from the start—a lumbering, droll, neatnik intellectual who comes off as equal parts Garrison Keillor, Michael Kinsley and (given his fondness for gross-out humor) Dave Barry.
Dwight Garner - New York Times Book Review
A laugh-out-loud account....If you were to cross John Muir's writings with Dave Barry's you'd end up with A Walk in the Woods.
National Geographic Traveler
Returning to the U.S. after 20 years in England, Iowa native Bryson decided to reconnect with his mother country by hiking the length of the 2100-mile Appalachian Trail. Awed by merely the camping section of his local sporting goods store, he nevertheless plunges into the wilderness and emerges with a consistently comical account of a neophyte woodsman learning hard lessons about self-reliance. Bryson (The Lost Continent) carries himself in an irresistibly bewildered manner, accepting each new calamity with wonder and hilarity. He reviews the characters of the AT (as the trail is called), from a pack of incompetent Boy Scouts to a perpetually lost geezer named Chicken John. Most amusing is his cranky, crude and inestimable companion, Katz, a reformed substance abuser who once had single-handedly "become, in effect, Iowa's drug culture." The uneasy but always entertaining relationship between Bryson and Katz keeps their walk interesting, even during the flat stretches. Bryson completes the trail as planned, and he records the misadventure with insight and elegance. He is a popular author in Britain and his impeccably graceful and witty style deserves a large American audience as well.
Publishers Weekly
The Appalachian Trail from Springer Mountain, GA, to Mount Katahdin, ME consists of some five million steps, and Bryson (Notes from a Small Island, 1996) seems to coax a laugh, and often an unexpectedly startling insight, out of each one he traverses. It's not all yuks though it is hard not to grin idiotically through all 288 pages, for Bryson is a talented portraitist of place. He did his natural-history homework, which is to say he knows a jack-o-lantern mushroom from a hellbender salamander from a purple wartyback mussel, and can also write seriously about the devastation of chestnut blight. He laces his narrative with gobbets of trail history and local trivia, and he makes real the 'strange and palpable menace' of the dark deep woods in which he sojourns, the rough-hewn trailscape 'mostly high up on the hills, over lonely ridges and forgotten hollows that no one has ever used or coveted,' celebrating as well the 'low-level ecstasy' of finding a book left thoughtfully at a trail shelter, or a broom with which to sweep out the shelter's dross. Yet humor is where the book finds its cues—from Bryson's frequent trail companion, the obese and slothful Katz, a spacious target for Bryson's sly wit, to moments of cruel and infantile laughs, as when he picks mercilessly on the witless woman who, admittedly, ruined a couple of their days. But for the most part the humor is bright sarcasm, flashing with drollery and intelligence, even when it's a far yodel from political sensitivity. Then Bryson will take your breath away with a trenchant critique of the irredeemably vulgar vernacular strip that characterizes many American downtowns, or of other signs of decay he encounters off the trail (though the trail itself he comes to love). 'Walking is what we did,' Bryson states: 800-plus out of the 2,100-plus miles, and that good sliver is sheer comic travel entertainment.
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 Walk in the Woods:
1. One of the most interesting aspects of this book is the unlikely friendship between Bryson and Katz. What is the relationship based on? Consider, especially, the episode in Maine when Katz gets lost: somehow the friendship is altered. How does Bryson's attitude toward Katz change over the course of the book? How does Katz himself change? Or does he? What was Katz's motivation, anyway, to walk the AT?
2. The book offers an excellent microscope through which to examine the meaning of friendship—our own friendships. Do the two men remind you of friends who tested your patience, but who exhibited intense loyalty?
3. In fiction a journey usually symbolizes a journey of self-discovery—at the end the protagonist comes to learn something about him/herself. Although A Walk isn't a novel, do either of the men come to greater self-awareness by the end of their journey?
4. The tone of the book veers back and forth between humor and seriousness, even anger. In fact, the book is a sort of jeremiad against environmental threats to the great wilderness areas of the country. Is Bryson's anger justified? He criticizes, but does he offer solutions? Are there solutions?
5. Katz pokes fun at rural Southerners, which some readers find funny, others find offensive. You?
6. Bryson ponders the attraction of hiking: ''You have no engagements, commitments, obligations, or duties; no special ambitions and only the smallest, least complicated of wants; you exist in a tranquil tedium, serenely beyond the reach of exasperation." If you're a hiker, backpacker, camper, are your experiences similar to or different from Bryson's? For those who aren't hikers, are there other avenues to "exist in a tranquil tedium"?
7. You might also talk about the numerous characters Bryson and Katz meet on the trail. Mary Ellen is one, for instance: how do you feel about their treatment of her?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The March
E.L. Doctorow, 2005
Random House
384 pp.
