Novels for Students

376 Pages·2008·4.62 MB·English

National Advisory Board
Jennifer Hood:Young Adult/Reference Librarian, Guide in Biography/Memoir for the website
Cumberland Public Library, Cumberland, About.com (http://biography.about.com). Au-
Rhode Island. Certified teacher, Rhode Island. thor of short stories and book reviews. Re-
Member of the New England Library Associ- ceived B.A., M.A. (anthropology), and M.L.S.
ation, Rhode Island Library Association, and from Rutgers University.
the Rhode Island Educational Media Associa-
Heidi Stohs: Instructor in Language Arts, grades
tion.
10-12, Solomon High School, Solomon,
Christopher Maloney:Head Reference Librarian, Kansas. Received B.S. from Kansas State
Ocean City Free Public Library, Ocean City, University; M.A. from Fort Hays State Uni-
New Jersey. Member of the American Library versity.
Association and the New Jersey Library As-
sociation. Board member of the South Jersey Barbara Wencl: Library Media Specialist,
Library Cooperative. Como Park Senior High School, St. Paul,
Minnesota. Teacher of secondary social
Kathleen Preston: Head of Reference, New City
studies and history, St. Paul, Minnesota.
Library, New City, New York. Member of the
Received B.S. and M.Ed. from University of
American Library Association. Received B.A.
Minnesota; received media certification
and M.L.S. from University of Albany.
from University of Wisconsin. Educator and
Patricia Sarles: Library Media Specialist, Canar- media specialist with over 30 years experi-
sie High School, Brooklyn, New York. Expert ence.
Novels for Students
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i v N o v e l s f o r S t u d e n t s
Table of Contents
Guest Foreword
“The Informed Dialogue: Interacting with
Literature” by Anne Devereaux Jordan . . . .ix
Introduction . . . . . . . . . . . . . . . . . . . . . . .xi
Literary Chronology . . . . . . . . . . . . . . . .xv
Acknowledgments . . . . . . . . . . . . . . . .xvii
Contributors . . . . . . . . . . . . . . . . . . . . . .xix
Absalom, Absalom!
(by William Faulkner) . . . . . . . . . . . . . . . . . . .1
Author Biography . . . . . . . . . . . . . . . . . . . .2
Plot Summary . . . . . . . . . . . . . . . . . . . . . .3
Characters . . . . . . . . . . . . . . . . . . . . . . . . .4
Themes . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Historical Context . . . . . . . . . . . . . . . . . . . .9
Critical Overview . . . . . . . . . . . . . . . . . . .11
Criticism . . . . . . . . . . . . . . . . . . . . . . . . .13
All the King’s Men
(by Robert Penn Warren) . . . . . . . . . . . . . . . .27
Author Biography . . . . . . . . . . . . . . . . . . .28
Plot Summary . . . . . . . . . . . . . . . . . . . . . .28
Characters . . . . . . . . . . . . . . . . . . . . . . . .31
Themes . . . . . . . . . . . . . . . . . . . . . . . . . .35
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
Historical Context . . . . . . . . . . . . . . . . . . .37
Critical Overview . . . . . . . . . . . . . . . . . . .40
Criticism . . . . . . . . . . . . . . . . . . . . . . . . .41
V o l u m e 1 3 v
T a b l e o f C o n t e n t s
Brideshead Revisited Nectar in a Sieve
(by Evelyn Waugh) . . . . . . . . . . . . . . . . . . . .54 (by Kamala Markandaya) . . . . . . . . . . . . . . .170
Author Biography . . . . . . . . . . . . . . . . . . .55 Author Biography . . . . . . . . . . . . . . . . . .170
Plot Summary . . . . . . . . . . . . . . . . . . . . . .56 Plot Summary . . . . . . . . . . . . . . . . . . . . .171
Characters . . . . . . . . . . . . . . . . . . . . . . . .58 Characters . . . . . . . . . . . . . . . . . . . . . . .172
Themes . . . . . . . . . . . . . . . . . . . . . . . . . .62 Themes . . . . . . . . . . . . . . . . . . . . . . . . .174
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .64 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .175
Historical Context . . . . . . . . . . . . . . . . . . .66 Historical Context . . . . . . . . . . . . . . . . . .176
Critical Overview . . . . . . . . . . . . . . . . . . .67 Critical Overview . . . . . . . . . . . . . . . . . .177
