A gripping escape

I finished Kathryn Stockett's debut novel The Help at 4:30 this morning, refusing to spend another night not knowing how the plot would conclude. I will say that I loved quite a few things about it:

• Getting to glimpse 1960s Mississippi from the perspective of three women (two black maids, one white woman) Every few chapters, the narration switches between the women. While the chapter that changes from one woman to the next is named after the woman speaking, the label was really just a gesture because Stockett did an excellent job of distinguishing the three voices.
• Seeing life in those times (shockingly recent) from an under-reported perspective: the non-white view. To quote one of the main characters in the book: "Everyone knows how we white people feel, the glorified Mammy figure who dedicates her whole life to a white family. Margaret Mitchell covered that. But no one ever asked Mammy how she felt about it." 
• Digging into the complex relationships and social conditioning resulting from the absurd idea of segregation.
• Gaining Stockett's insights to human nature, relationships and life that are surfaced periodically in the thoughts and words of one of the three women. She manages to include them without making the narrative feel contrived -- something few authors who wax philosophical do well, in my view.

My critical opinion of the book is shaped by the following three factors:

• Experience: Given that Stockett drew on aspects of her own life as the foundation of this book, she is able to create a much more compelling situation and cast of characters than someone like myself who never lived in the Deep South during that period or who never even had a maid at home. That being said, the novel was still written by a white author putting herself creatively in two black women's shoes. I have to wonder how someone who had been in that situation would assess the characters and the reality conjured by the book. 
• Doubt: Stockett does an excellent job of incorporating real-life figures such as Rosa Parks and Martin Luther King, Jr. and real-life events such as the Birmingham church bombing, Kennedy's assassination, and the march on D.C. as a means of situating the reader within a familiar context. She also uses some of the characteristic violence of organizations like the KKK to reinforce the high-stakes gamble the characters brave in embarking on their communal project. That being said, I was (relieved but) skeptical when I finished the book that we the readers hadn't seen more of that behavior shatter our characters' worlds.
• Oomph: Finally, I felt the book had progressed at such a steady clip, unfolding with such gripping conflict and suspense, that the ending, while logical, underwhelmed me. I had glimpsed Stockett's genius laid bare on the pages leading up to it, I wondered if she couldn't have left the reader with a more dynamic finish.

Overall, though, I found myself fading from my own world's parameters and inhabiting Miss Skeeter's, Aibileen's and Minny's realities with an increasing eagerness as I worked through the book's 464 pages. Having walked with the women through their struggles and triumphs, I closed the book's cover with a renewed faith in humanity's capacity for nobility and absurdity, and a profound love for three women I had had the honor of getting to know in the previous pages.

Humanity between two covers

I've always believed that books choose people, and reading Kaye Gibbons' A Virtuous Woman only convinced me of that further.

I picked the book up back in May at a used book sale benefiting a D.C. library. It was one of two dozen that I carried out in a 11" by 15" cardboard box provided by the volunteers when they saw me struggling with my newly purchased loot.

There was a rawness that resonated with me from the back cover's description: 

 "When Blinking Jack Stokes met Ruby Pitt Woodrow, she was twenty and he was forty. She was the carefully raised daughter of Carolina gentry and he was a skinny tenant farmer who had never owned anything in his life. She was newly widowed after a disastrous marriage to a brutal drifter. He had never asked a woman to do more than help him hitch a mule. They didn't fall in love so much as they simply found each other and held on for dear life."

I didn't reach for the book until last night and finished it this morning. Gibbons allocates alternating chapters to Jack and Ruby's reminiscences of their lives before and with each other, told at various points of time -- and in the case of Ruby, from the grave (something the reader discovers on the first page of the first chapter).

Gibbons' book feels less like a novel and more like time spent chatting on the porch with someone you've known most of your life. Her writing in a consistent Carolina dialect, her attention to detail in constructing a believable world, and the complexity of her characters' emotions in the face of life's heartaches allow them to step off the page fully formed.