ISBN-13: 9780812976151
Summary
In 1864, after Union general William Tecumseh Sherman burned Atlanta, he marched his sixty thousand troops east through Georgia to the sea, and then up into the Carolinas. The army fought off Confederate forces and lived off the land, pillaging the Southern plantations, taking cattle and crops for their own, demolishing cities, and accumulating a borne-along population of freed blacks and white refugees until all that remained was the dangerous transient life of the uprooted, the dispossessed, and the triumphant. Only a master novelist could so powerfully and compassionately render the lives of those who marched.
The author of Ragtime, City of God, and The Book of Daniel has given us a magisterial work with an enormous cast of unforgettable characters—white and black, men, women, and children, unionists and rebels, generals and privates, freed slaves and slave owners. At the center is General Sherman himself; a beautiful freed slave girl named Pearl; a Union regimental surgeon, Colonel Sartorius; Emily Thompson, the dispossessed daughter of a Southern judge; and Arly and Will, two misfit soldiers.
Almost hypnotic in its narrative drive, The March stunningly renders the countless lives swept up in the violence of a country at war with itself. The great march in E. L. Doctorow’s hands becomes something more—a floating world, a nomadic consciousness, and an unforgettable reading experience with awesome relevance to our own times. (From the publisher.)
Author Bio
• Birth—January 6, 1931
• Where—New York, New York, USA
• Education—A.B., Kenyon College; Columbia University
• Awards—3 National book Critics Circle Awards; National
Book Aware; PEN/Faulkner Award
• Currently—lives in the New York City area
E. L. Doctorow, one of America's preeminent authors, has received the National Book Critics Circle Award (three times), the National Book Award, the PEN/Faulkner Award, the Edith Wharton Citation For Fiction, and the William Dean Howells medal of the American Academy of Arts and Letters. He has also published a volume of selected essays Jack London, Hemingway, and the Constitution, and a play, Drinks Before Dinner, which was produced by the New York Shakespeare Festival. (From the publisher.)
More
Edgar Lawrence Doctorow is an American author whose critically acclaimed and award-winning fiction ranges through his country’s social history from the Civil War to the present. Doctorow was born in the Bronx, New York City, the son of second-generation Americans of Russian Jewish descent. He attended city public grade schools and the Bronx High School of Science where, surrounded by mathematically gifted children, he fled to the office of the school literary magazine, Dynamo, where he published his first literary effort, The Beetle, which he describes as ”a tale of etymological self-defamation inspired by my reading of Kafka.”
Doctorow attended Kenyon College in Ohio, where he studied with the poet and New Critic, John Crowe Ransom, acted in college theater productions and majored in Philosophy. After graduating with Honors in 1952 he did a year of graduate work in English Drama at Columbia University before being drafted into the army. He served with the Army of Occupation in Germany in 1954-55 as a corporal in the signal corps.
He returned to New York after his military service and took a job as a reader for a motion picture company where he said he had to read so many Westerns that he was inspired to write what became his first novel, Welcome to Hard Times. He began the work as a parody of the Western genre, but the piece evolved into a novel that asserted itself as a serious reclamation of the genre before he was through. It was published to positive reviews in 1960.
Doctorow had married a fellow Columbia drama student, Helen Setzer, while in Germany and by the time he had moved on from his reader’s job in 1960 to become an editor at the New American Library, (NAL) a mass market paperback publisher, he was the father of three children. To support his family he would spend nine years as a book editor, first at NAL working with such authors as Ian Fleming and Ayn Rand, and then, in 1964 as Editor-in-chief at The Dial Press, publishing work by James Baldwin, Norman Mailer, Ernest J. Gaines and William Kennedy, among others.
In 1969 Doctorow left publishing in order to write, and accepted a position as Visiting Writer at the University of California, Irvine, where he completed The Book of Daniel, a freely fictionalized consideration of the trial and execution of Julius and Ethel Rosenberg for allegedly giving nuclear secrets to the Soviet Union during the Cold War. Published in 1971 it was widely acclaimed, called a “masterpiece” by The Guardian, and it launched Doctorow into "the first rank of American writers" according to the New York Times.
Doctorow’s next book, written in his home in New Rochelle, New York, was Ragtime (1975), since accounted one of the hundred best novels of the 20th century by the Modern Library Editorial Board.
Doctorow’s subsequent work includes the award winning novels World's Fair (1985), Billy Bathgate (1989), The March (2005) and Homer and Langley (2010); two volumes of short fiction, Lives of the Poets I (1984) and Sweetland Stories (2004); and two volumes of selected essays, Jack London, Hemingway, and the Constitution (1993) and Creationists (2006). He is published in over thirty languages. (From Wikipedia.)
