The Hour I First Believed
Wally Lamb, 2008
HarperCollins
768 pp.
ISBN-13: 9780060988432

Summary
In The Hour I First Believed, Lamb travels well beyond his earlier work and embodies in his fiction myth, psychology, family history stretching back many generations, and the questions of faith that lie at the heart of everyday life. The result is an extraordinary tour de force, at once a meditation on the human condition and an unflinching yet compassionate evocation of character.

When forty-seven-year-old high school teacher Caelum Quirk and his younger wife, Maureen, a school nurse, move to Littleton, Colorado, they both get jobs at Columbine High School. In April 1999, Caelum returns home to Three Rivers, Connecticut, to be with his aunt who has just had a stroke. But Maureen finds herself in the school library at Columbine, cowering in a cabinet and expecting to be killed, as two vengeful students go on a carefully premeditated, murderous rampage. Miraculously she survives, but at a cost: she is unable to recover from the trauma. Caelum and Maureen flee Colorado and return to an illusion of safety at the Quirk family farm in Three Rivers. But the effects of chaos are not so easily put right, and further tragedy ensues.

While Maureen fights to regain her sanity, Caelum discovers a cache of old diaries, letters, and newspaper clippings in an upstairs bedroom of his family's house. The colorful and intriguing story they recount spans five generations of Quirk family ancestors, from the Civil War era to Caelum's own troubled childhood. Piece by piece, Caelum reconstructs the lives of the women and men whose legacy he bears. Unimaginable secrets emerge; long-buried fear, anger, guilt, and grief rise to the surface.

As Caelum grapples with unexpected and confounding revelations from the past, he also struggles to fashion a future out of the ashes of tragedy. His personal quest for meaning and faith becomes a mythic journey that is at the same time quintessentially contemporary — and American. (From the publisher.)

Author Bio
• Birth—October 17, 1950
• Where—Norwich, Connecticut, USA
• Education—B.A., M.A., University of Connecticut;
   M.F.A., University of Vermont
• Awards—(see below)
• Currently—lives in Connecticut


Wally Lamb is an American author of several novels, including She's Come Undone (1992) and I Know This Much Is True (1998), The Hour I First Believed (2008), and We Are Water (2013). The first two books were Oprah Book Club selections. Lamb was the director of the Writing Center at Norwich Free Academy in Norwich from 1989 to 1998 and has taught Creative Writing in the English Department at the University of Connecticut.

Early life
Lamb was born to a working-class family in Norwich, Connecticut. Three Rivers, the fictional town where several of his novels are set, is based on Norwich and the nearby towns of New London, Willimantic, Connecticut, and Westerly, Rhode Island. As a child, Lamb loved to draw and create his own comic books—activities which, he says, gave him "a leg up" on the imagery and colloquial dialogue that characterize his stories. He credits his ability to write in female voices, as well as male, with having grown up with older sisters in a neighborhood largely populated by girls.

After graduating from high school, Lamb studied at the University of Connecticut during the turbulent early 1970s era of anti-war and civil-rights protests and student strikes. He holds a B.A. and an M.A. in Education from the University of Connecticut and an M.F.A. in Writing from Vermont College.

Writing
Lamb began writing in 1981, the year he became a first-time father. Lamb's first published stories were short fictions that appeared in Northeast, a Sunday magazine of the Hartford Courant. "Astronauts," published in the Missouri Review in 1989, won the Missouri Review William Penden Prize and became widely anthologize

d. His first novel, She's Come Undone, was followed six years later by I Know This Much Is True, a story about identical twin brothers, one of whom develops paranoid schizophrenia. Both novels became number one bestsellers after Oprah Winfrey selected them for her popular Book Club. Lamb's third novel, The Hour I First Believed, published in 2008, interfaces fiction with such non-fictional events as the Columbine High School shooting, the Iraq War, and, in a story within the story, events of nineteenth-century America. Published the following year, Wishin' and Hopin' was a departure for Lamb: a short, comically nostalgic novel about a parochial school fifth grader, set in 1964. In We Are Water, Lamb returns to his familiar setting of Three Rivers. The novel focuses on art, 1950s-era racial strife, and the impact of a devastating flood on a Connecticut family.

Teaching
Lamb taught English and writing for 25 years at the Norwich Free Academy, a regional high school that was his alma mater. In his last years at the school, Lamb designed and implemented the school's Writing Center, where he instructed students in writing across the disciplines. As a result of his work for this program, he was chosen the Norwich Free Academy's first Teacher of the Year and later was named a finalist for the honor of Connecticut Teacher of the Year (1989). From 1997 to 1999, he was an Associate Professor in the English Department at the University of Connecticut. As the school's Director of Creative Writing, he originated a student-staffed literary and arts magazine, The Long River Review.

Prison work
From 1999 to the present, Lamb has facilitated a writing program for incarcerated women at the York Correctional Institute, Connecticut's only women's prison in Niantic, Connecticut. The program has produced two collections of his inmate students' autobiographical writing, Couldn't Keep It to Myself: Testimonies from Our Imprisoned Sisters and I'll Fly Away: Further Testimonies from the Women of York Prison, both of which Lamb edited.

The publication of the first book became a source of controversy and media attention when, a week before its release, the State of Connecticut unexpectedly sued its incarcerated contributors—not for the six thousand dollars each writer would collect after her release from prison but for the entire cost of her incarceration, calculated at $117 per day times the number of days in her prison sentence. When one of the writers won a PEN/Newman's Own First Amendment Award, given to a writer whose freedom of speech is under attack, the prison destroyed the women's writing and moved to close down Lamb's program. These actions caught the interest of the CBS 60 Minute; the State of Connecticut settled the lawsuit and reinstated the program shortly before the show was aired.

Influences
Lamb says he draws influence from masters of long- and short-form fiction, among them John Updike, Flannery O'Connor, F. Scott Fitzgerald, Willa Cather, Edith Wharton, Raymond Carver, and Andre Dubus.