The conclusion of the book, though moving and somewhat satisfying, felt rushed and tacked on to the otherwise thoughtful narrative, however. The entrance of an omniscient narrator who had never appeared before the last chapter was jarring and the last few pages felt as if Gibbons ran out of steam in trying to tie up the loose ends. A reliance on an increased amount of internal dialogue also was introduced in the final chapter, adding to the reader's disorientation. Lastly, the book seems to be set in the peak of 1950s life in the South, which includes allusions to racial inequality and prejudice that offends modern sensibilities. (I understand it was written to reflect realistically that time period).

Those weaknesses aside, A Virtuous Woman is worth reading. The themes of struggling with man's quest for immortality and wrestling with society -- both in trying to conform to its demands and in aiming to beat its expectations -- were portrayed with vulnerability that comes from a compassionate author's alertness to human nature and the world around her.

I'm richer for having been picked by this gem of a book.

Shades of grey

I'm more at peace now than ever with the fact that no one is all good or all bad. Even Public Enemy No. 1 (whomever that may be at a certain point in time) may stop and guilelessly offer candy to kids. As more time passes from the sadness in recent years, I can appreciate the whole composition of each individual residing in the frozen frames in my mind. Where I've concentrated on the darkness in past posts, I have created space in my mind to see also the good that was mixed into the picture.

It is in this intersection -- between goodness and evil -- that humanity finds its redemption and condemnation. There is the hope that goodness will prevail in each of us and subsequently in our world, but there is the knowledge that the other half may win out in that individual at that time. What's important to me is never to give up on someone. History has redemption stories sewn into its quilted testimony of humanity's potential. We do not ever get the full story, but what we see resonates with examples around us in present day and we can fill the gaps with what we've witnessed.

Saul is a classic example. A hater of Christians to the extent of imprisoning and killing as many as he could, this man later would address them as 'brothers' and contribute a bulk of writings to their main book of guidance. "I long to see you so that I may impart to you some spiritual gift to make you strong -- that is, that you and I may be mutually encouraged by each other's faith," St. Paul writes in Romans 1:11. Could this be the same man?

Perhaps the majority of soulful changes aren't as drastic, but all are notable. And all should be remembered -- not just the changes from hatred to love, but also the falls from good. Those are equally a part of humanity's story. They serve as a cautionary tale that our souls are on the battlefield; good and evil are fighting daily to gain ground. What many of us don't realize is how much these daily skirmishes do count until their results are manifested in an act that seems foreign to our nature and we struggle to comprehend how we might have arrived there.

In times when I might be surprised by words that come out of my mouth or a particular action that doesn't seem to fit with the rest of me, Socrates' words return to me: "The unexamined life is not worth living." The Jesuits, founded by St. Ignatius of Loyola, educated me in college and I am grateful to their influence. In addition to their emphasis on social justice and serving others, they also taught me about a nightly reflection called "The Examination of Conscience." In it, one remembers the day and thinks of the moments that were well-lived and those in which one fell short of his/her potential. With this practice, goodness gains ground in the awareness and commitment to do better the next day. And by acknowledging that we are works in progress, our compassion grows for those around us, as well.

'Under Construction' sign in Singapore; Photo credit: Flickr user 'hellochris'

Tragic truths

I just finished the previously-mentioned Black Like Me, an eye-opening account of the absurdity of racial hatred in our nation's recent history. In the late 1950s, John Howard Griffin, a white journalist from Texas, is haunted persistently by these questions:

"If a white man became a Negro in the Deep South, what adjustments would he have to make? What is it like to experience discrimination based on skin color, something over which one has no control?" 

He decides one night to embark on a seven-week journey that would answer those questions by medically altering his skin color and experiencing the discrimination firsthand. The book is a series of journal entries, beginning the night he decides to pursue this project and ending with the world's reaction to his published work. Griffin's strength as a journalist in documenting his experience lies in his observation skills and his commitment to include details that powerfully evoke these situations for the reader.