Book Reviews
It is Mr. Doctorow's achievement in these pages that in recounting Sherman's march, he manages to weld the personal and the mythic into a thrilling and poignant story. He not only conveys the consequences of that campaign for soldiers and civilians in harrowingly intimate detail, but also creates an Iliad-like portrait of war as a primeval human affliction—"not war as adventure, nor war for a solemn cause," but "war at its purest, a mindless mass rage severed from any cause, ideal, or moral principle," a "characterless entanglement of brainless forces" as God's answer "to the human presumption."
Michiko Kakutani - New York Times
The March conjures up the War of Secession—also known as the War Between the States and the War of Northern Aggression—as vividly as any contemporary account I've read, and more plausibly than most. Devotees of our nation's darkest hour, as well as that subset of Confederacy buffs willing to entertain the possibility that all may not have been roses in the antebellum South, will find a great deal to admire in its pages.
John Wray - Washington Post
Sherman's march through Georgia and the Carolinas produced hundreds of thousands of deaths and untold collateral damage. In this powerful novel, Doctorow gets deep inside the pillage, cruelty and destruction—as well as the care and burgeoning love that sprung up in their wake. William Tecumseh Sherman ("Uncle Billy" to his troops) is depicted as a man of complex moods and varying abilities, whose need for glory sometimes obscures his military acumen. Most of the many characters are equally well-drawn and psychologically deep, but the two most engaging are Pearl, a plantation owner's despised daughter who is passing as a drummer boy, and Arly, a cocksure Reb soldier whose belief that God dictates the events in his life is combined with the cunning of a wily opportunist. Their lives provide irony, humor and strange coincidences. Though his lyrical prose sometimes shades into sentimentality when it strays from what people are feeling or saying, Doctorow's gift for getting into the heads of a remarkable variety of characters, famous or ordinary, make this a kind of grim Civil War Canterbury Tales. On reaching the novel's last pages, the reader feels wonder that this nation was ever able to heal after so brutal, and personal, a conflict.
Publishers Weekly
Doctorow portrays William Tecumseh Sherman's army, which devastated Georgia and the Carolinas during the Civil War, as a living organism, several miles long, moving forward, devouring everything in its path. He paradoxically achieves a panoramic view by focusing on the stories of a wide variety of individuals, from freed slaves and soldiers of both sides to physicians tending the wounded, displaced widows and orphans, and even Sherman himself. As in Ragtime, Doctorow cuts back and forth among these fascinating stories, achieving a rhythm that echoes the chaos of the historic events. The March educates as it entertains and finds laughter amidst tragedy. Such a wide spectrum of characters gives reader Joe Morton a nearly unique opportunity, and he excels, voicing characters of varying races, ages, genders, and regions with aplomb. Nominated for a National Book Award, this is clearly one of the best novels of 2005; every library will want it. —John Hiett, Iowa City P.L.
Library Journal
(Adult/High School.) A Civil War tale with much to engage teens. The title refers to a climactic event, General William Tecumseh Shermans March to the Sea. Using a nonlinear (but not especially challenging) structure that recalls his groundbreaking Ragtime, Doctorow narrates events through multiple Union and Confederate perspectives. A rich variety of individuals, both fictional and historical, populates a moving world of more than 60,000 troops accompanied by thousands of former slaves and assorted civilian refugees who follow Sherman on his ruthless progress through Georgia and the Carolinas. While many characters are essentially entertaining sketches, there are a few memorable standouts, particularly 15-year-old Pearl, a so-called white Negro fathered by her owner. Taking advantage of the chaos after war disrupts her tightly controlled existence, she flees her looted plantation home, disguises herself as a drummer boy, and joins the march, determined to reach freedom and create a life worth living. On the way, she experiences moments of violence, love, irony, and even humor in the midst of horror. Short cinematic episodes illuminate and interpret history with meticulous attention to period settings, from terrifying battlefields to desperate field hospitals to once-grand mansions, all described in lyrical language crafted by a skilled writer. —Starr E. Smith, Fairfax County Public Library, VA
School Library Journal
William Tecumseh Sherman's legendary "march" (1864-65) through Georgia and the Carolinas-toward Appomattox, and victory-is the subject of Doctorow's panoramic tenth novel. As he did in his classic Ragtime (1991), Doctorow juxtaposes grand historical events with the lives of people caught up in them-here, nearly two dozen Union and Confederate soldiers and officers and support personnel; plantation owners and their families; and freed slaves unsure where their futures lie. The story begins in Georgia, where John Jameson's homestead "Fieldstone" becomes a casualty of Sherman's "scorched earth" tactics (earlier applied during the destruction of Atlanta). The narrative expands as Sherman moves north, adding characters and subtly entwining their destinies with that of the nation. Emily Thompson, daughter of a Georgia Chief Justice, finds her calling as a battlefield nurse working alongside Union Army surgeon Wrede Sartorius (who'll later be reassigned to Washington, where an incident at Ford's Theater demands his services). "Rebel" soldiers Will Kirkland and Arly Wilcox move duplicitously from one army to another, and the Falstaffian pragmatist Arly later courts survival by usurping the identity of a battlefield photographer. John Jameson's "white Negro" bastard daughter Pearl becomes her former mistress's keeper-and the last best hope for melancholy "replacement" northern soldier Stephen Walsh. Sherman's war-loving subordinate Justin "Kil" Kilpatrick blithely rapes and loots, finding a boy's excitement in bloody exigencies. There's even a brief appearance by indignantly independent black "Coalhouse" Walker (a graceful nod to the aforementioned Ragtime). Doctorow patiently weaves these and several other stories together, while presenting military strategies (e.g., the "vise" formed by Sherman's gradual meeting with Grant's Army) with exemplary clarity. Behind it all stalks the brilliant, conflicted, "volatile" Sherman, to whom Doctorow gives this stunning climactic statement: "our civil war...is but a war after a war, a war before a war." Doctorow's previous novels have earned multiple major literary awards. The March should do so as well.