He credits his perennial teaching of certain novels to high school students with teaching him about "the scaffolding" of longer stories. Among these, Lamb lists Harper Lee's To Kill a Mockingbird, Mark Twain's The Adventures of Huckleberry Finn, and J.D. Salinger's The Catcher in the Rye. He says Joseph Campbell's The Hero with a Thousand Faces and other anthropological analyses of the commonalities of ancient myths from diverse world cultures helped him to figure out the ways in which stories, ancient and modern, can illuminate the human condition. Lamb has also stated that he is influenced by pop culture and artists who work in other media. Among these he mentions painters Edward Hopper and René Magritte.

Honors and awards
Lamb's writing awards include grants from the National Endowment for the Arts and the Connecticut Commission on the Arts, the Connecticut Center for the Book's Lifetime Achievement Award, selections by Oprah's Book Club and Germany's Bertelsmann Book Club, the Pushcart Prize, the New England Book Award for Fiction, and New York Times Notable Books of the Year listings.

She's Come Undone was a finalist for the Los Angeles Times's Best First Novel Award and one of People magazine's Top Ten Books of the Year. I Know This Much Is True won the Friends of the Library USA Readers' Choice Award for best novel of 1998 and the National Alliance for the Mentally Ill's Kenneth Johnson Award for its anti-stigmatizing of mental illness.

Teaching awards for Lamb include a national Apple Computers "Thanks to Teachers" Excellence Award and the Barnes and Noble "Writers Helping Writers" Award for his work with incarcerated women. Lamb has received Honorary Doctoral Degrees from several colleges and universities and was awarded Distinguished Alumni awards from Vermont College of Fine Arts and the University of Connecticut. (From Wikipedia. Retrieved 9/14/13.)

Book Reviews
A great story is buried in Wally Lamb's avalanche of a novel, The Hour I First Believed, but only the most determined readers will manage to dig it out.... The author can be a captivating storyteller, and he has built this story on one of the most shocking acts of violence in modern history. Sadly, though, his new novel becomes so burdened by diversions, delays, tangents and side plots that the whole rambling enterprise grows maddening....Lamb doesn't provide the sort of psychological insight into the perpetrators that we got from Richard Russo's and Lionel Shriver's novels about school shootings, but he knows just how to let the details of a tragedy unfold without decoration or commentary. He's a master at the kind of direct, unadorned narrative that brings these events alive in all their visceral power. The most terrifying section of The Hour I First Believed is essentially a docudrama of the Columbine massacre, describing the actual events, naming the real victims and heroes and providing chilling excerpts from Klebold's and Harris's journals and videotapes.
Ron Charles - Washington Post

A novel of this length, filled with one troubled soul after another, could take an eternity to get through. And there are times when Lamb's tale could have benefited from a more ruthless editor. But to use an age-old cliché, it's a page-turner — at times a depressing page-turner, but a page-turner nonetheless. Lamb remains a storyteller at the top of his game. For some reason, you care about these people."
USA Today

Reading Wally Lamb's new novel, his first in 10 years, is akin to putting on flannel pajamas during the first cold snap of the season. Nothing fancy here. But what a comfort to get lost in Lamb's characters.
Cleveland Plain Dealer

Lamb is exceptional in his exploration of the direct and indirect impacts of survivor guilt. And he makes it clear that, no matter how much the hearts of the community went out to those who lost loved ones and to those scarred by the killers, we still weren't capable of walking in their shoes.
Denver Post

But although the book is the long, luxurious and enjoyable read that Lamb fans have come to love, The Hour I First Believed ultimately fails to tie these events together into a coherent statement on the contemporary American experience. Instead, Lamb has crafted another affecting, engrossing tome about complicated, interesting characters.
Minneapolis Star Tribune

The beauty of The Hour I First Believed, a soaring novel as amazingly graceful as the classic hymn that provides the title, is that Lamb never loses sight of the spark of human resilience. Faced with tragedy, we stagger on. Or at least we try to, and Lamb's dexterity at reflecting this wonder is the lifeblood of his book.
Miami Herald

(Audio version.) Lamb’s third novel tackles the Columbine high school shooting head on as he places his fictional protagonists into the horrific events of April 1999. Caelum and his wife, Maureen, move to Colorado for teaching jobs at Columbine not long before the shootings. As the events unfold, Maureen finds herself in harms way but luckily survives, only to be haunted by the occurrence. Narrator George Guidall reads with an earnest, familiar voice. He draws listeners into this fascinating tale with nothing more than raw emotion and honesty; rarely does such a straightforward performance tap into the human psyche so effectively.
Publishers Weekly


In a sprawling narrative that contains enough tragedy for three novels, Lamb tells the story of 47-year-old English teacher Caelum Quirk and his third wife, Maureen, a nurse. After almost breaking up over Maureen’s infidelity, the two move to Littleton, Colorado, hoping for a fresh start.... Lamb’s overlong narrative and endless recitation of tragedy dilute the power of his story. Still, his particular brand of hope-and-despair fiction holds a powerful allure for his fans, who will be lining up for this long-awaited novel. —Joanne Wilkinson
Booklist

Book Club Discussion Questions
1. The Hour I First Believed deals with many themes: violence, family, the quest for meaning and connection, faith, and the power of chaos to change our lives. These themes are stitched together by two opposing emotional states—despair and hope. How are these two oppositional states intertwined in the story? How are they demonstrated in the story? Use any of the character's lives as an example.

2. Do you believe that out of chaos—tragedy—comes understanding and hope? Is this always the case?

3. Can perpetrators of chaos be victims themselves? Which, if any of the characters, demonstrate this? If you answer no, why not?

4. One of the major themes of the book is violence. Can violence ever be justified? Is it sometimes necessary? Think about the sacrifices of Caelum's ancestors who gave their lives to free the slaves and save the Union. Or those who have lost their lives in other conflicts. Is war always immoral?