Criticism . . . . . . . . . . . . . . . . . . . . . . . . .69 Criticism . . . . . . . . . . . . . . . . . . . . . . . .178
The Death of the Heart The Optimist’s Daughter
(by Elizabeth Bowen) . . . . . . . . . . . . . . . . . .80 (by Eudora Welty) . . . . . . . . . . . . . . . . . . . .192
Author Biography . . . . . . . . . . . . . . . . . . .81 Author Biography . . . . . . . . . . . . . . . . . .193
Plot Summary . . . . . . . . . . . . . . . . . . . . .193
Plot Summary . . . . . . . . . . . . . . . . . . . . . .81
Characters . . . . . . . . . . . . . . . . . . . . . . .194
Characters . . . . . . . . . . . . . . . . . . . . . . . .83
Themes . . . . . . . . . . . . . . . . . . . . . . . . .197
Themes . . . . . . . . . . . . . . . . . . . . . . . . . .86
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Style . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Historical Context . . . . . . . . . . . . . . . . . .199
Historical Context . . . . . . . . . . . . . . . . . . .89
Critical Overview . . . . . . . . . . . . . . . . . .200
Critical Overview . . . . . . . . . . . . . . . . . . .91
Criticism . . . . . . . . . . . . . . . . . . . . . . . .201
Criticism . . . . . . . . . . . . . . . . . . . . . . . . .92
The Remains of the Day
The Kitchen God’s Wife (by Amy Tan) 99
(by Kazuo Ishiguro) . . . . . . . . . . . . . . . . . .212
Author Biography . . . . . . . . . . . . . . . . . .100
Author Biography . . . . . . . . . . . . . . . . . .212
Plot Summary . . . . . . . . . . . . . . . . . . . . .100
Plot Summary . . . . . . . . . . . . . . . . . . . . .213
Characters . . . . . . . . . . . . . . . . . . . . . . .102
Characters . . . . . . . . . . . . . . . . . . . . . . .214
Themes . . . . . . . . . . . . . . . . . . . . . . . . .104
Themes . . . . . . . . . . . . . . . . . . . . . . . . .216
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .217
Historical Context . . . . . . . . . . . . . . . . . .107
Historical Context . . . . . . . . . . . . . . . . . .218
Critical Overview . . . . . . . . . . . . . . . . . .109
Critical Overview . . . . . . . . . . . . . . . . . .220
Criticism . . . . . . . . . . . . . . . . . . . . . . . .111
Criticism . . . . . . . . . . . . . . . . . . . . . . . .221
The Member of the Wedding
Snow Falling on Cedars
(by Carson McCullers) . . . . . . . . . . . . . . . .122
(by David Guterson) . . . . . . . . . . . . . . . . . .237
Author Biography . . . . . . . . . . . . . . . . . .123
Author Biography . . . . . . . . . . . . . . . . . .238
Plot Summary . . . . . . . . . . . . . . . . . . . . .123
Plot Summary . . . . . . . . . . . . . . . . . . . . .238
Characters . . . . . . . . . . . . . . . . . . . . . . .124
Characters . . . . . . . . . . . . . . . . . . . . . . .239
Themes . . . . . . . . . . . . . . . . . . . . . . . . .126
Themes . . . . . . . . . . . . . . . . . . . . . . . . .242
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .127
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .244
Historical Context . . . . . . . . . . . . . . . . . .128
Historical Context . . . . . . . . . . . . . . . . . .245
Critical Overview . . . . . . . . . . . . . . . . . .130 Critical Overview . . . . . . . . . . . . . . . . . .246
Criticism . . . . . . . . . . . . . . . . . . . . . . . .131 Criticism . . . . . . . . . . . . . . . . . . . . . . . .247
Moll Flanders (by Daniel Defoe) . . . . . .145 Surfacing (by Margaret Atwood) . . . . . . .254
Author Biography . . . . . . . . . . . . . . . . . .145 Author Biography . . . . . . . . . . . . . . . . . .254
Plot Summary . . . . . . . . . . . . . . . . . . . . .146 Plot Summary . . . . . . . . . . . . . . . . . . . . .255
Characters . . . . . . . . . . . . . . . . . . . . . . .148 Characters . . . . . . . . . . . . . . . . . . . . . . .257
Themes . . . . . . . . . . . . . . . . . . . . . . . . .151 Themes . . . . . . . . . . . . . . . . . . . . . . . . .259
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .153 Style . . . . . . . . . . . . . . . . . . . . . . . . . . .260
Historical Context . . . . . . . . . . . . . . . . . .154 Historical Context . . . . . . . . . . . . . . . . . .261
Critical Overview . . . . . . . . . . . . . . . . . .155 Critical Overview . . . . . . . . . . . . . . . . . .262
