Showing posts with label Introducing Novels Everyone Must Read. Show all posts
Showing posts with label Introducing Novels Everyone Must Read. Show all posts

Thursday, November 11, 2010

The Kite Runner (Boeke Prize winner, the first 2005 best seller in US, ...)

The Kite Runner is a novel by Afghan-born American novelist and physician Khaled Hosseini (1965- ); published in 2003 and won the Boeke Prize in 2004. It was the first 2005 best seller in the United States [1].

The Kite Runner (Boeke Prize winner, the first 2005 best seller in US, ...)

Plot Summary [2]

Part I

Amir, a well-to-do Pashtun boy, and Hassan, a Hazara who is the son of Ali, Amir's father's servant, spend their days in the then peaceful city of Kabul, kite fighting and roaming through the streets. Amir’s father, a wealthy merchant, who Amir affectionately refers to as Baba, loves both the boys, but seems critical of Amir for not being manly enough. Amir secretly believes his father blames him for his mother’s death during childbirth. However, he has a kinder father figure in the form of Rahim Khan, Baba’s friend, who understands Amir better, and is supportive of his interest in writing. Amir tells us that his first word was 'Baba' and Hassan's "Amir,' suggesting that Amir looked up most to Baba, while Hassan looked up to Amir.

Assef, a notorious sociopath and violent older boy with sadistic tendencies, mocks Amir for socializing with a Hazara, which is, according to Assef, an inferior race that should only live in Hazarajat. He prepares to attack Amir with brass knuckles, but Hassan bravely stands up to him, threatening to shoot out Assef's left eye with his slingshot. Assef and his posse back off, but Assef threatens revenge.

Hassan is a successful "kite runner" for Amir, knowing where the kite will land without even watching it. One triumphant day, Amir wins the local tournament, and finally Baba's praise. Hassan runs for the last cut kite, a great trophy, saying to Amir, "For you, a thousand times over." Unfortunately, Hassan runs into Assef and his two friends. Hassan refuses to give up Amir's kite. Amir searches for Hassan but hides when he hears Assef's voice. Assef decides to teach Hassan a lesson by raping him. Amir witnesses the act but is too scared to intervene, and returns home ashamed, guilty for not being able to help his best friend. He feels that his cowardice in Hassan's rape would destroy any hopes for Baba's affections, so he says nothing. Afterwards, Hassan and Amir keep a distance from each other. Amir reacts indifferently because he feels ashamed, and is frustrated by Hassan's saint-like behavior. Already jealous of Baba's love for Hassan, he worries that if Baba knew of Hassan's bravery and his own cowardice, that Baba's love for Hassan would grow even more.

Amir, filled with guilt on his birthday, cannot enjoy his gifts. The only present that does not feel like "blood" money is the notebook to write his stories in given to him by Rahim Khan, his father's friend and the only one Amir felt really understood him.

Amir felt that life would be easier if Hassan was not around, so he planted a watch and some money from his birthday party under Hassan's mattress in hopes that Baba would force him to leave; Hassan falsely confesses when confronted by Baba about the watch and the money. Baba forgives him, despite the fact that, as he explained earlier, he believes that "there is no act more wretched than stealing." Hassan and his father Ali, to Baba's extreme sorrow, leave anyway. Hassan's departure frees Amir of the daily reminder of his cowardice and betrayal, but he still lives in their shadow and his guilt.

Part II

Five years later, the Soviet Union invade Afghanistan. Amir and Baba escape to Peshawar, Pakistan and then to Fremont, California, where Amir and Baba, who lived in luxury in an expensive mansion in Afghanistan, settle in a run-down apartment and Baba begins work at a gas station. Amir eventually takes classes at a local community college to develop his writing skills after graduating from high school at age twenty. Every Sunday, Baba and Amir make extra money selling used goods at a flea market in San Jose. There, Amir meets fellow refugee Soraya Taheri and her family. Soraya's father, General Taheri, once a high-ranking officer in Afghanistan, has contempt for Amir's literary aspiration. Baba is diagnosed with terminal small cell carcinoma but is still capable of granting Amir one last favor: he asks Soraya's father's permission for Amir to marry her. He agrees and the two marry. Shortly thereafter Baba dies. Amir and Soraya settle down in a happy marriage, but to their sorrow learn that they cannot have children.

Amir embarks on a successful career as a novelist. Fifteen years after his wedding, Amir receives a call from Rahim Khan, who is dying from an illness. Rahim Khan asks Amir to come to Peshawar, Pakistan. He enigmatically tells Amir, "There is a way to be good again." Amir goes.

Part III

From Khan, Amir learns the fates of Ali and Hassan. Ali was killed by a land mine. Hassan had a wife named Farzana and a son who he named Sohrab. He had set up a life for himself in a village outside Bamiyan, but returned to Baba’s house as a caretaker at Khan’s request, although he moved to the little hut in the yard so as not to dishonor Amir by taking his place in the house. During his stay, his mother Sanaubar returned after a long search for her son, and died after four years. One month after Khan left for Pakistan, the Taliban ordered Hassan to give up the house and leave, but he refused, and was executed, along with Farzana. Khan reveals that Ali was not really Hassan's father, and that Ali was sterile, and that Hassan was actually the son of Baba, and therefore Amir's half-brother. Finally, Rahim Khan tells Amir that the true reason he has called Amir to Pakistan is to go to Kabul to rescue Hassan's son, Sohrab, from an orphanage.

Khan asks Amir to bring Sohrab to Thomas and Betty Caldwell, who own an orphanage. Amir becomes furious; he feels cheated because he had not known that Hassan was his half-brother. Amir finally relents and decides to go to Kabul to get Sohrab. He storms out of the house in a rage, but later returns and tells Khan will go find Sohrab. He travels in a taxi with an Afghan driver named Farid, a veteran of the war with the Soviets, and stays as a guest at Farid's brother Wahid's house. Farid, initially hostile to Amir, is sympathetic when he hears of Amir's true reason for returning, and offers to accompany him on his journey.

Amir searches for Sohrab at the orphanage. In order to enter Taliban territory, Amir, who is normally clean shaven, wears a fake beard and moustache, to avoid the punishment the Taliban would otherwise deliver. However, Sohrab is not where he was supposed to be: the director of the orphanage tells them that a Taliban official comes often, brings cash, and usually takes a girl back with him. Once in a while however, he takes a boy, recently Sohrab. The director tells Amir to go to a soccer match, where he could see the procurer making speeches at half-time and wearing black sunglasses. Farid manages to secure an appointment with the speaker at his home, by saying that he and Amir have "personal business" with him.

At the house, Amir meets the man, who turns out to be Assef. Assef is aware of Amir's identity from the very beginning, but Amir doesn't recognise his childhood nemesis until Assef starts asking about Ali, Baba, and Hassan. Sohrab is being kept at Assef's home where he is made to dance dressed in women's clothes, and it seems Assef might have been raping him. (Sohrab later confirms this saying, "I'm so dirty and full of sin. The bad man and the other two did things to me.") Assef agrees to relinquish him, but only for a price—cruelly beating Amir. However, Amir is saved when Sohrab uses his slingshot to shoot out Assef's left eye, fulfilling Hassan's threat made many years before.

While at a hospital treating his injuries, Amir asks Farid to find information about Thomas and Betty Caldwell. When Farid returns, he tells Amir that the American couple do not exist.

Amir tells Sohrab of his plans to take him back to America and possibly adopt him, and promises that he will never be sent to an orphanage again. However, US authorities demand, among other things, paperwork as evidence of Sohrab's orphan status. After decades of war, this is all but impossible to get in Afghanistan where, as Amir says, many dead have no certificate just as they had never had a birth certificate. Amir tells Sohrab that he may have to temporarily break his promise until the paperwork is completed. Upon hearing this, Sohrab attempts suicide. Amir eventually manages to take him back to the United States without an orphanage, and introduces him to his wife. However, Sohrab is emotionally damaged and refuses to speak or even glance at Soraya. This continues until his frozen emotions thaw when Amir reminisces about Hassan and kites. Amir shows off some of Hassan’s tricks, and Sohrab begins to interact with Amir again. In the end Sohrab only shows a lopsided smile, but Amir takes to it with all his heart as he runs the kite for Sohrab, saying, "For you, a thousand times over."

Adaptation

The Kite Runner was adapted into a film of the same name directed by Marc Forster in 2007.

The Kite Runner - Movie (Boeke Prize winner, the first 2005 best seller in US, ...)

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[1] "Harry Potter tops US best-seller list for 2005". ninemsn.com.au. 2006-01-07.
[2] Wikipedia.org: The Kite Runner

Tuesday, October 26, 2010

The Brass Verdict (Anthony Award winner)

The Brass Verdict is a novel by American author of detective novels Michael Connelly (1956- ) published in 2008 and won Anthony Award for the Best Novel in 2009 [1].

The Brass Verdict

Plot Summary [2]

Since the events of the previous novel, Attorney Mickey Haller has spent a year recuperating from his wounds and a subsequent addiction to painkillers. But he is called back to the practice of law when an old friend, defense attorney Jerry Vincent, is murdered. Haller inherits Vincent's caseload, the high-profile trial of a Hollywood mogul accused of slaying his wife and her lover. Haller secures the "franchise" case, persuading the mogul to keep him on as counsel by promising not to seek a postponement of the trial, which is due to start in nine days.