Kirkus Reviews
Discussion Questions
1. In the opening chapter of the novel, Pearl prays, "Dear God Jesus...teach me to be free." To what extent is her prayer answered? How does she come to understand the difference between freedom and independence?
2. Is Arly, the SouthernRebel, simply a wily individual who takes advantage of any opportunity that presents itself, or is there more to him than that? What do you think motivated his final actions? Discuss both of the misfit soldiers: What redeeming qualities did Arly and Will have? Did each of them deserve the ending he had? Why?
3. General Sherman's description of death as "first and foremost, a numerical disadvantage" is very unemotional. Do you believe he was truly that unfeeling? What other places in the story does this "coldness" show itself? Where is his humanity evident?
4. Discuss Sherman's leadership style. Would you characterize it as paternal, moral, charismatic? Why do you think Sherman was successful (or not successful)? Are there other characteristics you would assign to General Sherman? List a few and discuss.
5. Sherman's destruction of everything in his path left nothing with which to rebuild, or to help the freed slaves to begin their new lives. What was the purpose of the pillage and destruction along Sherman's march? Were these acts of opportunity, desperation, or both? Give an example of similar behavior from current events, and discuss the complexity of human reaction when confronted with such serious conflict.
6. Before Sherman's soldiers marched upon Milledgeville, Emily Thompson could not fathom the possibility of the war destroying her comfortable lifestyle. What changes her mind? What compels Emily to link up with "the enemy" and seek protection with the Union army?
7. Describe Emily's attraction to Wrede Sartorius, and what tests her faith in him. How does Emily transform during the course of the novel?
8. Wrede Sartorius cares for his patients in a dispassionate manner. Does he excel as a battlefield surgeon because of, or in spite of, this outlook? How does this behavior affect his relationship with Emily?
9. Discuss Wrede Sartorius's medical ethics. Do you think they would have been different in peacetime? Give positive and negative examples of his bedside manner. What do you think his true feelings were for Emily?
10. At the end of the novel, Pearl and David are no longer slaves, but are they free? Has Calvin, who has never lived as a slave, ever lived freely? Are any characters free during the war? Colonel Sartorius, Stephen, Sherman, even Lincoln, live under constraints caused by their situations, commitments, and responsibilities. What is freedom? What makes us free? In 2005, has "the world [caught] up" yet?
11. Lt. Clark of the Union army is in charge of a foraging party. Clark has "always believed in reason, that it was the controlling force in his life." How do events in the novel refute this belief--for him and for many others?
12. What does "It's always now" mean in the novel? Why do some characters find that to be an obvious truth, while others find it terrifying? Why might that idea be especially meaningful to a soldier who is living from battle to battle?
13. Historians have debated whether Sherman's march to the sea was simply a particularly brutal act of war or whether it was a war crime. Do you think Sherman's march was justified? Why or why not? Did E. L. Doctorow's novel help you to understand Sherman's belief that this was not only a war between armies but also a war between societies? How did the unspoken orders of the rank and file shape the outcome of the march?
14. What insights does Doctorow give as to the reasons why the average Rebel soldier was fighting? The average Yankee?
15. Sartorius first views Lincoln as weak or diseased, but when he meets the President near the end of the war, his disdain turns to awe. Discuss the reasons you believe he had this change of heart.
16. The romance between Stephen Walsh and Pearl Jameson stands in stark contrast to the war and destruction surrounding them. Describe their relationship. Were you surprised that their connection lasted throughout the war? What do you think happened to them?
17. Hugh Pryce, the English journalist, was stunned to overhear ordinary soldiers discussing moral issues of the war. He believed their concern with substantive moral issues showed "quintessential American genius" and could never imagine Her Majesty's rank and file having such a discussion. Do you agree that this type of questioning and rationalization is uniquely American? Why or why not?