5. Scientists say we all have the capability of violence. What stops some from hurting others? What might propel the unassuming to commit a tragic act? How is this evident in the novel?

6. Discuss the main characters. What were your impressions of Caelum and Maureen? Of Velvet? What about the real-life perpetrators of Columbine, Eric and Dylan? Did your impressions of these characters change over the course of the novel? If so, why?

7. How does Caelum and Maureen's relationship evolve from the beginning of the story to its conclusion? Why did they stay together? Would either have been justified in divorcing the other? If they had separated, what might have happened to them?

8. Why does Velvet call Maureen Mom? What is their relationship? Why do you think they were able to form such a powerful bond? What did each give to the other? What is Velvet's relationship to Caelum? Why does he find it so difficult to sympathize with the girl when she is his student?

9. How does the arrival of Katrina survivors Janis and Moze affect Caelum's life? What does their appearance add to the story?

10. Velvet tells Caelum that she Googled his name and discovered it was a constellation. According to Webster's Dictionary, a constellation is "a group of stars forming a recognizable pattern that is traditionally named after its apparent form or identified with a mythological figure; a group or cluster of related things." Does the novel's main character embody this definition? How so?

11. Do you think Caelum could have found his hour of belief without the events he experienced? Do you think he could have learned to believe without discovering the stories of his parents, his aunt, and other family members who went before him?

12. What does the title The Hour I First Believed mean to you? Have you had a moment of belief or witnessed it in another's life?

13. In the "Afterword" Wally Lamb writes, "I placed my fictional protagonist inside a confounding nonfictional maze and challenged him to locate, at its center, the monsters he would need to confront and the means by which he might save himself and others. Along the way to discovering Caelum Quirk's story, I, too, wandered down corridors baffling and unfamiliar." Did reading the novel take you to unexpected places or raise unfamiliar feelings? Explain.

14. Caelum's aunt, Lolly, lived by the philosophy of the sign that hung behind her desk at the prison: "A woman who surrenders her freedom need not surrender her dignity." What did that mean to Lolly? What does that mean to you? Did Maureen find freedom in her imprisonment?

15. The novel recalls the debate of nature versus nurture. How much are we the sum of our families? How much can we change?

16. Fate and free will also play a role throughout the novel. How are the two connected? How are fate and free will related to nature and nurture?

17. In his community college class, Caelum asks his students to relate the Greek myths to their own lives. In reading their responses to his question, which, if any resonate with your own life?

18. Throughout the novel, Wally Lamb interweaves numerous calamities that have befallen our country, from school violence to Hurricane Katrina to the Iraq War, that have touched all of us to some degree. Can you find hope in any of these dramas? If so, what?

19. We live in a society that believes more in punishment and retribution than in rehabilitation when it comes to the incarcerated—a far different view than that held by Caelum's aunt, Lolly, a correctional officer at a successful women's prison before she was forced into retirement. Do you believe in rehabilitation? Do you think kindness is important even when it comes to criminals? Why or why not?

20. Wally Lamb has worked within the prison system, using his gifts to reach out and help inmates. Have your views of crime, prison, and criminals changed in any way from your reading of the novel?

21. One critic called Wally Lamb a "modern-day Dostoyevsky," whose characters struggle not only with their respective pasts, but with a "mocking, sadistic God" in whom they don't believe but to whom they turn, nevertheless, in times of trouble (New York Times). Do you think this describes The Hour I First Believed?

22. If you've read Wally Lamb's previous novels, compare and contrast them with The Hour I First Believed.

23. If you've read the autobiographical essays written by the women in Wally Lamb's York Prison workshop (Couldn't Keep It To Myself, I'll Fly Away), would you say that Lamb's work with these students informed the plot of The Hour I First Believed? If so, in what ways?

24. The Hour I First Believed interfaces fictional characters with actual people who are alive today and people from the historical past. Did you enjoy this technique or not? Is it fair or unfair to blend fiction and nonfiction? Was it fair of Lamb to draw on the actual Columbine tragedy, or should he have created a fictional school shooting incident?

25. Caelum makes note of the irony of a maze: how that which seems illogical and confounding on the ground looks logical and ordered from above. Explain how these two perspectives apply to Caelum's life story as well.

26. The novel's final two sentences are: Yes, that was when at last it happened. That was The Hour I First Believed. Identify the hour to which Caelum refers? That which Caelum came to believe is open to interpretation. How do you interpret what the character finally believed?

27. Play the casting game. If a movie were to be made of this novel, which actors would you cast in the key roles?
(Questions issued by publisher.)

top of page (summary)

Slumdog Millionaire (originally published as Q & A)
Vikas Swarup, 2005
Simon & Schuster
336 pp.
ISBN-13: 9781439136652


Summary 
Vikas Swarup's spectacular debut novel opens in a jail cell in Mumbai, India, where Ram Mohammad Thomas is being held after correctly answering all twelve questions on India's biggest quiz show, Who Will Win a Billion? It is hard to believe that a poor orphan who has never read a newspaper or gone to school could win such a contest. But through a series of exhilarating tales Ram explains to his lawyer how episodes in his life gave him the answer to each question.

Ram takes us on an amazing review of his own history—from the day he was found as a baby in the clothes donation box of a Delhi church to his employment by a faded Bollywood star to his adventure with a security-crazed Australian army colonel to his career as an overly creative tour guide at the Taj Mahal.

Swarup's Q & A [Slumdog Millionaire] is a beguiling blend of high comedy, drama, and romance that reveals how we know what we know — not just about trivia, but about life itself. Cutting across humanity in all its squalor and glory, Vikas Swarup presents a kaleidoscopic vision of the struggle between good and evil — and what happens when one boy has no other choice in life but to survive. (From the publisher.)