Criticism . . . . . . . . . . . . . . . . . . . . . . . .157 Criticism . . . . . . . . . . . . . . . . . . . . . . . .264
v i N o v e l s f o r S t u d e n t s
T a b l e o f C o n t e n t s
The Sweet Hereafter The Wonderful Wizard of Oz
(by Russell Banks) . . . . . . . . . . . . . . . . . . .267 (by L. Frank Baum) . . . . . . . . . . . . . . . . . . .309
Author Biography . . . . . . . . . . . . . . . . . .267 Author Biography . . . . . . . . . . . . . . . . . .310
Plot Summary . . . . . . . . . . . . . . . . . . . . .268
Plot Summary . . . . . . . . . . . . . . . . . . . . .310
Characters . . . . . . . . . . . . . . . . . . . . . . .270
Characters . . . . . . . . . . . . . . . . . . . . . . .311
Themes . . . . . . . . . . . . . . . . . . . . . . . . .273
Themes . . . . . . . . . . . . . . . . . . . . . . . . .314
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .274
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Historical Context . . . . . . . . . . . . . . . . . .275
Historical Context . . . . . . . . . . . . . . . . . .316
Critical Overview . . . . . . . . . . . . . . . . . .276
Criticism . . . . . . . . . . . . . . . . . . . . . . . .277 Critical Overview . . . . . . . . . . . . . . . . . .318
Criticism . . . . . . . . . . . . . . . . . . . . . . . .319
Vanity Fair
(by William Thackeray) . . . . . . . . . . . . . . . .284
Glossary of Literary Terms . . . . . . . .333
Author Biography . . . . . . . . . . . . . . . . . .285
Plot Summary . . . . . . . . . . . . . . . . . . . . .285
Cumulative Author/Title Index . . . .345
Characters . . . . . . . . . . . . . . . . . . . . . . .288
Themes . . . . . . . . . . . . . . . . . . . . . . . . .292
Style . . . . . . . . . . . . . . . . . . . . . . . . . . .293 Cumulative Nationality/
Historical Context . . . . . . . . . . . . . . . . . .295 Ethnicity Index . . . . . . . . . . . . . . . . . . .351
Critical Overview . . . . . . . . . . . . . . . . . .296
Criticism . . . . . . . . . . . . . . . . . . . . . . . .297 Subject/Theme Index . . . . . . . . . . . . . .355
V o l u m e 1 3 v i i
The Informed Dialogue:
Interacting with Literature
When we pick up a book, we usually do so ”Hurray, hurray,” cried the funny little clown and all
with the anticipation of pleasure. We hope that by the dolls and toys. “The good little boys and girls in
the city will be happy because you helped us, kind,
entering the time and place of the novel and shar-
Little Blue Engine.”
ing the thoughts and actions of the characters, we
will find enjoyment. Unfortunately, this is often not In picture books, messages are often blatant
the case; we are disappointed. But we should ask, and simple, the dialogue between the author and
has the author failed us, or have we failed the au- reader one-sided. Young children are concerned
with the end result of a book—the enjoyment
thor?
gained, the lesson learned—rather than with how
We establish a dialogue with the author, the that result was obtained. As we grow older and read
book, and with ourselves when we read. Con- further, however, we question more. We come to
sciously and unconsciously, we ask questions: expect that the world within the book will closely
“Why did the author write this book?” “Why did mirror the concerns of our world, and that the au-
the author choose that time, place, or character?” thor will show these through the events, descrip-
“How did the author achieve that effect?” “Why tions, and conversations within the story, rather
did the character act that way?” “Would I act in the than telling of them. We are now expected to do
the interpreting, carry on our share of the dialogue
same way?” The answers we receive depend upon
with the book and author, and glean not only the
how much information about literature in general
author’s message, but comprehend how that mes-
and about that book specifically we ourselves bring
sage and the overall affect of the book were
to our reading.
achieved. Sometimes, however, we need help to
Young children have limited life and literary do these things. Novels for Students provides that
experiences. Being young, children frequently do help.