18. From the shrewd analytical mind of General Sherman, the stoicism of Wrede Sartorius, the compassion of Emily Thompson, the feistiness of Pearl and the comic relief of Arly, Doctorow show us the minds of his characters as they struggle to survive the cruelty of war. Which of these or other characters in the book do you think you would be most like in a time of crisis and why?
19. Describe your feelings as you read Sherman's Special Field Order to himself at the end of the war—to pitch a tent in the forest and spend one last night beneath the stars. Have you ever known someone in the military who found it difficult to transition back into civilian life?
20. There were many survivors in The March. Some survived with integrity and honor. What characteristics did these characters hold that helped them maintain their civility during war?
(Questions issued by publisher.)
The Remains of the Day
Kazuo Ishiguro, 1989
Knopf Doubleday
256 pp.
ISBN-13: 9780679731726
Summary
Winner, 1989 Man Booker Prize
Winner, 2017 Nobel Prize
The novel The Remains of the Day tells the story of Stevens, an English butler who dedicates his life to the loyal service of Lord Darlington (mentioned in increasing detail in flashbacks).
The novel begins with Stevens receiving a letter from an ex co-worker called Miss Kenton, describing her married life, which he believes hints at her unhappy marriage. Stevens' new employer, Mr. Farraday, who Stevens fails to hold in high esteem, then grants permission for Stevens to borrow the car to take a break.
As he sets out on the motoring trip and meets the long since retired housekeeper, Miss Kenton, he ponders (via numerous flashbacks) his previous actions and his feelings of love for Miss Kenton, which she silently reciprocated. Both characters failed to ever fully admit their true feelings for one another. Arguably this is due to the lack of communication between the pair; throughout the flashbacks, the majority of their interactions are through conflict and confrontation.
Many of Stevens' memories are biased, leaving the reader with the impression that he is an unreliable narrator. Yet throughout the novel, he prides himself on his attention to detail, which leads the reader to believe that Stevens deliberately mis-remembers or alters his recollections so that they cast him in a better light. These purposefully altered memories support what he wants to believe, that there is still a chance for him and Miss Kenton. (From Wikipedia.)
Author Bio
• Birth—November 8, 1954
• Where—Nagasaki, Japan
• Raised—England, UK
• Education—B.A., University of Kent (UK); M.A., University of East Anglia
• Awards—Nobel Prize, (more below)
• Currently—lives in London, England
Kazuo Ishiguro is a British novelist. Born in Nagasaki, Japan, his family moved to England in 1960 when he was five. Ishiguro obtained his Bachelor's degree from the University of Kent in 1978 and his Master's from the University of East Anglia's creative-writing course in 1980.
Ishiguro is one of the most celebrated contemporary fiction authors in the English-speaking world, having received four Man Booker Prize nominations, and winning the 1989 award for his novel The Remains of the Day. In 2008, The Times ranked Ishiguro 32nd on their list of "The 50 greatest British writers since 1945."
Early life and career
Ishiguro was born in Nagasaki on 8 November 1954, the son of Shizuo Ishiguro, a physical oceanographer, and his wife Shizuko. In 1960 his family, including his two sisters, moved to Guildford, Surrey so that his father could begin research at the National Institute of Oceanography. He attended Stoughton Primary School and then Woking County Grammar School in Surrey. After finishing school he took a gap year and traveled through the United States and Canada, while writing a journal and sending demo tapes to record companies.
In 1974 he began at the University of Kent, Canterbury, and he graduated in 1978 with a Bachelor of Arts (honours) in English and Philosophy. After spending a year writing fiction, he resumed his studies at the University of East Anglia where he studied with Malcolm Bradbury and Angela Carter, and gained a Master of Arts in Creative Writing in 1980. He became a British citizen in 1982.
He co-wrote four of the songs on jazz singer Stacey Kent's 2009 Breakfast on the Morning Tram. He also wrote the liner notes to Kent's 2003 album, In Love Again.
Literary characteristics
A number of his novels are set in the past. His 2005 novel, Never Let Me Go, has science fiction qualities and a futuristic tone; however, it is set in the 1980s and 1990s, and thus takes place in a very similar yet alternate world. His fourth novel, The Unconsoled (1995), takes place in an unnamed Central European city. The Remains of the Day (1989)is set in the large country house of an English lord in the period surrounding World War II.
An Artist of the Floating World (1986) is set in an unnamed Japanese city during the period of reconstruction following Japan's surrender in 1945. The narrator is forced to come to terms with his part in World War II. He finds himself blamed by the new generation who accuse him of being part of Japan's misguided foreign policy and is forced to confront the ideals of the modern times as represented by his grandson. Ishiguro said of his choice of time period, "I tend to be attracted to pre-war and postwar settings because I’m interested in this business of values and ideals being tested, and people having to face up to the notion that their ideals weren’t quite what they thought they were before the test came."