Author Bio 
• Birth—1963
• Where—Allahabad, India
• Education—Allahabad University
• Awards—Exclusive Book Boeke Prize (South Africa); Prix
  Grand Public (France)
• Currently—posted to Pretoria, South Africa

Vikas Swarup is a 1986 Indian Foreign Service bureaucrat, an Indian novelist and diplomat who has served in Turkey, the United States, Ethiopia and Great Britain. He was born in Allahabad into a family of lawyers and did his schooling at Boys' High School & College, Allahabad. He pursued further studies at Allahabad University in Psychology, History and Philosophy. In 1986 he joined the Indian Foreign Service. Since August, 2006, he has been posted in Pretoria as India's Deputy High Commissioner to South Africa.

Swarup's debut novel, Q and A, [aka Slumdog Millionaire in film] tells the story of a penniless waiter in Mumbai who becomes the biggest quiz show winner in history. Critically acclaimed in India and abroad, this international bestseller has been translated into 41 languages.

Acclaim: book and film
• The novel was shortlisted for the Best First Book by the Commonwealth Writers' Prize and won South Africa’s Exclusive Books Boeke Prize 2006, as well as the Prix Grand Public at the 2007 Paris Book Fair.

• A BBC radio play based on the book won the Gold Award for Best Drama at the Sony Radio Academy Awards 2008 and the IVCA Clarion Award 2008.

• Harper Collins brought out the audio book, read by Kerry Shale, which won the Audie for best fiction audio book of the year.

• Film4 of the UK had optioned the movie rights and the movie titled Slumdog Millionaire (SDM) directed by Danny Boyle was first released in the US to great critical acclaim.

• SDM won the People's Choice Award at the Toronto Film Festival and three awards (Best Film, Best Director and Most Promising Newcomer) at the British Independent Film Awards 2008.

• The National Board of Review picked SDM as the best film of 2008.

• The movie swept five awards out of its six nominations at the Critics' Choice Awards, and all four nominations awarded at the Golden Globe Awards which includes best director, picture, screenplay & score, and seven BAFTA Awards.

• It received 10 Oscar nominations of which it won 8, including Best Picture and Best Director, as well as prizes for cinematography, sound mixing, score and film editing. SDM’s eight Oscars was the largest total won by a single film since The Lord of the Rings: The Return of the King won 11 in 2004.

More
Swarup's second novel Six Suspects, (2008) and has been translated into several languages and optioned for a film by the BBC and Starfield productions.

Swarup's short story "A Great Event" has been published in The Children’s Hours: Stories of Childhood, an anthology of stories about childhood to support Save the Children and raise awareness for its fight to end violence against children.

Vikas Swarup has participated in the Oxford Literary Festival, the Turin International Book Fair, the Auckland Writers’ Conference, the Sydney Writers’ Festival, the Kitab Festival in New Delhi, the St. Malo International Book & Film Festival in France, the Words on Water Literary Festival at the University of the Witwatersrand in Johannesburg, and the Jaipur Literature Festival in India.

He and his wife, Aparna, have two sons, Aditya and Varun. (From Wikipedia.)

Book Reviews
It was an inspired idea by Vikas Swarup to write Q & A.... A broad and sympathetic humanity underpins the whole book
Sunday Telegraph (London)

A rare, seemingly effortless brew of humour, drama, romance and social realism.... Swarup...has achieved a triumph with this thrilling, endearing work which gets into the heart and soul of modern India.
New Zealand Herald

Vikas Swarup weaves a delightful yarn. With an easy style, Q & A is sweet, sorrowful and funny. An enchanting tale.
Sunday Tribune (India)

Ram's funny and poignant odyssey explores the causes of good and evil and illustrates how, with a little luck, the best man sometimes wins. Deborah Donovan
Booklist

When Ram Mohammad Thomas, an orphaned, uneducated waiter from Mumbai, wins a billion rupees on a quiz show, he finds himself thrown in jail. (Unable to pay out the prize, the program's producers bribed local authorities to declare Ram a cheater.) Enter attractive lawyer Smita Shah, to get Ram out of prison and listen to him explain, via flashbacks, how he knew the answers to all the show's questions. Indian diplomat Swarup's fanciful debut is based on a sound premise: you learn a lot about the world by living in it (Ram has survived abandonment, child abuse, murder). And just as the quiz show format is meant to distill his life story (each question prompts a separate flashback), Ram's life seems intended to distill the predicament of India's underclass in general. Rushdie's Midnight's Children may have been a model: Ram's brash yet innocent voice recalls that of Saleem Sinai, Rushdie's narrator, and the sheer number of Ram's near-death adventures represents the life of the underprivileged in India, just as Saleem wore a map of India, quite literally, on his face. But Swarup's prose is sometimes flat and the story's picaresque form turns predictable. Ram is a likable fellow, but this q&a with him, though clever, grows wearying.
Publishers Weekly

Discussion Questions 
1. Why does Vikas Swarup choose the name “Ram Mohammad Thomas” for his protagonist? The names represent three different religions—besides displaying India’s diversity, what does this say about Ram Mohammad Thomas as a person?

2. When Ram recounts the story of Father Timothy, he repeatedly refers to himself as an “idiot orphan boy” (pg. 49). Considering how well Father Timothy treats him, why does he describe himself in this manner?

3. Ram has a recurring dream of a tall woman with black hair that obscures her face. At what moments does he have this dream, and why? What does this woman represent? Is she his biological mother? A symbol of hope? Abandonment?

4. In telling Gudiya’s story, Ram asks “But what was Gudiya’s crime? Simply that she was born a girl and Shantaram was her father?” (pg. 68). Are there other women in this novel who are treated poorly simply because of their sex? Do any female characters not need Ram’s protection? How would you describe his relationships with women?

5. Several characters, especially Ram and Salim, are big movie fans. Is there a reason for this? Do films help them escape their frequently dreary lives, is it simply a significant part of their culture, or is there another reason?

6. What are Ram’s ambitions in life? Why does he tell Prem Kumar he doesn’t know how he’s going to spend the billion rupees? Why does Ram turn in Colonel Taylor? Is this retribution for the colonel’s spying, his derogatory comments about Indians, or for the way he treats his family? Or does Ram simply want to collect his wages before returning to Mumbai?