not know how to go about exploring a book, nor
A novel is made up of many parts interacting
sometimes, even know the questions to ask of a to create a coherent whole. In reading a novel, the
book. The books they read help them answer ques- more obvious features can be easily spotted—
tions, the author often coming right out and telling theme, characters, plot—but we may overlook the
young readers the things they are learning or are more subtle elements that greatly influence how the
expected to learn. The perennial classic, The Little novel is perceived by the reader: viewpoint, mood
Engine That Could, tells its readers that, among and tone, symbolism, or the use of humor. By fo-
other things, it is good to help others and brings cusing on both the obvious and more subtle liter-
happiness: ary elements within a novel, Novels for Students
i x
F o r e w o r d
aids readers in both analyzing for message and in it is important to know that Harper Lee, author of
determining how and why that message is com- To Kill a Mockingbird, was born and raised in Mon-
municated. In the discussion on Harper Lee’s To roeville, Alabama, and that her father was a lawyer.
Kill a Mockingbird (Vol. 2), for example, the Readers can now see why she chose the south as a
mockingbird as a symbol of innocence is dealt with, setting for her novel—it is the place with which she
among other things, as is the importance of Lee’s was most familiar—and start to comprehend her
use of humor which “enlivens a serious plot, adds characters and their actions.
depth to the characterization, and creates a sense Novels for Students helps readers find the an-
of familiarity and universality.” The reader comes swers they seek when they establish a dialogue with
to understand the internal elements of each novel a particular novel. It also aids in the posing of ques-
discussed—as well as the external influences that tions by providing the opinions and interpretations
help shape it. of various critics and reviewers, broadening that di-
“The desire to write greatly,” Harold Bloom of alogue. Some reviewers of To Kill A Mockingbird,
Yale University says, “is the desire to be elsewhere, for example, “faulted the novel’s climax as melo-
in a time and place of one’s own, in an originality dramatic.” This statement leads readers to ask, “Is
that must compound with inheritance, with an anx- it, indeed, melodramatic?” “If not, why did some
iety of influence.” A writer seeks to create a unique reviewers see it as such?” “If it is, why did Lee
world within a story, but although it is unique, it is choose to make it melodramatic?” “Is melodrama
not disconnected from our own world. It speaks to ever justified?” By being spurred to ask these ques-
usbecauseof what the writer brings to the writing tions, readers not only learn more about the book
from our world: how he or she was raised and ed- and its writer, but about the nature of writing itself.
ucated; his or her likes and dislikes; the events oc- The literature included for discussion in Nov-
curring in the real world at the time of the writing, els for Students has been chosen because it has
and while the author was growing up. When we something vital to say to us. Of Mice and Men,
know what an author has brought to his or her work, Catch-22, The Joy Luck Club, My Antonia, A Sep-
we gain a greater insight into both the “originality” arate Peaceand the other novels here speak of life
(the world of the book), and the things that “com- and modern sensibility. In addition to their indi-
pound” it. This insight enables us to question that vidual, specific messages of prejudice, power, love
created world and find answers more readily. By or hate, living and dying, however, they and all
informing ourselves, we are able to establish a more great literature also share a common intent. They
effective dialogue with both book and author. force us to think—about life, literature, and about
Novels for Students,in addition to providing a others, not just about ourselves. They pry us from
plot summary and descriptive list of characters— the narrow confines of our minds and thrust us out-
to remind readers of what they have read—also ex- ward to confront the world of books and the larger,
plores the external influences that shaped each real world we all share. Novels for Students helps
book. Each entry includes a discussion of the au- us in this confrontation by providing the means of
thor’s background, and the historical context in enriching our conversation with literature and the
which the novel was written. It is vital to know, for world, by creating an informed dialogue, one that
instance, that when Ray Bradbury was writing brings true pleasure to the personal act of reading.
Fahrenheit 451 (Vol. 1), the threat of Nazi domi-
nation had recently ended in Europe, and the Mc- Sources
Carthy hearings were taking place in Washington,
Harold Bloom, The Western Canon, The Books and School
D.C. This information goes far in answering the of the Ages,Riverhead Books, 1994.
question, “Why did he write a story of oppressive Watty Piper, The Little Engine That Could,Platt & Munk,
government control and book burning?” Similarly, 1930.
Anne Devereaux Jordan
Senior Editor, TALL
(Teaching and Learning Literature)
x N o v e l s f o r S t u d e n t s