HIs novels are usually written in the first-person narrative style and the narrators often exhibit human failings. Ishiguro's technique is to allow these characters to reveal their flaws implicitly during the narrative. The author thus creates a sense of pathos by allowing the reader to see the narrator's flaws while being drawn to sympathize with the narrator as well. This pathos is often derived from the narrator's actions, or, more often, inaction. In The Remains of the Day, the butler Stevens fails to act on his romantic feelings toward housekeeper Miss Kenton because he cannot reconcile his sense of service with his personal life.
Ishiguro's novels often end without any sense of resolution. The issues his characters confront are buried in the past and remain unresolved. Thus Ishiguro ends many of his novels on a note of melancholic resignation. His characters accept their past and who they have become, typically discovering that this realization brings comfort and an ending to mental anguish. This can be seen as a literary reflection on the Japanese idea of mono no aware.
Japan
Ishiguro was born in Japan and has a Japanese name (the characters in the surname Ishiguro mean 'stone' and 'black' respectively). He set his first two novels in Japan; however, in several interviews he has had to clarify to the reading audience that he has little familiarity with Japanese writing and that his works bear little resemblance to Japanese fiction. In a 1990 interview he said, "If I wrote under a pseudonym and got somebody else to pose for my jacket photographs, I'm sure nobody would think of saying, 'This guy reminds me of that Japanese writer.'"
Although some Japanese writers have had a distant influence on his writing— un'ichirō Tanizaki is the one he most frequently cites—Ishiguro has said that Japanese films, especially those of Yasujirō Ozu and Mikio Naruse, have been a more significant influence.
Ishiguro left Japan in 1960 at the age of 5 and did not return to visit until 1989, nearly 30 years later, as a participant in the Japan Foundation Short-Term Visitors Program. In an interview with Kenzaburo Oe, Ishiguro acknowledged that the Japanese settings of his first two novels were imaginary:
I grew up with a very strong image in my head of this other country, a very important other country to which I had a strong emotional tie[...]. In England I was all the time building up this picture in my head, an imaginary Japan.
When discussing his Japanese heritage and its influence on his upbringing, the author has stated
I’m not entirely like English people because I’ve been brought up by Japanese parents in a Japanese-speaking home. My parents didn’t realize that we were going to stay in this country for so long, they felt responsible for keeping me in touch with Japanese values. I do have a distinct background. I think differently, my perspectives are slightly different.
When asked to what extent he identifies as either Japanese or English the author insists
People are not two-thirds one thing and the remainder something else. Temperament, personality, or outlook don’t divide quite like that. The bits don’t separate clearly. You end up a funny homogeneous mixture. This is something that will become more common in the latter part of the century—people with mixed cultural backgrounds, and mixed racial backgrounds. That’s the way the world is going.
Personal
Ishiguro has been married to Lorna MacDougall, a social worker, since 1986. They met at the West London Cyrenians homelessness charity in Notting Hill, where Ishiguro was working as a residential resettlement worker. They have a daughter and live in London.
Awards and recognition
1982: Winifred Holtby Memorial Prize (A Pale View of Hills)
1983: Named a Granta Best Young British Novelist
1986: Whitbread Prize (An Artist of the Floating World)
1989: Booker Priz (The Remains of the Day)
1993: Named a Granta Best Young British Novelist
1995: Order of the British Empire (OBE)
1998: Chevalier de l'Ordre des Arts et des Lettres
2005: Never Let Me Go: listed in "100 greatest English language novels since 1923 the magazine formed in 1923"—Time magazine.
2008: Listed in "The 50 greatest British writers since 1945"—The Times (London)
2017: Nobel Prize for Literature
Except for A Pale View of Hills, all of Ishiguro's novels and his short story collection have been shortlisted for major awards. Most significantly, An Artist of the Floating World, When We Were Orphans, and Never Let Me Go, were all short-listed for the Booker Prize. A leaked account of a judging committee's meeting revealed that the committee found itself deciding between Never Let Me Go and John Banville's The Sea before awarding the prize to Banville.
Books
1982 - A Pale View of Hills
1986 - An Artist of the Floating World
1989 - The Remains of the Day
1995 - The Unconsoled
2000 - When We Were Orphans
2005 - Never Let Me Go
2009 - Nocturnes: Five Stories of Music and Nightfall
2015 - The Buried Giant
(Author bio adapted from Wikipedia. Retrieved 2/17/2015.)
Book Reviews
First though let's say there's not a lot of plot; this is a character-driven novel. But what a character. Stevens is the butler of a once great English estate, and he tells us his story. In doing so, he becomes the poster child for Unreliable Narrator.
A LitLovers LitPick (Jan '08)
Greeted with high praise in England, where it seems certain to be shortlisted for the Booker Prize, Ishiguro's third novel is a tour de force-- both a compelling psychological study and a portrait of a vanished social order.… This insightful, often humorous and moving novel should significantly enhance Ishiguro's reputation here.