Meanwhile, maverick LAPD detective Harry Bosch, the main character in several earlier novels written by Connelly, is investigating Vincent's murder. Bosch, warning that Vincent's killer may come after Haller next, persuades the reluctant lawyer to cooperate in the ongoing murder investigation. Meanwhile, Haller shakes off the rust, and lingering self-doubts, as he prepares for the double-murder trial.

Unknown to Haller, but revealed in previous Connelly novels, is the fact that Bosch is Haller's half-brother.

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Review [3]

"The Brass Verdict has the sneaky metabolism of any Connelly book. It starts slowly, moves calmly, hides pertinent bits of information in plain sight and then abruptly ratchets up its energy for the denouement....In the midst of this new story, Mickey rebounds with a vengeance....Like Harry Bosch's mojo, Mickey Haller's is liable to work well for a long time." (New York Times Janet Maslin 2008)

"Connelly is firing on all cylinders in this epic page-turner. The intriguing story line, the chance to view Bosch from another perspective, and Haller's reappearance as a main character add up to a fantastic read. One of the best thrillers of the year." (Library Journal Jeff Ayers )

"The answer to every Connelly fan's dream: Hieronymus Bosch meets the Lincoln Lawyer....By turns wary, competitive, complementary, cooperative and mutually predatory....Connelly brings his two sleuths together in a way that honors them both" (Kirkus Reviews )

"Connelly once again hits it out of the park in the tightly written, fast-paced and sharply imagined The Brass Verdict....Connelly builds to some breathtaking twists before all comes to a close. And a more perfect end to the maze he has drawn is difficult to imagine." (Denver Post Robin Vidimos )

"If at first encounter Connelly seems primarily an exceptionally accomplished writer of crime novels, at closer examination he is also a mordant and knowing chronicler of the world in which crime takes place, i.e., our world....Aterrific ride." (Washington Post Jonathan Yardley )

"A beautifully executed crime thriller....Bosch might have met his match in the wily Haller, and readers will delight in their sparring." (Publishers Weekly )

Washington Post [4]: Graham Greene liked to distinguish between his serious novels and those he called his "entertainments," though given the complexity of the man and his work it wasn't always easy for readers to draw the distinction. Probably Michael Connelly would be the last to compare himself with Greene, but he, too, writes at differing levels of seriousness. If at first encounter he seems primarily an exceptionally accomplished writer of crime novels, at closer examination he is also a mordant and knowing chronicler of the world in which crime takes place, i.e., our world. Three years ago, within the space of only a few months, Connelly published two novels notable for the serious business underlying the entertainment. The first, The Closers, published in May 2005, found his noted Los Angeles police detective Harry Bosch trying to solve a "cold case" and thus trying to bring justice to victims on whom the law has turned its back. Then, in October of the same year, he published The Lincoln Lawyer, his first novel told from a lawyer's point of view, about an ambulance chaser named Mickey Haller, who, in the course of pursuing a lucrative case, finds himself seeking justice for a man he believes he failed to represent fairly when his case was being heard. Now, in The Brass Verdict, Connelly brings Bosch and Haller together for the first time. Though the novel has some serious things to say about the workings, and occasional failures, of the jury system, it is primarily an entertainment, and more than welcome purely as such. It's narrated by Mickey, a criminal-defense lawyer who is just coming off a year's self-imposed sabbatical -- he'd been shot in the gut and then had become addicted to painkillers in various forms -- and plans to ease slowly back into his practice. He's no K Street lawyer, as he tells a young man he takes on as his driver: "I haven't had an office since I left the Public Defenders Office twelve years ago. My car is my office. I've got two other Lincolns just like this one. I keep them in rotation. Each one's got a printer, a fax and I've got a wireless card in my computer. Anything I have to do in an office I can do back here while I'm on the road to the next place. There are more than forty courthouses spread across L.A. County. Being mobile is the best way to do business." Mickey's hopes of easing back in are quickly deep-sixedConnelly's faithful readers don't have to be told that his real name is Hieronymus, "like the painter" -- but there's a problem: The deeper both men dig into Vincent's past, the more suspicions are raised. Vincent had received a lot of money, presumably from Elliot, and much of it -- $100,000, to be precise -- had disappeared. Mickey says Vincent claimed that "he needed the money to buy a boat and that if he made the deal in cash, he would get the best deal and save a lot of money," to which Harry replies: "There is no boat. The story was a lie." Vincent "bought something," Harry says, "and your client Walter Elliot probably knows what it was" -- something, for starters, like a potential juror. "You should take it as a warning, Counselor," Harry continues. When Mickey scoffs, he says, "His lawyer got killed, not him. Think about it. And remember, that little trickle on the back of your neck and running down your spine? That's the feeling you get when you know you have to look over your shoulder. When you know you're in danger." Mickey doesn't want to be scared, but as things unfold it appears he doesn't have much choice. One of those things is, how much -- if at all -- can he trust his client? Walter Elliot loudly and frequently proclaims his innocence and insists he wants a speedy trial to clear his name as rapidly as possibly, but though Mickey wants to believe him, experience teaches him to be cautious: "Over the years I had represented and been in the company of a couple dozen killers. The one rule is that there are no rules. They come in all sizes and shapes, rich and poor, humble and arrogant, regretful and cold to the bone. The percentages told me that it was most likely Elliot was a killer. That he had calmly dispatched his wife and her lover and arrogantly thought he could and would get away with it. But there was nothing about him on first meeting that told me one way or the other for sure. And that's the way it always was." If you're beginning to get a whiff of the O.J. Simpson case, well, that's pretty obviously how Connelly planned it. Not merely is the accused murderer a Los Angeles celebrity and the victims his wife and her lover, but Connelly drops in the occasional teasing reference as well. When Elliot blusters in court that "the sooner Mr. Haller gets to prove my innocence to the world, the better," Mickey dismisses it as "O.J. 101," and when another lawyer offers to pitch in and help, Mickey tells him: "He wants only one lawyer at the table. . . . He said no dream team." But all of that is just a little juice on the side; the main story is strictly Connelly's. The essence of it is this, as Mickey puts it: "I was defending a man I believed was innocent of the murders he was charged with but complicit in the reason they had occurred. I had a sleeper on the jury whose placement was directly related to the murder of my predecessor. And I had a detective watching over me whom I was holding back on and couldn't be sure was considering my safety ahead of his own desire to break open the case." Yet how does Mickey feel? "I felt like a guy flipping a three-hundred-pound sled in midair. It might not be a sport but it was dangerous as hell and it did what I hadn't been able to do in more than a year's time. It shook off the rust and put the charge back in my blood." Mickey is pumped, and, take my word for it, you will be too. Even though the way it ends is just a wee bit contrived, it's still a terrific ride.
Copyright 2008, The Washington Post. All Rights Reserved. --This text refers to the Hardcover edition.

[1] Anthony Award, Best Novel, 2009 Michael Connelly, The Brass Verdict

[2] Wikipedia.org: The_Brass_Verdict

[3] Amazon.com: The Brass Verdict

[4] Washington Post: Jonathan Yardley on 'The Brass Verdict'

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Saturday, October 16, 2010

The Book Thief (Boeke Prize, Daniel Elliott Peace Award, ... winner)

The Book Thief is a novel by Australian author Markus Zusak (1975- ), published in 2005 and won Commonwealth Writers Prize, Horn Book Fanfare, Kirkus Reviews Editor Choice Award, School Library Journal Best Book of the Year, Daniel Elliott Peace Award, Publishers Weekly Best Children Book of the Year, Booklist ChildrenEditors' Choice and Bulletin Blue Ribbon Book in 2006, Boeke Prize, ALA Best Books for Young Adults, Michael L. Printz Honor Book and Book Sense Book of the Year in 2007, and Pacific Northwest Young Readers Choice Master List in 2009 [1].


Plot Summary [1]

The Book Thief takes place in Germany before and during World War II. The story is told from the point of view of Death, who finds the story of the Book Thief, Liesel Meminger, to be very interesting, as she brushed Death three times in her life. The novel begins when Liesel's mother takes Liesel and her brother Werner to live with foster parents, Hans and Rosa Hubermann. We learn that her father is a communist, and her mother is chronically sick. Her brother dies during the trip and Liesel steals the apprentice Gravediggers' Grave Digging handbook, after he drops it in the snow. This would be Liesel's first close call with death, as well as her first time stealing a book. Liesel's foster mother and father, Hans and Rosa Hubermann, treat her well, though Rosa often insults Liesel by calling her a pig in German (affectionately, of course). Hans teaches her how to read using "The Gravedigger's Handbook", and she continues stealing books from various sources - mainly the library of Ilsa Hermann, the mayor's wife, a friend of hers who enjoys and tolerates her thievery. Liesel also befriends the other children of Himmel Street, including Rudy Steiner, who is in love with her and is also her best friend.

Eventually, Hans and Rosa take in and hide Max Vandenburg, a Jewish man whose father saved Hans' life in World War I. Max becomes friends with Liesel, making her two books, using repainted pages from a copy of Mein Kampf(My Struggle) and showing her his life story in a series of sketches. However, the Nazi presence and the rise of World War II throw all of their lives into turmoil. When a parade of Jews is brought through the town, Hans gives a piece of bread to an old man. He and the old man are whipped and the family lives in fear of the Gestapo searching their house and discovering Max. They arrange for Max to leave and rendezvous with Hans after a few days; however, when Hans arrives at the meeting point he finds only a note that they believe is from Max saying "You've done enough." After a few weeks, Hans is ordered into the army, as is Rudy's father, Alex Steiner - this is also a punishment; Rudy shows athletic and academic promise and is offered a place at an 'elite' school which was meant for Germany's future elite group, which his parents refuse. Hans is drafted into an air raid service, however after a few months he breaks his leg and returns home.