7. “The city may have chosen to ignore the ugly growth of Dharavi, but a cancer cannot be stopped simply by being declared illegal” (pg. 134). Are there any other problems that go unacknowledged because they’re too painful to face? If so, what impact does this have on the characters?

8. What do you think of Salim’s decision to give Ahmed, the hit man, a picture of Maman? Did Salim have another choice? Is he guilty of murder? Did Ram have other options besides throwing Shantaram down the stairs? Are these violent acts justifiable considering the behavior of the victims?

9. Consider the impact of Western culture on Ram. He dreams of eating at places like McDonald’s and Pizza Hut, and he practices “speaking Australian.” Why is this important to him?

10. Why does Ram want to have “manageable dreams” (pg. 279)? What does he mean by this? And does this conflict with him appearing on a game show to win one billion rupees?

11. Considering he believes he’s already murdered two people, why is Ram unable to kill Prem Kumar?

12. How do you think Ram changes, if at all, during his eighteen years? Is he a stronger person at the end of Q&A than he was as a boy? Which journey had the greatest impact on him, either for better or worse?

13. “I realized a long time ago that dreams have power only over your own mind; but with money you can have power over the minds of others” (pg. 316). In relation to this novel, would you agree with this statement? Are there characters without money that are able to influence others?

14. Despite his lack of formal education, Ram is able to answer twelve questions correctly in order to win a billion rupees. Was this pure luck, or do you think he’ll always be able to find the answers to life’s many questions? What do you envision the future holds for Ram?
(Questions issued by publisher.)

top of page (summary)

The Two Hearts of Kwasi Boachi
Arthur Japin, 1997 (Eng. trans., 2000)
Knopf Doubleday
400pp.
ISBN-13: 9780375718892

Summary
“The first ten years of my life I was not black.”

Thus begins this startlingly eloquent and beautiful tale based on the true story of Kwasi Boachi, a 19th-century African prince who was sent with his cousin, Kwame, to be raised in Holland as a guest of the royal family.

Narrated by Kwasi himself, the story movingly portrays the perplexing dichotomy of the cousins' situation: black men of royal ancestry, they are subject to insidious bigotry even as they enjoy status among Europe’s highest echelons. As their lives wind down different paths–Kwame back to Africa where he enlists in the Dutch army, Kwasi to an Indonesian coffee plantation where success remains mysteriously elusive—they become aware of a terrible truth that lies at the heart of their experiences.

Vivid, subtle, poignant and profound, The Two Hearts of Kwasi Boachi is an exquisite masterpiece of story and craft, a heartrending work that places Arthur Japin on a shelf that includes Joseph Conrad, J.M. Coetzee, Kazuo Ishiguro and Nadine Gordimer. (From the publisher.)

Author Bio
• Birth—July 26, 1956
• Where—Haarlem, The Netherlands
• Education—Kleinkunstacademie
• Awards—see below
• Currently—lives in

Arthur Valentijn Japin is a renowned Dutch novelist.

His parents were Bert Japin, a teacher and writer of detective novels, and Annie Japin-van Arnhem. After a difficult childhood—his father killed himself when Arthur was twelve years old —Japin entered the Kleinkunstacademie in Amsterdam, where he trained as an actor. He was also briefly an opera singer at De Nederlandse Opera in Amsterdam.

His first novel, De zwarte met het witte hart (1997), translated as The Two Hearts of Kwasi Boachi, was the story of two Ashanti princes, Kwame Poku and Kwasi Boachi, who were taken from today's Ghana and given as gifts to the Dutch king Willem II in 1837. Based in part on Japin's own traumatic youth, and based on ten years of research in the Netherlands, Germany, Africa, and Indonesia, the book became a bestseller and is considered to be a classic of modern Dutch literature. In November 2007, an opera based on the novel premiered in Rotterdam, with an English libretto by Arthur Japin and music by the British composer Jonathan Dove.

His second book, De droom van de leeuw, (2002), is a novelized version of his relationship with the Dutch actress and novelist Rosita Steenbeek in Rome, where Steenbeek became the last lover of the Italian director Federico Fellini.

His third novel, Een schitterend gebrek, translated as In Lucia's Eyes (2003), was a return to the historical novel, about Casanova's first lover, Lucia, who, he reports in his Memoirs, inexplicably abandoned him in his youth, only to resurface years later as a hideous prostitute in an Amsterdam brothel.

His fourth novel, De overgave, translated as Someone Found, takes the subject of the 19th-century Texas Indian wars, dramatizing the story of the Fort Parker Massacre of 1836, in which a white girl, Cynthia Ann Parker, was taken as a Comanche hostage, later becoming the mother of the famous Comanche chief Quanah Parker.

Japin has also published several volumes of stories. The first two, Magonische verhalen and De vierde wand, were gathered into the omnibus Alle verhalen, (2005). Magonische verhalen was made into the film Magonia by the Dutch director Ineke Smits.

Japin was the author of the Boekenweekgeschenk (Book Week Gift) 2006, De grote wereld, a short novel about a pair of circus-performing dwarves caught in Nazi Germany, which had a record first printing of 813,000 copies. He has won almost every prestigious prize in Dutch literature, including the Libris Prize for In Lucia's Eyes. Japin lives in Utrecht, the Netherlands.

Awards
1990 - Gorcumse Literatuurprijs for De klap van Ediep Koning
1995 - LIRA-prijs for De roering van het kielzog
1995 - Literaire prijs van de provincie Gelderland for De draden van Anansi
1998 - Lucy B. en C.W. van der Hoogtprijs for De zwarte met het witte hart
1998 - Halewijn-literatuurprijs van de stad Roermond for the body of his work
1999 - ECI-prijs voor Schrijvers van Nu for De zwarte met het witte hart
2004 - Libris literatuurprijs for Een schitterend gebrek
2005 - De Inktaap for Een schitterend gebrek
2008 - NS
(Author bio from Wikipedia.)