Publishers Weekly
The Remains of the Day is a dream of a book: a beguiling comedy of manners that evolves almost magically into a profound and heart-rending study of personality, class and culture.... Stevens plays perfectly the role of model butler as obliging narrator.... .Underneath what Stevens says, something else is being said, and the something else eventually turns out to be a moving series of chilly revelations of the butler's buried life - and, by implication, a powerful critique of the social machine in which he is a cog. As we [progress on the trip] with Stevens, we learn more and more about the price he has paid in striving for his lofty ideal of professional greatness.
Lawrence Graver - New York Times Book Review
Discussion Questions
1. What does Stevens care most deeply about? Can you articulate a world view for him?
2. Consider the decisions Stevens makes during time of his father's death, as well as the dismissal of the two Jewish servants. Where do Stevens's ethical responsibilities lie — given his time in history and place in society?
3. Talk about is the social hierarchy to which Stevens is completely loyal—yet which exploits him thoroughly.
4. And, of course, poor Miss Kenton. Would she ever have been happy with Stevens? Or could she have humanized him had she persisted and won him over? Oh...and what about the fact that she never left when she was forced to dismiss the two Jewish maids? Is she as culpable as Stevens in this matter? What would most of us do in her place?
5. This novel is famous for its "unreliable narrator," meaning that Stevens who tells the story colors a great deal in his telling. He seems blind to much that goes on around him, events that we, the readers, see and judge differently than Stevens seems to. Give some examples of Steves's inability to see things as readers see them. What blinds Steven, or gets in his way of understanding, especially when it comes to Lord Darlington.
6. You might also tackle the ending. What happens to Stevens after he leaves Miss Kenton? What does he come to understand, what insights has he gained? Will he change—indeed, is he capable of change?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The Wake of the Wind
J. California Cooper, 1998
Knopf Doubleday
384 pp.
ISBN-13: 9780385487054
Summary
A dramatic and thought-provoking novel of one family's triumph in the face of the hardships and challenges of the post-Civil War South.
The Wake of the Wind, J. California Cooper's third novel, is her most penetrating look yet at the challenges that generations of African Americans have had to overcome in order to carve out a home for themselves and their families. Set in Texas in the waning years of the Civil War, the novel tells the dramatic story of a remarkable heroine, Lifee, and her husband, Mor.
When Emancipation finally comes to Texas, Mor, Lifee, and the extended family they create from other slaves who are also looking for a home and a future, set out in search of a piece of land they can call their own. In the face of constant threats, they manage not only to survive but to succeed—their crops grow, their children thrive, they educate themselves and others. Lifee and Mor pass their intelligence, determination, and talents along to their children, the next generation to surge forward.
At once tragic and triumphant, this is an epic story that captures with extraordinary authenticity the most important struggle of the last hundred years. (From the publisher.)
Author Bio
J. California Cooper is the author of four novels, including, most recently, Some People, Some Other Place, and six collections of stories. She was honored as Black Playwright of the Year, and has received the American Book Award, the James Baldwin Writing Award, and the Literary Lion Award from the American Library Association. She lives in Portland, Oregon (From the publisher.)
More
J. California Cooper first found acclaim as a playwright. The author of seventeen plays, she was named Black Playwright of the Year in 1978.
It was through her work in the theater that she caught the attention of acclaimed poet and novelist Alice Walker. Encouraged by Walker to turn her popular storytelling skills to fiction, Cooper wrote her first collection of short stories, A Piece of Mine, in 1984. Called "rich in wisdom and insight" and "a book that's worth reading," A Piece of Mine introduced Cooper's trademark style: her intimate and energetic narration, sympathetic yet sometimes troubled characters, and the profound moral messages that underlie seemingly simple stories.
Two more story collections followed on the heels of A Piece of Mine. In 1986 came Homemade Love, winner of an American Book Award, and, in 1987, Some Soul to Keep. (Author bio from the African American Literature Book Club.)
Book Reviews
Cooper's disappointing third novel (after Family) frustrates readers with a good premise poorly executed. Mordecai and Lifee meet as slaves on a plantation in post-Civil War Texas. Forced to marry by their master before they even know each other, they fall in love just as emancipation is declared, and head east with several other newly freed companions to look for a safe place to live. Cooper conveys the mixture of hope, fear and confusion as hungry and footsore former slaves move across the country. Mor and Lifee find work at a ruined plantation in Georgia and begin a family; and in time, the owner secretly sells her property to them. The tightly knit clan of former slaves prospers, but when lynchings in the area become frequent, they are forced to leave. Eventually they settle on an abandoned farm, where they survive economic depression and other troubles. When tragedy ensues, the next generation must assume responsibility for preserving the family. Though Cooper's research about the troubled historical era provides good details, her characters are mainly two-dimensional stereotypes. The blacks are good, with pure hearts; the whites (with one exception) are duplicitous. Moreover, the prose is wooden and preachy, lacking grace or nuance. This earnest saga of freed slaves aspiring to new lives in the Reconstruction South is commendable in intent but pedestrian in execution.