Liesel begins to write her own book, The Book Thief : the story of her life. When Himmel Street is bombed, she is the only survivor, as she was in the Hubermanns' basement, finishing her book that Hans encouraged her to read. She finds the bodies of her foster parents, and then Rudy. This is Death's third encounter with Liesel. Distraught, she drops the book, which Death finds and keeps. She goes to live with the Hermanns and when Alex Steiner returns, works in his tailor shop. In 1945, Max Vanderburg walks into the shop and he and Liesel are reunited. At the end of the book, Death tells us that she dies in Sydney, Australia, although few other details of her life are revealed, and gives her back the book, along with a truth he can not tell anyone else: "I am haunted by humans."

Total Death Encounters: 1) When Liesel was in the train with her younger brother. Werner coughed and stared blankly into the floor as death came and noticed Liesel. 2) After an air raid an American bomber plane crashes into the woods just at the end of Himmel street, Rudy walks to the dying man in the plane and puts a teddy bear on his chest before being carried away. Death saw Liesel and recognized her. 3)During a unknown midnight air raid on Munich, the bombers missed and hit Himmel street. Death watched as Liesel ran to see all of her dead peers. He was especially sad to take Rudy, He had so much life and so much to live for. He takes his soul when Liesel bent down to gave him a final farewell kiss, as she was in love with him after all. This is when Death finds the book.

Editorial Review [2]

The Book Thief will be appreciated for Mr. Zusak's audacity, also on display in his earlier I Am the Messenger. It will be widely read and admired because it tells a story in which books become treasures. And because there's no arguing with a sentiment like that.

[1] Wikipedia.org: The Book Thief
[2] The Book Thief - Markus Zusak - Review - Books - New York Times

Wednesday, October 13, 2010

The Finkler Question (Man Booker Prize winner)

The Finkler Question is a novel by British author and journalist, Howard Jacobson (1942- ), published in 2010 and won the Man Booker Prize on October 12, 2010.



Video: Howard Jacobson wins Booker Prize

Plot Summary [1]

The story centers on Julian Treslove, a former radio producer whose career has failed to rise as it should have, mainly because of his lack of focus on the task in hand and a degree of self-doubt which robs him of the certainty he needs to succeed.
Treslove has two close friends, Sam Finkler, a television producer and Jewish philosopher and the former teacher of Sam and Julian, Libor Sevcik, an elderly widower, also Jewish, who in some ways acts as a mentor to the two men.
One day, while walking near Broadcasting House Treslove is mugged and all his valuables are stolen. Treslove is mortified to realize that his assailant is a woman. And to complicate matters, although the words she uttered at the time of the robbery are indistinct, on further reflection, Treslove comes to believe that they were the words, “You Jew!”.
The thought of being the victim of an anti-Semitic attack, when he is in fact a Gentile begins to worry Treslove. Because of his two friends Sam and Libor, Treslove is already familiar with all things Jewish, and he begins to think about anti-Semitism, reading of attacks on Jews in Canada, France, Germany and Argentina. Slowly, his mugging begins to take the form in his mind of an “atrocity”, and as the novel unwinds, poor Treslove begins to question whether he is not in fact Jewish after all, something discerned by the mugger due to innate characteristics which he had not previously recognized.

Editorial Reviews [2]

“It is tempting—after reading something as fine as The Finkler Question—not to bother reviewing it in any meaningful sense but simply to urge you to put down this paper and go and buy as many copies as you can carry … Full of wit, warmth, intelligence, human feeling and understanding. It is also beautifully written … Indeed, there’s so much that is first rate in the manner of Jacobson’s delivery that I could write all day on his deployment of language without once mentioning what the book is about.”—Edward Docx, Observer (UK)

“Howard Jacobson [is] a writer able to recognize the humor in almost any situation and a man as expansive as most on the nature of Jewishness.”—Gerald Jacobs, Telegraph (UK)

“This charming novel follows many paths of enquiry, not least the present state of Jewish identity in Britain and how it integrates with the Gentile population. Equally important is its exploration of how men share friendship. All of which is played out with Jacobson’s exceptionally funny riffs and happy-sad refrains … Jacobson’s prose is a seamless roll of blissfully melancholic interludes. Almost every page has a quotable, memorable line.”—Christian House, Independent on Sunday (UK)

“Both an entertaining novel and a humane one.”—Henry Hitchings, Financial Times

“There are some great riffs and skits in The Finkler Question … But at the heart of the book is Julian the wannabe Jew, a wonderful comic creation precisely because he is so tragically touching in his haplessness. The most moving (and funniest) scenes are those in which he and Libor, the widower with nothing more to live for, ruminate on love and Jewishness.”—Adam Lively, Sunday Times (UK)

“[A] bleakly funny meditation on loss, belonging and personal identity.”—Ross Gilfillan, Daily Mail (UK)

“For some writers a thorough investigation of the situation of British Jews today might do as the subject for a single book. In The Finkler Question it’s combined with his characteristically unsparing—but not unkindly—ruminations on love, aging, death and grief. He also manages his customary—but not easy—trick of fusing all of the above with genuine comedy … No wonder that, as with most of Jacobson’s novels, you finish The Finkler Question feeling both faintly exhausted and richly entertained.”—James Walton, Sunday Telegraph (UK)

“A terrifying and ambitious novel, full of dangerous shallows and dark, deep water. It takes in the mysteries of male friendship, the relentlessness of grief and the lure of emotional parasitism.”—Alex Clark, Guardian (UK)

“The Finkler Question balances precariously a bleak moralizing with life-affirming humor.”—Bryan Cheyette, Independent (UK)

“Another masterpiece … The Finkler Question is further proof, if any was needed, of Jacobson’s mastery of humor. But above all it is a testament to his ability to describe—perhaps it would be better to say inhabit—the personal and moral worlds of his disparate characters.”—Matthew Syed, Times (UK)

“Jacobson writes perceptively about how durable friendships are compounded, in large part, of envy, schadenfreude and betrayal.”—Jonathan Beckman, Literary Review (UK)

“The Finkler Question is very funny, utterly original, and addresses a topic of contemporary fascination … The writing is wonderfully mobile, and inventive, and Jacobson’s signature is to be found in every sentence … The Finkler Question is a remarkable work.”—Anthony Julius, Jewish Chronicle

“Jacobson is at the height of his powers … As the men tussle with women and their absence, and their own identities, Jacobson’s wit launches a fusillade of hard-punching aperçus on human nature and its absurdities that only he could have written.”—Ben Felsenberg, Metro (UK)

“The Finkler Question, which is as provocative as it is funny, as angry as it is compassionate, offers a moving testimony to a dilemma as ancient as the Old Testament. It also marks another memorable achievement for Jacobson, a writer who never fires blanks and whose dialogue, which reads like an exchange between Sigmund Freud and Woody Allen, races along like a runaway train.”—Alan Taylor, Herald Scotland

“Howard Jacobson’s latest holler from the halls of comic genius … The opening chapters of this novel boast some of the wittiest, most poignant and sharply intelligent comic prose in the English language … Jacobson’s brilliance thrives on the risk of riding death to a photo-finish, of writing for broke. Exhilaration all the way.”—Tom Adair, Scotsman

“Here are three men who are in varying ways miserably womanless. This is rich soil for comedy, and Jacobson tills it for every regretful laugh he can muster … Perhaps [Jacobson’s] Leopold Bloom time has come at last.”—Irish Independent

“The Finkler Question is characterized by [Jacobson’s] structuring skill and unsimplifying intelligence—this time picking through the connections and differences, hardly unremarked but given fresh treatment here, between vicariousness and parasitism, and between Jewishness, Judaism and Zionism.”—Leo Robson, New Statesman

“Full of caustic moments … that are also, essentially, funny … No matter the book’s themes, the way Jacobson weds humor to seriousness makes it affecting for anyone.”—Eric Herschthal, Jewish Week

[1] ACommonReader.org: Review: The Finkler Question – Howard Jacobson, August 21st, 2010.
[2] Amazon.com: The Finkler Question, Editorial Reviews, October 13, 2010.

Saturday, October 9, 2010

Things Fall Apart (the most widely read book in modern African literature)

Things Fall Apart is a novel by Nigerian novelist, poet, professor at Brown University and critic Chinua Achebe (1930- ).

Things Fall Apart is a staple book in schools throughout Africa and widely read and studied in English-speaking countries around the world [1].

It is one of the first African novels written in English to receive global critical acclaim. The title of the novel comes from William Butler Yeats's poem "The Second Coming" [2].

In 2009, Newsweek ranked Things Fall Apart #14 on its list of Top 100 Books: The Meta-List [3].


Plot Summary [1]

Although Okonkwo's father was a lazy man who earned no titles in his village, Okonkwo was a great man in his home of Umuofia, a group of nine villages in Nigeria. Okonkwo despised his father and does everything he can to be nothing like him. As a young man, Okonkwo began building his social status by defeating a great wrestler, propelling him into society's eye. He is hard-working and shows no weakness—emotional or otherwise—to anyone. Although brusque with his family and neighbors, he is wealthy, courageous, and powerful among his village. He is a leader of his village, and his place in that society is what he has striven for his entire life.