Book Reviews
The Two Hearts of Kwasi Boachi works on us as a novel, thought it makes use of certain documentary devices, letters, journals, etc. There is no conflict here; the diary Kwame sends Kwasi in the days before his suicide is among the book's finest achievemtns. The whole is as seamless in its artistry as it is moving in its emotional investigation.
Times Literary Supplement (UK)


A fascinatingly ambitious first novel...a historically complex, richly empathetic account.... [The book] has an arch, devastating delicacy that conveys its ideas about colonialism with bitter ease....[though] less successful when spelling things out more literally.
Janet Maslin - New York Times


Rich and risky.... A less exact and intelligent writer might have made a sermon out of these facts.... A deeply humane book about a spectacularly exotic subject. It has a spaciousness and stamina, and an unforced sense of history.
Michael Pye - New York Times Book Review


A classic tragedy.... This is a true story, fully and humanly imagined, and that is the measure of Japin’s accomplishment.
San Francisco Chronicle


Dutch singer/actor Japin's debut draws on extraordinary real-life material: in 1837 two young Ashanti princes, Kwasi and Kwame, were taken to Holland, ostensibly to receive a European education, but in fact as peons in a cynical exchange between the Ashanti king (Kwame's father) and the still active slave traders. Kwasi tells the strange story as a gentle, peevish old man living on a failed coffee plantation in Java at the turn of the century. He remembers his jungle boyhood with cousin Kwame, the coming of the Dutch traders and his and Kwame's early years as curiosities at a Dutch school. Later embraced by the royal court, the two went on to college and became offbeat figures in Dutch society, struggling to persuade themselves that they had really found a new life. Kwasi, the more adaptable, cherished a passion for a Dutch princess until she married elsewhere for convenience. Kwame, deeply uneasy at his equivocal role, joined the army and was posted back to Africa where, eventually realizing that he was a mere plaything of the Dutch, he killed himself. Only toward the end of his life is Kwasi aware that he, too, has lived in self-deception. Japin tells the tale with imaginative empathy and, in the case of Kwame, truly powerful poetic re-creation. However, his incorporation of text from authentic 19th-century documents is disconcerting. This is an unusual story that could appeal to an appetite for the odd corners of history, but perhaps is too close to history to please the lovers of literary fiction who would at first seem to be its natural readers.
Publishers Weekly


Based on the true story of two young African Ashanti princes sent to Holland in 1837, this first novel by a Dutch actor/opera singer explores in compelling fashion the themes of race, assimilation, and prejudice. Kwame and Kwasi are sent to Holland ostensibly to be educated, but in reality they are pawns in a deal that allowed for the continued surreptitious trade of slaves ("recruits" in treaty terms). Thrust into the totally alien environment of a Dutch boarding school, the two princes prove to be bright, ambitious learners whose status provides entry into the highest levels of society, where they nevertheless find themselves regarded more as curiosities than as equals. The once intimate cousins choose different paths in attempting to deal with their "separateness"; Kwasi tries his best to assimilate, while Kwame is determined to retain and assert his African-ness. Given our increasingly diverse society, this exploration of the difference between tolerance and of acceptance is both evocative and important. An excellent choice for any academic or public library. —David W. Henderson, Eckerd Coll. Lib., St. Petersburg, FL
Library Journal


Quietly moving, Japin's novel is a powerful study of displacement and disillusionment. —Kristine Huntley
Booklist


[A] brilliant first novel, a compact epic of the consequences of European colonization of Africa, written by a Dutch Renaissance man who's also a well-known actor and opera singer. Based on the true story of two African princes, cousins who are uprooted from their Gold Coast Ashanti village and sent to Amsterdam in 1837 to be educated, it's a potent dramatization of culture shock, ethnic injustice, and exploitation—revealed by a narrator who only gradually realizes how much has been taken from him. He's the eponymous Kwasi, who writes the story of his life in 1900 while residing on a coffee plantation in Java, following the last of several token appointments granted him by the Dutch government. Kwasi recalls experiences shared with his cousin Kwame, as beneficiaries of a regime eager to retain its rights to a thriving slave trade. Kwasi consents to"blend in," unlike his troubled cousin, whose determination to"stand out" widens the ever-increasing gap between them. The one "assimilates" perfectly to European culture; the other enters the Dutch colonial army, finally returning to Africa, unable—as he had long feared—to live among his people any longer. Japin crystallizes these conflicts in several stunning scenes: episodes at a boarding school, and later at the Dutch court, where the cousins are alternately welcomed and abused; a painful public speech given by Kwasi, in which he loftily criticizes "the religion, customs, and thinking of my forebears"; a long exchange of letters after the cousins are separated for the last time; and particularly a moment of blinding clarity when Kwasi, examining a daguerreotype of himself, sees both "a white man with a black shadow, and a dark man with a white aura ... [and regretfully concludes that] I have been both these men." As artful and moving an analysis of the tragedy of colonialism as we have seen in many years.
Kirkus Reviews

Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:

• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)

Also consider these LitLovers talking points to help get a discussion started for The Two Hearts of Kwasi Boachi:

1. Talk about Japin's use of imagery—for example, the portrait of the princes, the wounded monkey, and the butterflies in the mine. What do the images signify, and how do they deepen the story's impact?

2. The Dutch title of this work is "The Black Man with the White Heart." Which title do you prefer, English or Dutch? Why might the English publishers have changed the title?

3. How did the 19th-century Dutch manage to get around the prohibition against slavery?

4. How are the two young cousins different from one another? Why did they choose different paths for living in Dutch society—Kwasi wishing to assimilate, to blend in; Kwami to stand out and maintain his African identify. Talk about the consequences of those two choices—how did Kwasi's assimilation and Kwami's separatism end up shaping their lives?

