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Jack London: An American Life, by Earle Labor

Jack London: An American Life, by Earle Labor



Jack London: An American Life, by Earle Labor

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Jack London: An American Life, by Earle Labor

A revelatory look at the life of the great American author―and how it shaped his most beloved works

Jack London was born a working class, fatherless Californian in 1876. In his youth, he was a boundlessly energetic adventurer on the bustling West Coast―an oyster pirate, a hobo, a sailor, and a prospector by turns. He spent his brief life rapidly accumulating the experiences that would inform his acclaimed bestselling books The Call of the Wild, White Fang, and The Sea-Wolf.

The bare outlines of his story suggest a classic rags-to-riches tale, but London the man was plagued by contradictions. He chronicled nature at its most savage, but wept helplessly at the deaths of his favorite animals. At his peak the highest paid writer in the United States, he was nevertheless forced to work under constant pressure for money. An irrepressibly optimistic crusader for social justice and a lover of humanity, he was also subject to spells of bitter invective, especially as his health declined. Branded by shortsighted critics as little more than a hack who produced a couple of memorable dog stories, he left behind a voluminous literary legacy, much of it ripe for rediscovery.

In Jack London: An American Life, the noted Jack London scholar Earle Labor explores the brilliant and complicated novelist lost behind the myth―at once a hard-living globe-trotter and a man alive with ideas, whose passion for seeking new worlds to explore never waned until the day he died. Returning London to his proper place in the American pantheon, Labor resurrects a major American novelist in his full fire and glory.

  • Sales Rank: #376445 in Books
  • Published on: 2013-10-01
  • Released on: 2013-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.17" h x 1.51" w x 6.43" l, 1.61 pounds
  • Binding: Hardcover
  • 480 pages

From Booklist
*Starred Review* Jack London (1876–1916) improvised a fast-burning life of reckless adventure that served as the wellspring for his magnificently dramatic writings, from The Call of the Wild to Martin Eden. A good student and insatiable reader ever-grateful for the public library in Oakland, California, young London, poor and fatherless, worked demeaning jobs, then took to sea as an oyster pirate. He learned to fight and drink and became a socialist and constant wanderer. His Klondike escapades yielded a gold mine of stories and inspired his lifelong practice of writing 1,000 words a day, no matter what. London scholar Labor extracts every drop of excitement, folly, romance, creative ecstasy, grueling effort, and despair from the vast London archives, including the relentless press coverageof his exploits. What writer today could ignite the front-page frenzy that surrounded London and the love of his life, Charmian? His fearless second wife, literary accomplice, and stalwart companion on perilous South Sea journeys, Charmian kept a diary from which Labor extracts riveting disclosures leading up to her robust, sexy, carousing husband’s precipitously failing health and early death. Labor’s unceasingly vivid, often outright astonishing biography vibrantly chronicles London’s exceptionally daring and wildly contradictory life and recovers and reassesses his complete oeuvre, including many powerful, long-neglected works of compassionate, eyewitness nonfiction. Let the Jack London revival begin. --Donna Seaman

Review

“A lively and authoritative biography.” ―Caleb Crain, The New Yorker

“Labor is the world's foremost Jack London scholar. His working-class background and deep erudition make him the right man to chronicle the life of this most popular American author. Now curator of the Jack London Museum and Research Center and emeritus professor at Centenary College in Louisiana, Labor has produced what will most likely remain the authoritative biography for generations to come . . . If you want to acquaint yourself with the writer whom much of the rest of the world equates with Melville, Hemingway and Faulkner, then begin with Labor's elegantly written, thoroughly researched and steel-eyed biography. He fills in the gaps between London's impoverished youth, rise to fame and untimely death at the age of 40--in brilliant and plain prose that does honor to London himself.” ―Eric Miles Williamson, The Washington Post

“Mr. Labor--an excellent writer, who knows the London canon backward and forward, brings this most American of authors to vivid life. Jack London: An American Life is almost as much fun to read as its subject's best work . . . Mr. Labor, a professor of American literature at Centenary College in Shreveport, La., is the country's foremost London scholar. He wisely lets London's life and art unfold without judgment. Despite his continuing popularity, London has often been dismissed as a mere writer of boys' tales. But at his best he is among the greatest writers that this country has produced. If you want proof, just read his short story ‘To Build a Fire' and then read this terrific book.” ―John Steele Gordon, The Wall Street Journal

“[A] first-rate literary biography . . . [an] authoritative new life of Jack London (1876-1916) . . . Earle Labor's Jack London: An American Life doesn't take away any of its subject's glamour or fascination. To the contrary. The book is not just definitive, as one would expect from the major London scholar of the past fifty years, it is also exceptionally entertaining . . . As Earle Labor makes clear in his fine biography, Jack London was a remarkable man and a writer of impressive variety, richness, and accomplishment.” ―Michael Dirda, Virginia Quarterly Review