Because of his great esteem in the village, Okonkwo is selected by the elders to be the guardian of Ikemefuna, a boy taken prisoner by the village as a peace settlement between two villages. Ikemefuna is to stay with Okonkwo until the Oracle instructs the elders on what to do with the boy. For three years the boy lives with Okonkwo's family and he grows fond of him, he even considers Okonkwo his father. Then the elders decide that the boy must be killed, and the oldest man in the village warns Okonkwo to have nothing to do with the murder because it would be like killing his own child. Rather than seem weak and feminine to the other men of the village, Okonkwo helps to kill the boy despite the warning from the old man. In fact, Okonkwo himself strikes the killing blow as Ikemefuna begs him for protection.

Shortly after Ikemefuna's death, things begin to go wrong for Okonkwo and when he accidentally kills someone at a ritual funeral ceremony, he and his family are sent into exile for seven years to appease the gods he has offended with the murder. While Okonkwo is away in exile, white men begin coming to Umuofia and they peacefully introduce their religion. As the number of converts increases, the foothold of the white people grows beyond their religion and a new government is introduced.

Okonkwo returns to his village after his exile to find it a changed place because of the presence of the white man. He and other tribal leaders try to reclaim their hold on their native land by destroying a local Christian church that has insulted their gods and religion. In return, the leader of the white government takes them prisoner and holds them for ransom for a short while, further humiliating and insulting the native leaders. The people of Umuofia finally gather for what could be a great uprising, and when some messengers of the white government try to stop their meeting, Okonkwo kills one of them. He realizes with despair that the people of Umuofia are not going to fight to protect themselves because they let the other messengers escape and so all is lost for the village. He also decides never to let the whites imprison him.

When the local leader of the white government comes to Okonkwo's house to take him to court, he finds that Okonkwo has hanged himself, ruining his great reputation as it is strictly against the custom of the Igbo to kill oneself.

[1] Wikipedia.org: Things Fall Apart
[2] Chinua Achebe: Things Fall Apart Study Guide
[3] Newsweek's Top 100 Books: The Meta-List



FYI: Obama's Wars by Bob Woodward is published on Amazon.

Saturday, October 2, 2010

One Day (Exclusive Books Boeke Prize winner)

One Day is a novel by English novelist and screenwriter David Nicholls (1966- ), published in 2009 and won Exclusive Books Boeke Prize in 2010. Each chapter of this novel covers the lives of two protagonists on 15 July, St. Swithin's Day, for twenty years.


Review [1]

In 1988, the day after commencement, two college graduates briefly, romantically collide. The girl has pined for the boy for years; the boy is more aware of the girl than he lets on. She’s an earnest, outspoken lefty, he a handsome, apolitical toff who “liked the word ‘bourgeois’ and all that it implied” and “wanted to live life in such a way that if a photograph were taken at random, it would be a cool photograph.” Their chemistry is as inarguable as their differences, but because of the pride, carelessness and misplaced optimism of youth, they let time and distraction separate them. Yet they never lose track of each other. “One Day” checks in on their intersecting lives once a year, every July 15, from 1988 through 2007.

The trajectories of Emma’s and Dexter’s lives will resonate with many American readers, even though the couple’s relationship begins at the University of Edinburgh and their adulthood takes root in London. With pleasing precision, Nicholls tags cultural touchstones that will be familiar to college graduates on both sides of the Atlantic. For the late 1980s, he resurrects a faultless diorama of the activist female student mentality, in the form of Emma’s cluttered bedroom. Entering it for the first time, Dex knows “with absolute confidence that somewhere in amongst the art postcards and photocopied posters for angry plays there would be a photograph of Nelson Mandela, like some dreamy ideal boyfriend.” He had seen “any number of bedrooms like this, dotted round the city like crime scenes, rooms where you were never more than six feet from a Nina Simone album.” After their night of kissing, fumbling and (on her part) hostile banter meant as coquetry, Emma, upright and uptight, announces that she can picture Dex at 40, in a tiny sports car: “You’ve got this little paunch tucked under the leather steering wheel like a little pillow and those backless gloves on, thinning hair and no chin. You’re a big man in a small car with a tan like a basted turkey.” His own vision for himself is more hopeful. He wants to “feature in magazine articles,” and grandly imagines a future “retrospective of his work, without having any clear notion of what that work might be.”

Very soon, their attitudes have stretched to fit the contours of the compromised, flashy decade to come. Emma, clinging to her idealism, plays bass in an “all-girl band . . . variously called Throat, Slaughterhouse Six and Bad Biscuit,” then joins a strident arts collective called Sledgehammer Theatre Cooperative (intent on doing “really good, exciting original political devised work”) before taking a job at a Mexican restaurant called Loco Caliente. It’s grubby work, but not as degrading, from Emma’s point of view, as applying for and being rejected from publishing jobs. On the side, she writes poetry in an “expensive new black leather notebook with a stubby fountain pen.” One sample of her work doesn’t augur well for her literary future: “It was the nachos that did it. / The steaming variegated mess like the mess of her life / Summing up all that was wrong / With / Her / Life.” Later Emma wonders if “what she believes to be a love of the written word is really just a fetish for stationery.” When her boss offers her the job of restaurant manager because “I want someone who isn’t going anywhere. Someone reliable who isn’t going to run off to India without giving proper notice or drop it all for some exciting job,” she begins to cry.

Meanwhile, Dex, who did run off to India after Edinburgh, builds a career in London as the host of a succession of tawdry late-night television shows like “Largin’ It,” a loud lad-fest with rock bands and movie star guests, and cage dancers as backup. Flush with cash and coke, gleaming with zircon semi-fame, he shows up at Emma’s restaurant with a glossy new girlfriend, bragging of star-studded nights out and shaming Emma by pushing her to accept a tip. “Wrap party,” the hurt, contemptuous Emma says to herself. “He has become someone who goes to wrap parties.” But that sour reflection won’t sweeten her regard for her dull, devoted boyfriend, a lackluster comic (and Loco Caliente waiter) named Ian, whose mouth “hung open in repose” and whose face “made her think of tractors.” Ian’s relentless store of canned jokes fills Emma with chagrin. When they’re first dating, as he riffs on the menu offerings, she wonders “where the fallacy had come from, that there was something irresistible about funny men.” She can’t help making a comparison: Ian “was a man with a great sense of humor while at the same time being in no way funny. Unlike Dexter.” “Where,” she wonders, “was Dexter right now?”

Back in Bombay, Dex had drafted a long letter, “six blue sheets densely written on both sides,” guardedly revealing his affection for Emma and urging her to spend a few months with him in India. He would wire her money for the ticket; they would meet at the Taj Mahal. But the letter was never mailed. Instead, he left it on a barroom sofa in Bombay and headed off to a hostel with a “trainee pharmacist from Rotterdam with fading henna on her hands, a jar of temazepam in her pocket and a poorly executed tattoo of Woody Woodpecker at the base of her spine.”

A few years later, in the Greek islands, where they’ve gone for a just-friends holiday, Dex and Emma abide by a pre-vacation agreement: separate bedrooms and no flirting. Should they give it a try anyway? Could Cupid possibly unite a rudderless roué (whose own mother mourns, “Sometimes I worry that you’re not very nice anymore”) and a woman so self- conscious she thinks there’s a wrong way to skinny dip? Again and again, these two nearly come together. But it’s not until 1999, 11 years after their first collision, that Emma finally tells Dex, “When I didn’t see you, I thought about you every day, I mean every day, in some way or another.” “Same here,” he replies. The tardy confession accompanies the announcement of his engagement to another woman.

Will Dex and Emma get together before it’s too late? Will they ever act on the lone un-self-conscious thought Emma has been able to hold in her head since the day she walked away from Dexter, when she was 22 and he was 23, as his parents drove him home from college into his still unblemished future? “Love and be loved,” she had told herself, “if you ever get the chance.” It’s something you may want to find out this summer at poolside. And if you do, you may want to take care where you lay this book down. You may not be the only one who wants in on the answers.

Short Reviews [2]

"[An] instant classic. . . . One of the most hilarious and emotionally riveting love stories you’ll ever encounter." —People

“Big, absorbing, smart, fantastically readable." —Nick Hornby, from his blog

"[Nicholls] has a gift for zeitgeist description and emotional empathy that's wholly his own. . . . [A] light but surprisingly deep romance so thoroughly satisfying." —Entertainment Weekly

Nicholls offers sharp dialogue and wry insight that sounds like Nick Hornby at his best.” —The Daily Beast (A Best Book of the Summer)

"Fluid, expertly paced, highly observed, and at times, both funny and moving." —Boston Globe

"Those of us susceptible to nostalgic reveries of youthful heartache and self-invention (which is to say, all of us) longed to get our hands on Nicholls’s new novel. . . . And if you do, you may want to take care where you lay this book down. You may not be the only one who wants in on the answers." —New York Times Book Review

"Who doesn’t relish a love story with the right amount of heart-melting romance, disappointment, regret, and huge doses of disenchantment about growing up and growing old between quarreling meant-to-be lovers?" —Elle, Top 10 Summer Books for 2010

“A great, funny, and heart-breaking read.” —The Early Show [CBS]

"Funny, sweet and completely engrossing . . . The friendship at the heart of this novel is best expressed within the pitch-perfect dialogue/banter between the two." —Very Short List

“A wonderful, wonderful book: wise, funny, perceptive, compassionate and often unbearably sad . . . the best British social novel since Jonathan Coe’s What a Carve Up!. . . . Nicholls’s witty prose has a transparency that brings Nick Hornby to mind: it melts as you read it so that you don’t notice all the hard work that it’s doing.” —The Times (London)

“Just as Nicholls has made full use of his central concept, so he has drawn on all his comic and literary gifts to produce a novel that is not only roaringly funny but also memorable, moving and, in its own unassuming, unpretentious way, rather profound.” —The Guardian (London)

[1] The New York Times, Sunday Book Review, "The Love Not Taken", LIESL SCHILLINGER, June 18, 2010.

