Wednesday, October 05, 2005

October 2005: The Killer Angels


Our October book is the winner of the 1975 Pulitzer Prize for fiction. A hardback anniversary edition was published in 2004.

In the four most bloody and courageous days of our nation's history, two armies fought for two dreams. One dreamed of freedom, the other of a way of life. Far more than rifles and bullets were carried into battle. There were memories. There were promises. There was love. And far more than men fell on those Pennsylvania fields. Shattered futures, forgotten innocence, and crippled beauty were also the casualties of war. Unique, sweeping, an unforgettable, The Killer Angels is a dramatic re-creation of the battleground for America's destiny.

About the Author
Michael Shaara was born in Jersey City in 1929 and graduated from Rutgers University in 1951. His early science fiction short stories were published in Galaxy magazine in 1952. He later began writing other works of fiction and published more than seventy short stories in many magazines, including The Saturday Evening Post, Cosmopolitan, and Redbook. His first novel, The Broken Place, was published in 1968. But it was a simple family vacation to Gettysburg, Pennsylvania, in 1966 that gave him the inspiration for his greatest achievement, the Pulitzer Prize-winning novel The Killer Angels, published in 1974. Michael Shaara went on to write two more novels, The Noah Conspiracy and For Love of the Game, which was published posthumously after his death in 1988.

Reviews
Library Journal
The late Shaara's Pulitzer Prize-winning novel (1974) concerns the battle of Gettysburg and was the basis for the 1993 film Gettysburg. The events immediately before and during the battle are seen through the eyes of Confederate Generals Lee, Longstreet, and Armistead and Federal General Buford, Colonel Joshua L. Chamberlain, and a host of others. The author's ability to convey the thoughts of men in war as well as their confusion - the so-called "fog of battle"- is outstanding.
--Michael T. Fein, Catawba Valley Community College, Hickory, N.C.

"Remarkable . . . A book that changed my life . . . I had never visited Gettysburg, knew almost nothing about that battle before I read the book, but here it all came alive."
--Ken Burns, Filmmaker, The Civil War

Friday, September 02, 2005

September 2005: Truth & Beauty: A Friendship & Autobiography of a Face

The book club will be meeting September 27th at Alison's house. We will be reading two books this month. The first book, Truth and Beauty is about the friendship between Patchett and Grealy (the author of the second book). Please see the descriptions below.

Truth & Beauty: A Friendship by Ann Patchett
"What happens when the person who is your family is someone you aren't bound to by blood? What happens when the person you promise to love and to honor for the rest of your life is not your lover, but your best friend? In Truth & Beauty, her frank and startling intimate first work of non-fiction, Ann Patchett shines a fresh, revealing light on the world of women's friendships and shows us what it means to stand together.
This is a tender, brutal book about loving a person we cannot save. It is about loyalty, and about being lifted up by the sheer effervescence of someone who knew how to live life to the fullest."

Autobiography of a Face by Lucy Grealy
"At age nine, Lucy Grealy was diagnosed with a potentially terminal cancer. When she returned to school with a third of her jaw removed, she faced the cruel taunts of classmates. In this strikingly candid memoir, Grealy tells her story of great suffering and remarkable strength without sentimentality and with considerable wit. Vividly portraying the pain of peer rejection and the guilty pleasures of wanting to be special, Grealy captures with unique insight what it is like as a child and young adult to be torn between two warring impulses: to feel that more than anything else we want to be loved for who we are, while wishing desperately and secretly to be perfect."

Friday, July 22, 2005

August 2005: A Return to Modesty: Discovering the Lost Virtue



Discussion: Tuesday, August 23rd
7:30 pm
Alison's new house

The New York Times Book Review
by Emily Eakin
March 7, 1999

THIS is a book about an oppressed group that you might not have heard of before: virgins. The idea might surprise you. It might occur to you that being a virgin -- unlike, say, being black or short or gay -- is a universal (not to mention invisible) human condition; at one time or another, it affects every person on the planet. Why would anyone discriminate against virgins? Yet, according to Wendy Shalit, self-appointed spokeswoman for the moral minority and the author of ''A Return to Modesty,'' this is precisely what many of us do.

Once a country that ranked maidenhood among its highest virtues, America, Shalit writes, is now a place where sexual modesty is actively repudiated and the woman who voluntarily abstains from sex is regarded as neurotic, repressed, hostile, socially maladjusted or unhealthily obsessed with her father. And not just by insensitive cads. In their efforts to establish a ''nonsexist paradise'' free of ''all traces of patriarchal rules and codes of conduct,'' feminists, liberals, women's magazines, even well-intentioned parents, Shalit argues, have inadvertently made our culture more misogynistic than ever. ''Today men expect to be able to treat all women like prostitutes, only without just compensation,'' she declares, ''and the virgins are the ones who are now stigmatized, told that no man will have them.''