5. Were you surprised at the physical acts of violence that the two young princes met while attending the school in Delft? Are there any parallels to racism in the 21st Century? To what degree does racism still exist today? 

6. To what degree is Kwasi, in particular, aware of racism and the barrier against his black skin color?

7. What was behind Kwasi's speech to the students' club in which he repudiates his African origins?

8. Princess Sophie and Kwasi were both outsiders living in royal circles—they didn't belong. What would it feel like to never "belong" somewhere. How would that sense of dislocation shape your identity?

9. How does older Kwasi make fun of the portrait he and Kwami had painted with the major general? What was the message the portrait was intended to convey?

10. What do both Kwasi and Kwami come to understand about their treatment by their Dutch hosts?

11. Years later, Kwame recalls Holland and thinks that "a vast panorama is necessarily finite." When he thinks of the jungles of Africa, however, he writes, "an obstructed view suggests infinity."

12. Kwasi opens the book with this statement:

The first ten years of my life I was not black. I was in many ways different from those around me, but not darker. That much I know. Then came the day when I became aware that my colour had deepened. Later, once I was black, I paled again.

How does this passage reflect the narrative arc of the book? What does Kwasi mean when he says that he "was not black" as a child and that later he "paled again"?

13. How does Kwasi come to discover and define his identity, his soul?

14. Talk about the government mandate regarding "noblesse de peau," which Kwasi finally reads. Were you shocked by its blatancy? Was Kwasi? Or had he come by then to understand the barrier of skin color?

15. Japin frames The Two Hearts, beginning and end, with an older Kwasi reflecting on his life. Why would the author have framed his novel using the voice of an older man?

(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)

top of page

A Change in Altitude 
Anita Shreve, 2009
Little, Brown & Co.
320 pp.
ISBN-13: 9780316020718


Summary
Margaret and Patrick have been married just a few months when they set off on what they hope will be a great adventure-a year living in Kenya. Margaret quickly realizes there is a great deal she doesn't know about the complex mores of her new home, and about her own husband.

A British couple invites the newlyweds to join on a climbing expedition to Mount Kenya, and they eagerly agree. But during their harrowing ascent, a horrific accident occurs. In the aftermath of the tragedy, Margaret struggles to understand what happened on the mountain and how these events have transformed her and her marriage, perhaps forever.

A Change in Altitude illuminates the inner landscape of a couple, the irrevocable impact of tragedy, and the elusive nature of forgiveness. With stunning language and striking emotional intensity, Anita Shreve transports us to the exotic panoramas of Africa and into the core of our most intimate relationships. (From the publisher.)

Author Bio
• Birth—1946
• Raised—Dedham, Massachusetts, USA
• Education—B.A. Tufts University
• Awards—PEN/L.L. Winship Award; O. Henry Prize
• Currently—lives in Longmeadow, Massachusetts


Anita Shreve is the acclaimed author of nearly 20 books—including two works of nonfiction and 17 of fiction. Her novels include, most recently, Stella Bain (2013), as well as The Weight of Water (1997), a finalist for England's Orange prize; The Pilot's Wife (1998), a selection of Oprah's Book Club; All He Even Wanted (2003), Body Surfing (2007); Testimony (2008); A Change in Altitude (2010). She lives in Massachusetts. (From the publisher.)

More
For many readers, the appeal of Anita Shreve’s novels is their ability to combine all of the escapist elements of a good beach read with the kind of thoughtful complexity not generally associated with romantic fiction. Shreve’s books are loaded with enough adultery, eroticism, and passion to make anyone keep flipping the pages, but the writer whom People magazine once dubbed a “master storyteller” is also concerned with the complexities of her characters’ motivations, relationships, and lives.

Shreve’s novels draw on her diverse experiences as a teacher and journalist: she began writing fiction while teaching high school, and was awarded an O. Henry Prize in 1975 for her story, "Past the Island, Drifting." She then spent several years working as a journalist in Africa, and later returned to the States to raise her children. In the 1980s, she wrote about women’s issues, which resulted in two nonfiction books—Remaking Motherhood and Women Together, Women Alone—before breaking into mainstream fiction with Eden Close in 1989.

This interest in women’s lives—their struggles and success, families and friendships—informs all of Shreve’s fiction. The combination of her journalist’s eye for detail and her literary ear for the telling turn of phrase mean that Shreve can spin a story that is dense, atmospheric, and believable. Shreve incorporates the pull of the sea—the inexorable tides, the unpredictable surf—into her characters’ lives the way Willa Cather worked the beauty and wildness of the Midwestern plains into her fiction. In Fortune’s Rocks and The Weight of Water, the sea becomes a character itself, evocative and ultimately consuming. In Sea Glass, Shreve takes the metaphor as far as she can, where characters are tested again and again, only to emerge stronger by surviving the ravages of life.

A domestic sensualist, Shreve makes use of the emblems of household life to a high degree, letting a home tell its stories just as much as its inhabitants do, and even recycling the same house through different books and periods of time, giving it a sort of palimpsest effect, in which old stories burn through the newer ones, creating a historical montage. "A house with any kind of age will have dozens of stories to tell," she says. "I suppose if a novelist could live long enough, one could base an entire oeuvre on the lives that weave in and out of an antique house."

Shreve’s work is sometimes categorized as "women’s fiction," because of her focus on women’s sensibilties and plights. But her evocative and precise language and imagery take her beyond category fiction, and moderate the vein of sentimen-tality which threads through her books. Moreover, her kaleidoscopic view of history, her iron grip on the details and detritus of 19th-century life (which she sometimes inter-sperses with a 20th-century story), and her uncanny ability to replicate 19th-century dialogue without sounding fusty or fussy, make for novels that that are always absorbing and often riveting. If she has a flaw, it is that her imagery is sometimes too cinematic, but one can hardly fault her for that: after all, the call of Hollywood is surely as strong as the call of the sea for a writer as talented as Shreve. (Adapted from Barnes & Noble.)