[2] Amazon.com: One Day (Vintage Contemporaries Original) [Paperback]

Monday, September 20, 2010

Palimpsest (Lambda Literary Award winner)

Palimpsest is a novel by Tiptree, Andre Norton, and Mythopoeic Award winning novelist, poet, and literary critic Catherynne M. Valente (1979- ), published in 2009 and won Lambda Literary Award in the same year; also it was named a 2010 Hugo Award nominee in the Best Novel category.


The novel follows four travelers: Oleg, a New York City locksmith; the beekeeper November; Ludovico, a binder of rare books; and a young Japanese woman named Sei. They've all lost something important in their life: a wife, lover, sister, or direction. They find themselves in Palimpsest after each a spend a night with a stranger who has a tattooed map of a section of the city on his or her body. [1]

Review [2]

Catherynne M Valente’s Palimpsest just knocks me flat with her use of language: rich, cool, opiated language, language for stories of strange love and hallucinated cities of the mind.” — Warren Ellis, author of Transmetropolitan

“Palimpsest is an elegant and evocative story set in a gorgeous alien wonderland.” — Elizabeth Bear, author of Hammered

"Gorgeously written and deliriously imaginative, Palimpsest is the book for those who love old maps and grow wistful at the sound of a night train. A modern masterpiece in Valente's unique voice and singular sensibility."—Ekaterina Sedia, author of The Alchemy of Stone

Catherynne Valente has once again proved her mastery of the fantastic. Full to the brim with beautiful images and gorgeous prose, Palimpsest belongs on the same shelf with Calvino's Invisible Cities and Winterson's The Passion. Valente is writing the smartest, gentlest, deepest work in the field, and she's good enough to do it. I remain in awe.”—Daniel Abraham, author of The Long Price Quartet

"It's never enough to merely read a book like Palimpsest, it has to be imbibed, and it's sensuality fully savored."—Nick Bantock, author of The Griffin and Sabine Trilogy

“Outstandingly beautiful prose.”–Publishers Weekly

Palimpsest: A Review [3]

I first heard about the book "Palimpsest" through Livejournal spam. I kept getting reminders that the author, Catherynne Valente, would be reading from her latest novel at the KGB Bar. There was a plot synopsis of the novel in the announcement: something quivering and salacious, but also far, far too coy. Something about four strangers meeting in the night.

Here's the plot synopsis that would have got me to buy her book in person and to hear her read, something I wish I'd done now:

Palimpsest is a book about a city that is also a sexually transmitted disease. You visit the city the night after you fuck somebody infected with it, and then the city possesses your heart and dreams.

After you are infected, you can only be conscious of the lack of magic, mystery, and beauty in your life now that you have seen the alternative. The lack is as brutal as a spiked bat!

Palimpsest is the true reality that you have always known lies just out of reach for you. Like HIV, once you are infected with the city, you die unless you find a cure. But there is only one cure -- permanent immigration to Palimpsest -- and there has been a war that makes this nearly impossible. Good fucking luck, you wanton travelers!

Or, to sum up the theme using Valente's own far more lyric and lucid prose:

"To touch a person...to sleep with a person...is to become a pioneer," she whispered then, "a frontiersman at the edge of their private world, the strange, incomprehensible world of their interior, filled with customs you could never imitate, a language which sounds like your own but is really totally foreign, knowable only to them. I have been so many times to countries like that. I have learned how to make coffee in all their ways, how to share food, how to comfort, how to dance in the native ways. It is harder, usually, to find a person who wants to walk the streets of me, to taste the teas of my country, to... immigrate you could say."

* * *

"Palimpsest" is a fantasy novel, I guess. But it is a fantasy novel in the same way that the works of Haruki Murakami or David Mitchell are fantasy novels.

It is "high fiction," a book that tells a story on its own terms, using an uncompromising and invented form to create higher resonance than the genres of either "literary fiction" or "fantasy" are capable of providing.

High fiction is gaining ground in literature and might be literature's best hope for bringing in new souls. It melds the best things about post-modernism, modernism, and genre fiction, while cutting out the excesses of all three disciplines.

High fiction would not be possible without post-modernism's brush clearing, even though reading the triumphs of 60s, 70s, and 80s literature is like reading through the filing cabinet of an English professor while all the air is being sucked out of a sealed room, like some kind of Batman deathtrap.

But post-modernism worked! At least, it worked in television and film. Everything has now been leveled. Thanks to the gimcrackery of image, New York City is just as real a place as Hogwarts. Since this is true, fiction can tell whatever the fuck story it wants now and people will just go with it. Settings can be manipulated and tweaked to conform to the logic of stories without rigorous world building.

Nobody cares what is real anymore, because now even telling "true" stories means we have to incorporate the mystical, the alien, the fantastical, and the arcane. Also, memoirs and reality television have laid such siege to the truth these days that they have stolen it from fiction like a fancy toy, so fiction can do what it pleases.

However, the lessons of modernism have also taught us that formal experimentation, craft, and deployment of a unique style, are the best ways to elevate prose, and they always improve a work when used deliberately and with control. "Ulysses" = huge success! "Finnegan's Wake" = unreadable, unless it is the only book you ever read.

People toiling for decades in the thankless Prose Mines of modernism taught us the limits of language and revealed many of the tricks, traps, inadequacies, and open areas of narrative exploration.

These days, while you write fantasy novels, you must read Faulkner.

Which brings us to the most important component of "high fiction." The fantastic. The genre spirit. Over the years, the genre writers kept the raw spirit of fiction alive by focusing on pure story. Tales! Adventure! Imagination! Crisis! Catharsis!

And that's what people want. Genre writers realized that if they didn't get it from fiction, they'd get it elsewhere. Those with aspirations for high fiction can no longer neglect this audience. This audience is all of us.

High fiction combines the structural freedom of post-modernism, the elevated style of modernism, and the story power of genre. To write a piece of high fiction is to therefore write fiction that challenges a writer's skills on all levels.

This is a great age for such challenges, an age where if you know how to look, you can see that the path is clear for anything. This is the age of high fiction masterpieces such as Mitchell's "Cloud Atlas," Murakami's "Kafka on the Shore," Ursula Le Guin's "The Tombs of Atuin," Susannah Clarke's "Dr. Strange and Mr. Norrell," and Peter Matthiessen's "Shadow Country."

"Palimpsest" is part of this tradition; a tradition struggling out of imagination's protoplasm to reignite the novel for modern readers.

* * *

"Palimpsest" is the story of four people on three continents who journey to the city of Palimpsest together for the first time one night and are then forever linked.

The structure is simple but specially tailored to the subject. The story cycles between the four characters -- each of whom has different desires and problems -- while alternating between the psychogeography of the sexually-transmitted city and the real life dilemmas of four very damaged human beings.

For instance, in order to keep visiting the city, the characters must keep fucking new people who have been there. And every time they visit, they lose something or are permanently altered.

My major problem with this book is also its chief strength. This is not a novel driven by plot or characters. This is a novel driven by setting and by ideas, where the characterization is revealed by the setting. The setting is actuated by the structure, and the structure is lyrical and poetic, replete with images and synesthesias that describe a city that is half-wonder and half-nonsense.

It is a place built for crazy people. Luckily, our protagonists are crazy and fit right in. However, it is a gamble that the reader will be able to empathize with the obsessions of these half-rendered characters. Taken as a story about the safety valve of the imagination, however, "Palimpsest" becomes a book about what people will risk in order to fight for their rightful place.

Sometimes the end result was like reading a beautiful map instead of visiting a real place. Or reading the rules to a game instead of playing it. I am conventional: I wanted more change, growth, risk, and plot.

However, the map and the rules were so engrossing that I stopped caring after awhile and just let my mind savor the possibilities. The ingredients were so fascinating and rare that it became okay that I could not always taste the dish.

* * *

Palimpsest is also really hot.

The characters don't care who they fuck in order to travel to their dream city. Men, women, lepers, the disfigured, the portly, the old, the young, the good, the evil. Every person is their own country and if you want to visit, you have to pay the price.

The tension of the book is the movement between sleaze to the sublime, which is also the tension of sex itself. Isn't it? The passage from life to mystery; the movement from the ordinary to the exalted.

The lowest world is raised up:

"A folktale current in Hokkaido just after the war and passed from conductor to conductor held that the floor of heaven is laced with silver train tracks, and the third rail is solid pearl. The trains that ran along them were fabulous even by the standards of the Shinkansen of today: carriages containing whole pine forests hung with golden lanterns, carriages full of rice terraces, carriages lined in red silk where the meal service brought soup, rice-balls, and a neat lump of opium with persimmon tea poured over it in the most delicate of cups. These trains sped past each other, utterly silent, carrying each a complement of ghosts who clutched the branches like leather handholds, and plucked the green rice to eat raw, and fell back insensate into the laps of women whose faces were painted red from brow to chin. They never stop, never slow, and only with great courage and grace could a spirit slowly progress from car to car, all the way to the conductor's cabin, where all accounts cease, and no man knows what lies therein."