In an afterword, Griffin's biographer Robert Bonazzi explains:

The book's evocation of naked experience, of what is being done to the narrator rather than what he does, draws us toward the center, engages our emotions and all of our senses. We view scenes in vivid detail, hear precise tones in the dialogue and interior monologue, smell fear, and taste dread ...

The power of the book is rooted in the uncomfortable truth that many people who were impacted by it would not have listened to its revelations if they were not written by a white man. If he had not been a part of a privileged class and documented the respect and dignity he was freely given before changing only his appearance, his experience would have been written off.

The flaw of the book springs from the same place of its power. While Griffin as a black man relearns social conditioning to act according to societal expectations, and while he approaches each situation with the methodology of a sociologist, he never fully relinquishes his white perspective. There are passages that, though well-intended, come across sounding racially paternalistic. He also has the luxury of being able to escape the despair of the ghetto when it begins to close in on him by asking to stay with a friend in the white area of town.

That being said, the book is still one motivated by a rare sense of humanity and courage, given the time period. Despite its weaknesses, I will echo the back cover's recommendation that this "chillingly relevant eyewitness history is a work about race and humanity every American must read."

Tuned in

For not being much of a TV-watcher, I sometimes get made fun of for ordering two (count 'em, two!) premium channels: TV5Monde (French) and RaiItalia (Italian). But tonight I was reminded of why I keep them in my package. Not only do they help me maintain language skills, but they also consistently have beautiful, artistic films I would never find through Netflix or iTunes; and vegging out is still somewhat intellectually engaging when I turn to one of these channels instead of the reality TV alternatives.

Tonight I happened to catch the last two-thirds of a WWII movie called 'Zone Libre' (Free Zone). I won't go into too much detail but the movie focuses on one part of a family that is split up and hiding with a French peasant who is protecting them from Nazi sympathizers. The quality of the acting and the cinematic storytelling were top-notch. I noticed aspects of the experience I had never thought of from previous exposure to other WWII movies and books. In one scene, the peasant Monsieur Maury stops to check on three of the women he is protecting -- two sisters and their mother -- at the isolated farmhouse and he brings them a bouquet of lilacs. Their expressions of delight and gratitude spurred me to think of the profound nature and impact this seemingly tiny gesture offers.

***

To anybody else it's just a bouquet.
But to us - we who are stuck in the shadows of a hostile world,
denied the luxury of 'normalcies' and faced instead with
yellow stars, boxcars, family losses and death camps -
these flowers remind us of the beauty that can still grow
in a world as crazy as ours,
where men engineer systems of annihilation
and lose sight of humanity.

These flowers show us the kindness
that can survive despite the bleak times,
of the humanity and goodness in some
that rise to outdo the evil of the day.

These remind us that we can choose who we become,
even in the worst-case scenario
we can mimic or defy our captors
in the adopted attitudes and values we display.

These blooms may be the only sweet-smelling fragrance
we encounter while hiding out on this farm,
here with the smells of sweat and sh*t and animals.

They may be our only visible sign of hope
and they sustain our will to live
when we think of the beauty this world can offer,
the goodness of those around us,
and we take a sensual escape from our imprisonment.

But to anybody else, it's just a bouquet.

Just another day?

"If we have no peace, it is because we have forgotten that we belong to each other."  (Mother Teresa)

What is it about normalcy
that allows us to forget that we belong to one another?
Each day in which we're allowed
to sail from dawn to dusk without tragedy,
we ignore
trample upon
and bicker with each other.
We see only obstacles
or time thieves in each other.
We are offended if anyone should think differently than us --
and God forbid they express their opinion!

But when horror strikes --
as it did on September 11 --
we act as if we all breathe from the same pair of lungs.
We forget our petty disagreements
and differences.
We lean upon and
cling to one another
as lifesavers in a stormy sea.
Gone are our annoyances
with the challenges of living together.
We see our kindred spirit,
are reminded of our shared humanity,
and recognize that we do, in fact, belong to one another.

--July 2, 2008