Book Reviews
Shreve, who worked in Kenya as a journalist early in her career, returns to that country in her slow latest, the story of a photojournalist and her doctor husband, whose temporary relocation abroad goes sour. The year-long research trip is an opportunity for Patrick, but leaves Margaret floundering in colonialist culture shock, feeling like “an actor in a play someone British had written for a previous generation.” When a climbing trip to Mt. Kenya goes fatally wrong, Margaret's role in the tragedy drives a quiet wedge between the couple. Compounding those stressors are multiple robberies and adulterous temptations, as well as Margaret's freelance work for a “controversial” newspaper. Written in a strangely emotionless third person, the novel is stuffed with travelogues and vignettes of privileged expatriate life, including the chestnut of Margaret feeling very guilty about being given a rug she admires. While some of these moments aren't bad, the scant dramatic tension and direct-to-video plot make this a slog.
Publishers Weekly


Margaret and Patrick are 28-year-old Bostonians living in Kenya in 1977. He's a doctor researching tropical diseases, while she dabbles in photography. They live in the guest house of Brits Arthur and Diana. An impulsive plan to climb to the top of Mount Kenya elicits varied responses from the group, which eventually will include a Swiss couple as well. While most see a challenge, if a mild one, Margaret is terrified, scrambling for a way to back out. Ultimately, tragedy strikes, and everyone, including Patrick, looks to Margaret as its cause. The country's race relations contribute to Margaret's feelings of remorse, pushing her to find a job and perhaps a new love. Verdict: The usual pinpoint precision of Shreve's (Testimony) prose is not in evidence here, as readers must work to discover the novel's time frame, and accusations of Margaret's complicity in the accident seem out of proportion, as does her sense of guilt. People who might consider an excursion to Mount Kenya will undoubtedly cancel their airfare and buy a new armchair instead. Fans will demand this one, though. —Bette-Lee Fox
Library Journal


Shreve sends a young American couple up Mt. Kenya, with disastrous consequences for their marriage. Margaret and Patrick have been in Nairobi for three months. He came to pursue research in tropical diseases while offering his services as a doctor in free clinics; she was bored with her job at a Boston alternative weekly and hopes to find more interesting photography opportunities in Africa. Neither is an experienced climber, nor do they especially like their landlords, Arthur and Diana, who suggest the expedition. But they go along anyway, and it's athletic Diana who falls to her death. Is Margaret to blame because Diana was exasperated by her slowness and enraged by Arthur's attentions to the younger woman? Patrick thinks so and says so to his wife; their relationship is on shaky ground for the remainder of the story. It's not clear precisely what Shreve intends to convey in her tale. She unsparingly depicts the poverty and corruption of late-1970s Kenya and sends Margaret to work at a reforming newspaper whose editor is eventually arrested, but politics are not a central concern. Margaret, the point-of-view character, is a sensitive and thoughtful observer who can't seem to take hold of her life. Patrick will strike most readers as cold and judgmental from the start; it's hard to understand what Margaret ever saw in him, and her attraction to a reporter at the Kenya Morning Tribune isn't much more compelling. The second climb up Mt. Kenya, taken a year after the first, does not in the least meet Patrick's goal of expunging the "deadly silence" and "devastating mistrust" that have enveloped the couple, but it does restore Margaret's self-respect and make clearthe state of their marriage. Commendably tough-minded and unsentimental, but not very engaging.
Kirkus Reviews

Discussion Questions 
1. How would you interpret the novel’s title? Does the concept of altitude have significance in the story beyond its literal meaning?

2. During the drive to Mt. Kenya, Margaret and Patrick talk about whether photography detaches you from the present or helps you immerse yourself in it more fully (75). In your own life, do you find that taking photographs enriches experiences or prevents you from being fully in the moment?

3. When Diana brings Adhiambo to stay with Patrick and Margaret for the night, they disagree about how best to deal with the situation. Margaret seems more concerned about Adhiambo’s emotional well-being, while Patrick focuses on her physical state. In what way do their differing perspectives reflect other aspects of their characters? Do you think Adhiambo would have been better off if Margaret and Patrick had taken her to the hospital that night?

4. Throughout the novel, Margaret is struck by the way Kenyan characters use the phrase “Just all right” (67, 189, 246, 303). How would you interpret the meaning of this phrase? Why is it so surprising to Margaret?

5. How culpable is Margaret in what happens on the mountain? To what extent does the blame fall on others involved in the climb? Should a person be held responsible for the unintended consequences of her actions (124)?

6. Is Patrick right to confront Margaret about what happened on the mountain? Margaret argues that if he loves her and intends to stay with her, he should not have told her his opinion, while Patrick believes it is most important to be honest (125). What do you think is most important in a relationship, total honesty or sensitivity to the other’s feelings?

7. Why do you think Margaret feels so strongly about taking the photograph of the leopard? Are there parallels between this action and Diana’s behavior on the glacier? Have you ever put yourself in danger because of a momentary impulse? What do you think motivates actions of this kind?

8. What is your definition of infidelity? Does Margaret’s relationship with Rafiq constitute unfaithfulness to Patrick? Is there such a thing as emotional infidelity or is only physical cheating really cheating?

9. How much of a marriage’s success or failure do you think can be attributed to the love between husband and wife, and how much to external factors, such as jobs, finances, location, and other people? Patrick says, “I think couples need projects to keep them together” (271). Is he correct that a couple must put in effort to make their marriage work?

10. If the accident on the mountain had never occurred, do you think Margaret and Patrick’s relationship would have evolved differently? Would anything more have happened between Arthur and Margaret? Between Rafiq and Margaret?

11. Imagine Margaret and Patrick thirty years after the end of A Change in Altitude, looking back on their life in Africa. How do you think each of them would describe the trajectory of their relationship during this time?

12. Describe your response to the novel’s ending. Did you find it sad? Uplifting? Did you feel that things had worked out for the best?
(Questions issued by publisher.)

top of page (summary)