"In Hokkaido, where the snow and ice are so white and pure that they glow blue, it is said that only the highest engineers of Japan Railways know the layout of the railroads on the floor of heaven. They say that those exalted engineers are working, slowly, generation by generation, to lay the tracks on earth so that they mirror exactly the tracks in heaven. When this is done, those marvelous carriages will fall from the sky, and we may know on earth, without paying the terrible fare of death, the gaze of the red women, the light of the forest lanterns, and the taste of persimmon tea."

* * *

Valente has a huge, wild talent and reading her book is intoxicating yet dangerous, like sipping liquor from a crystal goblet and eating dainty sandwiches while getting a massage from an assassin.

It's a book that feels well-tuned and well-edited. Blood was spilled on this book. Whole ink buffalo were slaughtered, and every part was used.

Here's a fascinating and spot-on editorial Valente wrote about why editors are so important, and why self-publishing is not a good idea.

"The general meme seems to be this: with the advent of ebooks, which are definitely going to be the dominant form of book publishing forever and ever, there will no longer be any need for traditional publishers. Each writer will become something of an autonomous press, self-publishing through Amazon and Apple, who are totally awesome indie champions of the little guy, unlike those horrible corporate presses, hiring their own editors, copyeditors, typesetters, marketers, and artists, and putting up their work directly for sale online. Then: profit!"

"I find this to be a horrifying dystopian future, and I'll tell you why."

However, in this editorial, she does bring up a very important point about electronic rights:

"Where I think change could best happen right now is on the contract level. If, for example, e-rights became a subsidiary right I could administer separately, like audio rights, then you'd see a revolution in ebooks as we all experiment. Right now, however, you more or less cannot sell a book to a major publisher without giving them e-rights, and that sucks."

She isn't just whistling Dixie, either. When her partner lost his job and they needed money, she took a YA-novel from "Palimpsest" and turned it into a persistent, online web novel called "The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making."

You can read this book for free here, and donate what you want.

I think this is exactly how electronic novels should look, personally. By putting out an online novel this way, an author doesn't have to go through Amazon, Apple, or Google, and they are able to add artwork, audio tracks, links, and "code art" in ways that simply don't work for ebook readers. You can read "Fairyland" from any computer with an internet connection. It can be tweaked. Corrected. Added to.

Unfortunately, "Fairyland" is also an example of a book that a professional writer had to put out without help, unable to pay for good graphic designers, good coders, or good editors, and also unable to convince publishers that this is what an ebook should look like.

Imagine what kind of electronic books publishers could make if they brought all of the resources of the New York industry to bear on this burgeoning market, instead of buying into the idea that Apple or Amazon are in a better position to create and leverage narrative art, which is a ludicrous idea.

* * *

"Palimpsest" is a radical and experimental piece of metatextual prose, cloaked in the guise of a perverted fantasy novel about A City. It is rough, smart, and flawed.

It is a book designed to makes passing it on a radical act. An act of transgression.

And I want to pass it on to you.

I want to put this book in your mind forever.

To make it a part of you. To tattoo it on your flesh. You like to read, right? So come a little closer...don't be shy...just a little bit closer, please... [END]

[1] Wikipedia.org: Palimpsest
[2] Amazon.com: Palimpsest
[3] Palimpsest: A Review by Miracle Jones

Saturday, September 11, 2010

To Kill a Mockingbird (Pulitzer Prize winner)

To Kill a Mockingbird is a novel by American author Harper Lee (1926- ) published in 1960 and won the Pulitzer Prize in the same year. It became a classic of modern American literature. The plot and characters are loosely based on the author's observations of her family and neighbors, as well as on an event that occurred near her hometown in 1936, when she was 10 years old [1].


Summary [2]

Chapter 2 September comes around and Dill leaves to go back home to Meridian, Scout realizes that she's starting her first year of school. After her first day, however, she's determined not to go back. After trying to explain the complicated backgrounds of some of the county folks to the new teacher, Scout lands herself into trouble again and again, and is not quite sure how. It should be obvious, she thinks, that offering Walter Cunningham a quarter for lunch is simply not done. They don't take help from anyone, and the reason why he doesn't have a lunch is because he can't afford one. When she tries to explain this to the new teacher, however, she gets her hands slapped by a ruler. When lunchtime finally rolls around, she's grateful to get out of class and go home. Chapter 3 Scout wastes no time paying back Walter Cunningham for getting her started on the wrong foot with the new teacher. It isn't until Jem comes and stops her that she quits tormenting him in the playground, and she nearly falls over when Jem invites the poor boy to lunch at their house. The day doesn't improve when she embarrasses Walter at the table and is forced to eat in the kitchen by Calpurnia. When she returns to school the day's drama isn't over. Miss Caroline, the teacher, is horrified to discover a cootie in the hair of Burris Ewell, a hulking, angry boy who quickly reduces Miss Caroline to tears as he slouches out of the room, his first and only day of school over. That evening Scout is weary from the day's crimes and begs Atticus not to send her back to school anymore. The fact that Miss Caroline forbade her to read and write anymore is really what's distressing her, and when Atticus strikes a deal with her that if she will concede to go back to school they'll continue reading together like always, she happily accepts. Chapter 4 As the schoolyear inches along, Scout begins to realize that she's far more educated than her peers, and even more so, perhaps, than her teacher. As construction paper and crayon Projects evolve day after day, she realizes she is just plain bored. As she walks home from school there is a huge oak tree that sits on the corner of the Radley lot. She passes it every day without incident, only one day she spots two pieces of chewing gum in a knot in the tree. After making sure it won't kill her she hastily crams it into her mouth, and Jem is furious with her when he finds out, convinced that it's poisoned by Boo Radley. During their walk home on the last day of school Scout and Jem find another treasure in the tree, this time two old, shined up pennies. When Dill arrives for the summer two days later the group resumes their obsession with Boo Radley. They create a play that reenacts Boo's life, and continue with it all summer long until they are very nearly caught by Atticus. Chapter 5 When Dill and Jem start excluding Scout from their plots she begins to spend more time with her next door neighbor, Miss Maudie Atkinson. Miss Maudie is garden obsessed, and spends her evenings reining over her front porch in the twilight. Scout gets a lot of valuable information from her about Boo Radley's past, and the reason, perhaps, why he never comes out. The next day she uncovers a major plot by Dill and Jem to pass a note to Boo Radley. Scout protests but they threaten her and before she knows it she's part of the scheme. Things proceed fairly smoothly until they're caught by Atticus, who forbids them to set one more foot on the Radley property and to leave Mr. Radley alone.