Publishers Weekly
Cooper has written her third novel and another wonderfully rich tale. Two good friends in Africa, Kola and Suwaibu, are taken from Africa and brought to America as slaves. The story of their great-great-great-grandchildren, Mordecai (Mor) and Lifee, reunites these friends' families through marriage. Mor and Lifee's life together is chronicled through their marriage, freedom from slavery, the birth of their children and grand-children, and their deaths. Cooper has once again written a compelling story, reminiscent of The Children of Segu (1989) by Maryse Conde. All her fans will love this book. Lillian Lewis
Booklist
A lyrical, century-spanning family saga on the lives of several African-American families. Cooper (Some Love, Some Pain, Sometime, 1995, etc.) begins with a recitation of the brief, hard existence of two young men, Kola and Suwaibu, best friends who, in the 1760s, are captured by slavers and transported to America. Both father children "in this new world of pain," sending some essence of themselves "rushing, striving, pulsing on toward some future." A century later, Mordecai (a Suwaibu descendant) and Lifee (a Kola descendant) meet on a Southern plantation in the last days of the Civil War. Lifee, newly arrived, is slated to become the masterþs mistress. Beautiful and educated, she is driven by a fierce determination to be free. Mordecai, a skilled farmer and deeply humane, shares her desire for freedom. When the war ends, the two set out to look for a place of their own, making an epic trek across the devastated South before finding land. Cooper's narrative comes into its own with her portrait of the turbulent years following the war, as freed slaves filled the South's roads looking for lost family members and new lives. Her depiction of the ways in which Mordecai and Lifee outwit the violent whites they encounter is vivid, detailed, and stirring. Much of the story concerns the pair's almost continual battle to keep their home and secure an education for their children in the face of violent white opposition. Even if, as Lifee observes at the end of her life in 1895, the world is "still as hard on Negroes" as it can be, she and Mordecai and their equally resilient children have nonetheless managed to defy the odds, and the unpredictable "winds of life," to create a place for themselves in the world. A moving story that combines period detail, terse, flavorful language, and a swift plot to create a portrait of a redoubtable family over time.
Kirkus Reviews
Discussion Questions
1. Why does Cooper begin The Wake of the Wind with the prologue about Africa and the descriptions of Suwaibu and Kola's capture by slave traders and their years in slavery? Do they do more than serve as historical background for the story of Lifee and Mor? Are there parallels between the journeys Suwaibu and Kola make and Lifee and Mor's journey across the American South after the Civil War?
2. After Lifee gains her freedom, she tells her former mistress, "Miz Morella, white folks ain't been taking care of us. We have been taking care of white folks. Better ask what you all will do when we are gone and slavery is no more" [p. 51]. How does the novel bring to light the far-reaching repercussions of the dismantling of the slave system? How does the white population limit the freedom of African Americans even after the law has emancipated them? Which segment of white society is most responsible for the rise of racial violence after the war and why? Do Cooper's explanations of the sources of racism remain valid today?
3. What values guide Mor and Lifee as they build a life for themselves and their children? How do they impart these values not only through words but also through their actions? Do you think the portrait Cooper paints is idealized? Are her descriptions of white America (for example, Mor's conversation with his children [pp. 226-228] and Able's discussion of his experiences at college [p. 334]) accurate?
4. What do Cooper's novels share with other books, both fiction and nonfiction, that you have read about the Civil War period? Do her descriptions of the relationships between African Americans and whites before and immediately followingthe war differ from your previous impressions or beliefs? In what ways does Cooper challenge the traditional depiction of the boundaries between slave and master, black and white? Which characters or relationships do you find particularly surprising? Are the white characters as fully developed as the African Americans are?
5. Cooper touches on a wide range of social, economic, and political issues in her writing, including the historical divisions between races and classes; interracial relationships; the significance of complexion in society in general and within the African American community specifically; and the importance of education. What techniques does she use to incorporate these subjects without disrupting the flow of the stories? In what ways can fiction be more effective than nonfiction in revealing the forces that shape our world?
6. In describing Cooper's writing, Alice Walker said, "Her style is deceptively simple and direct and the vale of tears in which her characters reside is never so deep that a rich chuckle at a foolish person's foolishness cannot be heard." How do these traits mirror classic forms of storytelling, from myths and Biblical parables to the folk stories passed down through oral traditions? Why do you think Cooper may have chosen to use these timeless techniques to tell her stories?
(Questions issued by the publisher.)
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