Shalit should know. At 23, she is a senior veteran of our culture's war on purity. Her battle scars date back to the fourth grade, when a strange woman arrived to instruct Shalit and her classmates in the mysterious properties of the number 69. Stumped by the lesson and the giggles it elicited from the back of the room, Shalit went home and reported the encounter to her mother. As a result, she found herself sitting out sex education in the library, embarrassed and confused but, most important, with her innocence still intact. There were to be other close calls: a fifth-grade teacher who made a desk drawer full of tampons and condoms available to her students; a counselor at high school debate camp who made lewd remarks and stroked her hair; the coed bathrooms in her college dorm; girlfriends who told her she was uncomfortable with her body; boyfriends who accused her of ''hang-ups'' and dumped her because she wouldn't sleep with them.

If Shalit survived these assaults on her virtue positively brimming with self-esteem, most girls, she assures us, do not. She depicts a generation of frightened, unhappy, overmedicated young women having too much sex too soon, and -- worse -- having it like a man, by which Shalit means having sex that is indiscriminate and loveless. ''I see so many young women around me spending half of their time sleeping with all these men, and the other half telling me how heartbroken they are,'' she writes. ''I wonder who gave them the idea that this is what they had to do in the first place?''

For women, Shalit insists, the new sex-equity ethos is exacting a terrible psychic price: epidemics of anorexia, bulimia and self-mutilation; soaring rates of sexual harassment, date rape and stalking. The proof is right there in the pages of Glamour and Cosmopolitan and the other women's magazines from which she so lavishly quotes. Why are there millions of women on Prozac? To make it easier for men to get them into bed, of course. ''By drugging these women, we have accepted the rapist's view of womanhood,'' Shalit concludes. ''Our culture is continually frustrated with women the way they are, and seeks to loosen them up.''

Shalit believes that female modesty is innate (''a reflex, arising naturally to help a woman protect her hopes and guide their fulfillment -- specifically, this hope for one man'') and thus that sexual promiscuity is a violation of female nature. This logic doesn't merely inform her thinking; it envelops her book like, well, a chastity belt, guarding against the kind of nuances, complications and contradictions that might help enliven her prose and even advance her case.
Populated by lecherous men, lovelorn young women and beaming virgins (''Why do these women then have that undeniable glow about them that is absent, for instance, in our modern anorexic?'' she muses), her world has the telltale contours of caricature. Likewise her solution to its ills.

Why, Shalit begs us to consider, are women flocking to Jane Austen movies? And why, she wonders, ''are none of my grandmother's friends anorexic?'' The explanation, she argues, is simple: As far as relations between the sexes are concerned, we were better off a hundred years ago, when dating a woman meant kissing her gloved hand and reading her Keats in the parlor, when sex meant love and marriage meant ''till death do us part.''

THIS is what women really want. (As for men, those boors, it goes without saying: All they want is sex. It's up to women to teach them manners.) Happiness, she declares, is within our reach: ''We must decide as women to look upon sex out of wedlock as not such a cool thing, after all, and re-create the cartel of virtue.'' This, it must be said, hardly has the ring of a winning campaign slogan. (There must be a way to make the cartel of virtue sound less like voluntary house arrest.) But, more important, there is no evidence that women were happier about their sexual lives -- or more free of rape -- in the pre-sex-ed days of Jane Austen. (For all her admirable modesty and her fiction's devotion to the marriage plot, it's worth pointing out that Austen was never rewarded with enduring love. She died an old maid, a fact that some scholars believe accounts for the bitterness of her last novel, ''Persuasion.'')

Still, despite its limitations as historical or contemporary sociology, ''A Return to Modesty'' provides one invaluable service. There is a growing body of scholarly research on young adulthood that may, in the aftermath of Shalit's booming polemic, be more difficult to ignore. Thanks to the work of educators and psychologists like Carol Gilligan, Mary Pipher and William Pollack, we are beginning to understand that -- for both girls and boys -- the Sturm und Drang of adolescence can be far from benign. Most of us are grateful to have those painful years behind us, and would give anything not to relive them. But that's no reason not to look back and try to make that treacherous passage a little easier to navigate.

Thursday, July 07, 2005

July 2005: The Kite Runner


Discussion: Tuesday, July 12th @ 7:30 pm
Alison & Amanda's house

Here is the full text of the New York Times Book Review:
by Edward Hower
Published: August 3, 2003, Sunday

This powerful first novel, by an Afghan physician now living in California, tells a story of fierce cruelty and fierce yet redeeming love. Both transform the life of Amir, Khaled Hosseini's privileged young narrator, who comes of age during the last peaceful days of the monarchy, just before his country's revolution and its invasion by Russian forces.