Chapter 6 The last night of the summer Jem and Dill hatch the biggest plot of them all (reasoning that, if they get killed, they'll miss school instead of vacation). They decide to try and peep into one of the windows at the Radley house. When Scout (who until tonight knew nothing of the plan) starts to protest, they call her a girl and threaten to send her home. With that, she joins them. Things take a disastrous turn when Boo Radley's older brother, Mr. Nathan Radley, hears them and, thinking they're intruders, fires a shotgun. They barely make it through the fence in time and high tail it back home so they're not missed by the adults. When they step into the gathering crowd to discuss the gunshot Scout is horrified to realize that Jem is missing his pants. Dill hatches a good one and tells Atticus that he won them from Jem playing strip poker. The adults seem satisfied with the lie, and don't suspect them of causing the gunfire at the Radley place. After they slink off, Scout discovers from Jem that he lost his pants as they were scurrying through the wire fence. They got caught and he had to leave them behind or risk getting shot. Late that night Jem decides to go after them rather than risk Mr. Nathan finding them the next morning and turning him in. Scout pleads with him not to go, but he does it anyway. When he gets back, he doesn't say a word but lies in bed, trembling. Chapter 7 Jem's silence about that night lasts for a week. They both start school again, and Scout discovers that the second grade is worse than the first, and the only consolation is that now she gets to stay as late as Jem and they can walk home together. It's during this walk home one afternoon that Jem finally opens up about his sojourn trip back to the Radley place to retrieve his pants. He tells Scout that his pants were not tangled up the wire as he left them but were folded neatly on the fence post, as if someone was expecting him to come back and get them. As they approach the oak tree with the knot hole they discover a ball of twine. After waiting a few days to make sure that the knot hole is not some other child's hiding place, they take ownership of everything they find in there from here on out. The next treasure they discover in there is the figure of a boy and girl carved out of soap. They're carved to look like Scout and Jem. The next prize is an old pocket watch that doesn't run. They decide to write a letter to whomever is leaving them things, but they're shocked to discover the next day that the hole has been filled with cement. When they question Mr. Nathan Radley (Boo's brother who does leave the house) he tells them the tree was sick and he had to do it. Upon questioning Atticus, however, he tells them that tree is perfectly healthy. Chapter 8 That fall Maycomb endures the coldest snap since 1885, and Scout thinks the world is ending one morning when she wakes up and finds snow on the ground. Although it's only a dusting, Jem is determined to build his first snowman and sets out creatively making one out of dirt, and then using the precious white snow to cover it up. That night the temperature drops even further and all the stoves in the house are lit for warmth. Scout is awakened in the middle of the night by Atticus, who tells her Miss Maudie's house next door is on fire and they have to get out. They spend the night in front of the Radley driveway, watching the commotion. The men of Maycomb help as much as they can getting furniture out of her house while there is still time, but eventually the whole thing is up in flames. They don't go back inside the house until morning, and Scout is horrified to discover she's wrapped up in blanket and she has no idea where she got it. She almost falls over when they deduce it was Boo Radley that brought the blanket out to her in the night, and she never even knew. They're heartened to discover the next day that Miss Maudie is not grieving for her lost house, saying she always wanted a smaller one anyway. Chapter 9 As the school year progresses Scout begins to get teased at school over her father, atticus is called a "Nigger Defender" and one night she asks Atticus why people are talking about him. He tells her that's he's taken on a case that affects him personally and because he is defending this man, Tom Robinson, there is a big stink about it in town. Atticus asks Scout that, no matter what she hears, she's not to get into a fight with someone over this case. True to her word, she doesn't fight, even when antagonized at school. Until Christmas. Their Uncle Jack Finch comes down from Boston, which is the good part of Christmas. The bad part is that they all have to spend Christmas day at Aunt Alexandra's house at Finch's Landing. Even worse, their cousin Francis is there, and Scout hates him. Things go smoothly until after dinner when, alone in the backyard with Scout, Francis starts calling Atticus all sorts of terrible names because he's defending a black man. Scout sails in with her fists to defend him and gets caught by Uncle Jack. She doesn't have a moment to tell her side of the story, and moments later they're on their way back home. She's finally able to tell her story to Uncle Jack later that night, and he apologizes for jumping all over her when he should've been punishing Francis. Chapter 10 The neighborhood excitement starts up again in February when Tim Johnson, a mangy dog owned by a man on the other side of town, is discovered walking up the street with rabies. The sheriff is called and he and Atticus drive up with a gun to shoot it. Scout and Jem watch in amazement as their father, whom they've never seen hold a gun in his life, takes aim and shoots the dog square in the head from an amazing distance. They're further shocked to discover that he is the deadest shot in Maycomb county, an accomplishment he's never bothered to mention to them since he doesn't like guns. Chapter 11 The day after Jem's 12th birthday finds the two walking into town to spend his birthday money. The downside to taking the route into town is that they have to walk past Mrs. Dubose's house, a cantankerous, bitter old woman who lives at the end of the street. She never has anything good to say to anyone, but Atticus constantly tells the two of them to ignore her foul words and treat her with courtesy and respect. Normally they're able to do this, but today their patience is pushed thin when she starts insulting Atticus's decision to defend Tom Robinson. They wait until they're on their way back home from town and suddenly Jem starts destroying Mrs. Dubose's flowers with Scout's baton wand, chopping them viciously off the bush and scattering them across her yard. When Atticus comes home later that evening, he knows he's in for it worse than he's ever been. Atticus makes Jem go to her house and talk with her, and when Jem returns he says that she is making him read to her everyday for the next month. When Monday comes around, Scout goes with him to keep him company, and the days drag by. When she dies a month later, Atticus informs them that Mrs. Dubose was a morphine addict who had decided she was not going to die addicted to the drug. Jem's afternoons of reading to her broke her from her addiction, and she was able to die in peace. Chapter 12 As summer begins Scout is crushed to discover that Dill will not be joining them. When Atticus has to go out of town for two weeks, Calpurnia decides that she will take them to church with her. Aside from one woman, Jem and Scout are welcomed into the African church with open arms and they're amazed to see how different it is from their own staid church service. They're also amazed to find out that the church collection is going to Helen Robinson, Tom's wife, and the Reverend is not letting anyone leave until they've collected $10, which is what she needs each week to support her kids. Purses are scraped and pockets searched, and finally everyone comes up with enough money and the doors are opened. They also find out that Tom is in jail because he's accused of raping Bob Ewell's daughter, Mayella (who is white), which is why the entire town is in an uproar over Atticus taking on the case. When they get back home from church, they find Aunt Alexandra on the front porch swing waiting for them. Chapter 13 As Scout and Jem begin to question Aunt Alexandra, she tells them she's come to stay awhile (which could be days or years, according to Maycomb's customs). She settles in and the county welcomes her with open arms, although she certainly adds a formidable presence to Jem and Scout's daily routine. She begins trying to instruct the two on how to be a proper Finch (since they come from, in her words, a Fine Family) but both Scout and Jem have no interest in becoming a little gentleman and a little lady, and hardly bother trying to learn. Chapter 14 As life continues on with Aunty in the house, one night Scout goes to bed and steps on something soft and warm and round, which she thinks is a snake. After calling Jem in for a thorough investigation under her bed they find Dill under there, dirty and starving and still his same old self. Scout finds out that the reason why Dill ran off was because his parents just aren't interested in him, and he spends most of his days alone. He spends the night with them, uncertain what the next day will bring. Chapter 15 It is decided a week later that Dill will stay in Maycomb with his Aunt Rachel, who happens to be the Finch's neighbor. This news makes both Scout and Jem very happy. One night they're all relaxing in the living room when Mr. Heck Tate, the sheriff, comes knocking at the door with a group of men, warning Atticus that the local group of no-accounts might try to come at Tom Robinson this weekend. He is being held in the Maycomb jail. The next night Atticus mysteriously leaves the house and on a hunch Jem, Scout and Dill go looking for him in town. They finally find him reading a book on the porch at the jailhouse. Once Jem is satisfied that Atticus is ok they turn to go, but suddenly a line of cars pull up and a group of men get out and surround the porch. Things get serious when Scout, Jem, and Dill rush into the crowd to Atticus's defense, and although he tells them to go home they don't budge. Scout realizes that these men are strangers, and that they're here to get Tom Robinson. Scout finally sees that she does know one man in the crowd, Mr. Cunningham, Walter's father, and as she tries to make conversation with him the entire group falls silent, listening to her talk about Walter and Mr. Cunningham's entailment, which Atticus is currently helping him out on. Although she doesn't realize it, she makes them all realize that they are acting barbaric and finally it's Mr. Cunningham who calls off the mob and makes everyone go home. Chapter 16 The next morning, Saturday, the whole county begins to file into town to watch Tom Robinson's trial. Jem and Scout run a constant commentary for Dill, explaining the backgrounds and tendencies of everyone that passes. After lunch they head into town themselves to watch the trial. Due to the immense crowd there's no room downstairs but Reverend Sykes, the black preacher from Calpurnia's church, gives them seats in the colored section upstairs. When they get up there and sit down, they see the first witness is Mr. Heck Tate. Chapter 17 As Atticus begins to question the sheriff, who was the one that immediately saw Mayella after she was raped, he immediately begins to find holes in his testimony that prove there is no way that Tom Robinson could have beaten and raped the girl, although at this time the jury and crowd don't really know where he's going with his questioning. All that is apparent is that Mayelle's right eye was blackened and that all around her throat was bruised, as if two strong hands had tried to strangle her. The next witness to take the stand is Mayella's father, Bob Ewell, who is poor, uneducated, and downright mean-spirited. As Atticus begins to question him, it becomes finally apparent to Jem where he's going. He suddenly sees that there is no doubt that it was Bob Ewell who beat up Mayelle and then pointed the finger at Tom. Scout still doesn't see it; however, and thinks Jem is counting his chickens before they're hatched. As she looks at the back of Tom Robinson, who is big and strong, she thinks he easily could have hurt Mayella. Chapter 18 Mayella is the next to take the stand, and as Atticus questions her he begins to poke holes in her testimony as well. Finally he asks Tom Robinson to stand up so Mayella can identify him, and everyone sees that his left arm is fully 12 inches shorter than his right, and is therefore crippled and unusable. Scout finally sees that there is no way he could have choked Mayella and blacked out her right eye. It's a physical impossibility. Atticus then begins to ask her if it was really her father that beat her up but she refuses to say, and she refuses to say another word after she accuses Tom Robinson one more time. Chapter 19 The next and last witness is Tom Robinson himself. Tom tells the jury that he went into Mayella's yard lots of times to help her with little chores, and that she was always asking for his help. She once offered to pay him, but Tom declined the invitation. Since that, Tom willingly executed Mayella's chores free of charge. When he begins talking about the night of the rape he tells everyone that Mayella invited him in to do a chore and then started coming on to him, trying to kiss him, and it was her father that saw what she was trying to do through the window. Tom tried to resist Mayella without hurting her, and as soon as he could get away he took off running. He is soft-spoken and polite. But he makes the mistake of telling Mr. Gilmore that the reason he helped Mayella is because he felt sorry for her. And in those times, a black man feeling sorry for a white woman or even saying it may as well be a crime. During the cross examination by Mr. Gilmore Dill begins crying uncontrollably, so Scout takes him outside for some fresh air. Dill cannot get over how cruel Mr. Gilmore (the prosecutor) is to Tom Robinson, and another man is outside the courthouse and knows exactly why Dill is so upset. Chapter 20 The man is Mr. Dolphus Raymond, a local character who is ostracized because he married a black woman. To tone down the talk about him around the town he pretends to be a drunk, but it is really Coca Cola that is in the paper sack he carries around. He tells Dill that people can be very cruel sometimes and that it makes him sick too. Scout knows she shouldn't be out talking to this sinful man, but she finds him nice and fascinating. When they get back inside the courthouse they find Atticus in the middle of his closing statement, and Jem is convinced they're going to win the case since Tom Robinson could not have physically done what Mayella is accusing him of. Chapter 21 When they go home that evening for dinner they can hardly wait to go back to the courthouse because they don't want to miss the verdict. They wolf down their supper and race back. The jury stays out a long time, till almost midnight, deciding on a verdict, and Scout falls asleep waiting to hear. In total the jurors were out deciding almost nine hours. Finally they come back with a verdict: guilty. Chapter 22 Jem starts to cry, and cannot believe the jury would convict Tom when it was so obvious he hadn't raped Mayella. He and Scout are both in shock. The next morning the Finches all surprised at the amount of food that was left on the back porch from black people in the community, mostly from Calpurnia's neighborhood, to tell Atticus "thank you" for defending Tom Robinson, in spite of the verdict. The children have a conversation with Miss Maudie who tells them that it wasn't just Atticus trying to help Tom Robinson. They Judge was trying, Mr. Heck Tate was trying, there were lots of people behind the scene trying. They might of lost the case, she says, but only Atticus could have kept a jury out so long deciding. In her mind, it's a baby step towards equality. Chapter 23 The next drama of the day is that Bob Ewell spits in the face of Atticus and says he'll get him back for embarrassing him so badly in court. Atticus passes it off as an empty threat, and does his best to assuage the fears of Jem and Scout, who are very worried for him. Atticus has not lost hope for Tom Robinson, either. There's still the appeal, which he's confident that they have a good chance of winning. As Jem and Scout discuss the lives and ways of Maycomb county folks after the trial, they begin to realize something disturbing about human nature, and the ways people can come up with to just be mean spirited. Jem begins to understand that the reason Boo Radley never comes out of his house is not because he can't, but is because he doesn't want to come out. Chapter 24 As September inches closer Scout is introduced to formal tea time, hosted by Aunt Alexandra, who is on a relentless campaign to teach her to be a lady. As Scout navigates through the social hour she's lost on how ladies can look so pretty and delicate, and yet trap each other with conversation, revealing an aggressiveness you can't really see except when they talk to each other. She decides she feels much more at home in her father's world. When Atticus comes home early from work and interrupts tea Scout knows something's up. She follows him into the kitchen and learns that Tom Robinson is dead. He made a break for it at the prison and was shot by the guards. Atticus enlists the help of Calpurnia to go and tell Tom's wife, Helen. Scout, Miss Maudie, and Aunt Alexandra pull themselves together and rejoin the ladies at tea. Chapter 25 Jem and Dill were able to witness the sad affair of Atticus having to tell Helen that Tom is dead, as his car passed them as they were walking back from swimming at Barkers Eddy. Atticus was very gentle about it, but Helen fainted away. The town of Maycomb was interested in Toms death for about two days, and then moved on to other things. Jem tells Scout that he heard from the grapevine that Mr. Ewell was threatened them again, saying that there was one down and two to go. Jem believes that he's all talk and warns Scout not to breathe a word to Atticus, and not to worry. Chapter 26 As school starts Jem begins high school (7th grade) and Scout rarely sees him until dark. She's in 3rd grade now, and although the Radley place ceases to terrify her she still thinks about Boo, and regrets ever tormenting him the way they used to. One day in class they start talking about Adolf Hitler, and Scout discovers that her teacher, Miss Gates, hates Hitler and feels strongly that his persecution of Jews is wrong. Scout is confused about this, however, because during the summer at the trial she heard Miss Gates distinctly saying ugly things about Tom Robinson, and how this should teach them all a lesson. When she asks Jem about it, why Miss Gates can hate Hitler and yet feel Tom Robinson's verdict is justified because he's black, Jem gets very upset and yells at her not to ever talk about that trial to him again. When she goes to Atticus for comfort he tells her that Jem is just trying to come to terms with something in his head, and when he does he'll start being himself again. Chapter 27 As October crawls forward a few things happen in town. The Judge finds a nighttime crawler in his yard but doesn't see who it is. Helen Robinson, Tom's wife, starts working for Mr. Link Deas, Tom's old employer, who offers her a job because he feels so badly about what happened to Tom. She has to go a mile out of her way to avoid the Ewell place, because each time she passes they antagonize her. When Mr. Deas finds out about it he goes over to the Ewell place and threatens Mr. Ewell to leave Helen alone. The next day Mr. Ewell follows Helen all the way to work and Mr. Deas has to chew him out again. To Aunt Alexandra, it bodes trouble. As Halloween approaches Scout learns that she will be required to participate in the school pageant, an agricultural themed production where she'll be playing the part of "Pork". Her costume is a large ham hock fashioned out of brown cloth and chicken wire. Everyone else is too worn out to come to the night's pageant, so Scout and Jem go alone. Chapter 28 It's a really dark night, but Scout has fun playing the various games the school put on before the pageant. The entire county is there to watch the show, and Scout invariably falls asleep waiting for her part in the play and makes her entrance much too late. She's mortified, but it makes everyone laugh. Because she's so embarrassed about her performance she asks Jem to wait until most of the people have left the school before they begin walking home. As they start their journey back home in the pitch black dark, Jem begins to hear someone following them. At first they think it's their friend, Cecil, trying to scare them, but they begin to realize that it's not. Before they know what's hit them they're attacked from whomever is following them. Scout is crushed under her costume, and then Jem screams. She can't see a thing, and then things grow quiet and she realizes there are now 4 people under the tree. Scout stumbles out into the road, calling for Jem, and then sees a man walking unsteadily, carrying Jem in front of him towards their house. When she gets inside Atticus quickly calls the doctor and the Sheriff, and none of them know how badly Jem is hurt until Dr. Reynolds gets there and informs them that he's got a broken arm. Heck Tate gets there next and tells them all that Bob Ewell is lying under the tree where they were attacked, dead with a kitchen knife stuck in his ribs. Chapter 29 Scout tells them all what happened leading up to the attack. The man that carried Jem into the house is still in the room with them, but he's so silent and in the shadows that they pretty much forget he's there. Heck Tate tells them that Scout's costume probably saved her life, as there is a slash mark through the chicken wire where Bob Ewell tried to stab her. When she gets to the end of her story she realizes that the man who saved their lives, the man who carried Jem home, is Boo Radley. Chapter 30 As Dr. Reynolds starts to set Jem's arm they all head to the front porch, where Boo will be more comfortable in the shadows. Scout leads him out and sits beside him in the deepest shadow. Atticus and Heck Tate get into a battle of wills over who really killed Bob Ewell. Atticus believes Jem did it, and refuses to have the affair "hushed up" so it's hanging over Jem's head and the county has ample material for gossip. Heck Tate contends that Bob Ewell fell on his knife, and flat out refuses to tell anyone that Boo Radley killed him (which is what really happened). His reason is because he knows all the ladies of Maycomb county would be by Boo's house bringing him cakes to thank him, and he knows Boo doesn't want to be dragged into the limelight. Finally, Atticus agrees to the story, and thanks Boo for saving his children. Chapter 31 Scout leads Boo back into the house one last time so he can say goodbye to Jem, who is still sleeping, and then she walks him home. After he goes inside she stands on his front porch and realizes that she can see the entire neighborhood. She understands that all through the years Boo has watched them grow up, playing games and living their lives. She begins to understand that maybe she and Jem did give something to Boo after all. She gives him a hug and heads back home. The novel To Kill A Mockingbird revolves around a young girl named Jean Louise Finch who goes by the nicknamed "Scout". Scout experiences different events in her life that dramatically change her life. Scout and her brother Jem are being raised by their father, a lawyer named Atticus and a housekeeper named Calpumia in a small town in the south. At this point in time in the South racism and discriminations towards black was a big issue . The story begins when Scout is 6 years old, and her brother is about to enter the 5th grade. That summer Scout and her brother meet a young boy named Dill who comes from Mississippi to spend the summers there. They become fascinated with a man named "Boo" Radley, a man in his thirties who has not been seen outside of his home in years, mainly because of his suppressed upbringing. They have an impression of Mr. Radley as being this large ugly and evil man. Then comes the trial. Scout's father becomes a defense attorney for a black man, Tom Robinson, who is falsely accused of raping a white women. This has a big affect on Scout. During this trial she gets teased by friends because her father was helping this black man. Scout starts to see the racism that exist. During the trial Scout and her brother and close friend Dill witness the trial. Even though they are young they can see that Mr. Robinson is innocent. Even though Mr. Robinson's innocence was clear even in the eyes of kids, Mr. Robinson was still found guilty. Later in an attempt to escape, Mr. Robinson is shot dead. Scout is extremely disappointed at the verdict and even more at the death of Mr. Robinson and realizes the injustice that exist. Later in a cowardly attempt by the alleged rape victims father, tries to kill Scout and her brother in order to get even with her father for making him look back in court. This is when Mr.Radley makes an appearance again an stabs their attacker. Even though Mr. Radley kills a man he is not tried for murder because he was defending the Scout and her brother. Finally some justice. This gives Scout some hope that is a chance for improvement in this unjust world.

Review [3]

"A first novel of such rare excellence that it will no doubt make a great many readers slow down to relish more fully its simple distinction...A novel of strong contemporary national significance."
-- Chicago Tribune

"All of the tactile brilliance and none of the precocity generally supposed to be standard swamp-warfare issues for Southern writers...Novelist Lee's prose has an edge that cuts through cant, and she teaches the reader an astonishing number of use truths about little girls and about Southern life...Scout Finch is fiction's most pealing child since Carson McCullers's Frankie got left behind at the

wedding." -- Time

"That rare literary phenomenon, a Southern novel with no mildew on its magnolia leaves. Funny, happy and written with unspectacular precision, To Kill a Mockingbird is about conscience--how it is instilled in two children, Scout and Jem Finch; how it operates in their father, Atticus a lawyer appointed to defend a Negro on a rape charge, and how conscience crows in their small Alabama town."

-- Vogue --This text refers to an alternate Hardcover edition.

[1] Wikipedia.org: To Kill a Mockingbird
[2] Wikisummaries.org: To Kill a Mockingbird
[3] Amazon.com Review: To Kill a Mockingbird