But political events, even as dramatic as the ones that are presented in ''The Kite Runner,'' are only a part of this story. A more personal plot, arising from Amir's close friendship with Hassan, the son of his father's servant, turns out to be the thread that ties the book together. The fragility of this relationship, symbolized by the kites the boys fly together, is tested as they watch their old way of life disappear.

Amir is served breakfast every morning by Hassan; then he is driven to school in the gleaming family Mustang while his friend stays home to clean the house. Yet Hassan bears Amir no resentment and is, in fact, a loyal companion to the lonely boy, whose mother is dead and whose father, a rich businessman, is often preoccupied. Hassan protects the sensitive Amir from sadistic neighborhood bullies; in turn, Amir fascinates Hassan by reading him heroic Afghan folk tales. Then, during a kite-flying tournament that should be the triumph of Amir's young life, Hassan is brutalized by some upper-class teenagers. Amir's failure to defend his friend will haunt him for the rest of his life.

Hosseini's depiction of pre-revolutionary Afghanistan is rich in warmth and humor but also tense with the friction between the nation's different ethnic groups. Amir's father, or Baba, personifies all that is reckless, courageous and arrogant in his dominant Pashtun tribe. He loves nothing better than watching the Afghan national pastime, buzkashi, in which galloping horsemen bloody one another as they compete to spear the carcass of a goat. Yet he is generous and tolerant enough to respect his son's artistic yearnings and to treat the lowly Hassan with great kindness, even arranging for an operation to mend the child's harelip.

As civil war begins to ravage the country, the teenage Amir and his father must flee for their lives. In California, Baba works at a gas station to put his son through school; on weekends he sells secondhand goods at swap meets. Here too Hosseini provides lively descriptions, showing former professors and doctors socializing as they haggle with their customers over black velvet portraits of Elvis.

Despite their poverty, these exiled Afghans manage to keep alive their ancient standards of honor and pride. And even as Amir grows to manhood, settling comfortably into America and a happy marriage, his past shame continues to haunt him. He worries about Hassan and wonders what has happened to him back in Afghanistan.

The novel's canvas turns dark when Hosseini describes the suffering of his country under the tyranny of the Taliban, whom Amir encounters when he finally returns home, hoping to help Hassan and his family. The final third of the book is full of haunting images: a man, desperate to feed his children, trying to sell his artificial leg in the market; an adulterous couple stoned to death in a stadium during the halftime of a football match; a rouged young boy forced into prostitution, dancing the sort of steps once performed by an organ grinder's monkey.

When Amir meets his old nemesis, now a powerful Taliban official, the book descends into some plot twists better suited to a folk tale than a modern novel. But in the end we're won over by Amir's compassion and his determination to atone for his youthful cowardice.

In ''The Kite Runner,'' Khaled Hosseini gives us a vivid and engaging story that reminds us how long his people have been struggling to triumph over the forces of violence -- forces that continue to threaten them even today.

Monday, January 31, 2005

Books that pre-dated the blog

In no particular order . . .

The Professor and the Madman by Simon Winchester
The Golden Compass by Philip Pullman
Anthem by Ayn Rand
The Alchemist by Paul Coehlo
The DaVinci Code by Dan Brown
Farenheit 451 by Ray Bradbury
My Antonìa by Willa Cather
Adam Bede by George Eliot
All The Little Live Things by Wallace Stegner
Magnificent Obsession by Lloyd C. Douglas
Interpreter of Maladies by Jhumpa Lahiri
Life of Pi by Yann Martel
Jim the Boy by Tony Earley
Memoirs of a Geisha by Arthur Golden
The Secret Life of Bees by Sue Monk Kidd
Mama Day by Gloria Naylor
The Picture of Dorian Gray by Oscar Wilde
Guns, Germs & Steel by Jared Diamond

A compilation of the following contemporary poems:
  • Billy Collins:
    • "Introduction to Poetry"
    • "Questions About Angels"
    • "Taking Off Emily Dickinson's Clothes"
    • "Another Reason Why I Don't Keep a Gun in the House"
  • Elizabeth Bishop:
    • "Insomnia"
    • "The Filling Station"
    • "In the Waiting Room"
    • "Sestina"
  • Sylvia Plath: "Blackberrying"
  • Anne Sexton:
    • "In Celebration of My Uterus"
    • "Little Girl, My String Bean, My Lovely Woman"
    • "To a Friend Whose Work Has Come to Triumph"
  • Maxine Kumin:
    • "The Ancient Lady Poets"
    • "John Green Takes His Warner, New Hampshire Neighbor to a Red Sox Game"
    • "The Brown Mountain"
  • Alan Shapiro: "On Men Weeping"