“What a life. What a man. What a book. Only superlatives can describe this definitive biography of the nation's most popular and successful novelist of the early 20th century . . . Earle Labor has devoted much of a lifetime to the study of London and his works and has given us a book so meticulous in its fast-moving detail that the reader feels he is almost at London's side . . . Biographer Earle Labor summarizes Jack London succinctly: ‘… few writers mirror so clearly the American Dream of success and the corollary idea of the Self-Made Man.'” ―Pete Hannaford, The Washington Times

“Earle Labor's new book about London, subtitled ‘An American Life,' is an obvious labor of love (no pun intended). As curator of the Jack London Museum and Research Center in Shreveport, La., and professor emeritus of American literature at Centenary College of Louisiana, Labor is the acknowledged national authority on the life and work of London. Labor's work was graced by personal friendships with London's two daughters, Joan and Becky, as well as his own discovery of Charmian London's personal diaries in a safe at the ‘Cottage' in Sonoma, Ariz.--diaries that London's wife herself called ‘disloyal' because of their intimate frankness. To these new sources were added a number of previously undiscovered London letters and discussions with the descendants of London's bohemian friends in the Bay Area . . . Labor sets out to ‘neither maximize nor minimize' [London's faults] but only to accept London on his own terms as a natural-born seeker; a gifted artist of exceptional intelligence, sensitivity and personal charisma; a man driven by a Nietzschean outlook on life at a time when literature was stuck between Victorian romanticism and the modernism that wouldn't be born until after the First World War . . . Labor's book recalls the man himself with great charm of manner.” ―Gaylord Dold, The Wichita Eagle

“[Jack] London scholar Labor extracts every drop of excitement, folly, romance, ‘creative ecstasy,' grueling effort, and despair from the vast London archives, including the relentless press coverage of him . . . Labor's unceasingly vivid, often outright astonishing biography vibrantly chronicles London's exceptionally daring and wildly contradictory life and recovers and reassesses his complete oeuvre, including many powerful, long-neglected works of compassionate, eyewitness nonfiction. Let the Jack London revival begin.” ―Donna Seaman, Booklist

“[Labor's book is a detailed, almost page-turning biography of London's life . . . But Labor . . . offers much more than straight biography: he depicts London's writing habits, which jibe with the autobiographical fiction . . . Labor's details--London in elementary school, London drinking alcohol, London at sea, and so on--reveal the writer in life asserting his life as a writer. Labor verifies what happened, blow by blow, and what happened in London's life because the fiction that only he could write . . . Highly recommended.” ―A. Hirsh, American Library Association

“At long last, Jack London gets the authoritative biography he so richly deserves. Earle Labor is the true-blue dean of London studies. This portrait is brilliantly researched, elegantly written, and brimming with new facts about the brave author of The Call of the Wild. Highly recommended!” ―Douglas Brinkley, professor of history at Rice University, fellow at the James A. Baker III Institute for Public Policy, and author of Cronkite

“There was a time―before the Great War and the frontier’s closing drove the creative spark inward―when American novelists launched the reader off into unfettered narratives as raw, brawny, explosive, and drenched in gritty personal experience as the nation that inspired them. Jack London was among the last of the great ones. Now comes London’s London, the biographer

Earle Labor, to turn the light of truth-telling back upon this magnificent half-forgotten outlaw of our literature.” ―Ron Powers, author of Mark Twain: A Life

“Not so long ago, Jack London was considered a literary titan and a great American hero akin to Mark Twain and Ernest Hemingway--as famous for his wild adventures as for his bestselling books. Earle Labor's eloquent, deeply researched biography has brought London and his fascinating world back to life in all its vivid, colorful detail. This will stand as the definitive biography of London for many years to come.” ―Debby Applegate, winner of the Pulitzer Prize for The Most Famous Man in America: The Biography of Henry Ward Beecher

“In Jack London: An American Life, Earle Labor sifts through the myths of London's self-invented ‘American Kipling' persona to reveal a remarkable and at times remarkably frustrating man. London was famously charismatic, but to those closest to him, he could be vindictively cruel. He was ambitious and productive--he published 50 books before he was forty, Call of the Wild when he was only 27, and wrote 1,000 words every day without fail--but was also a depressed and self-destructive alcoholic. He may have even been bipolar. Despite being the best-selling author of his day, London was constantly broke, often writing to pay his debts. He was an adventurer and thrill seeker, but also an ardent radical socialist. Labor captures all these facets of his, as his wife Charmian put it, ‘kaledoscopic personality,' while still conveying his remarkable talent and obsessive self-improvement. The London in An American Life is as fascinating for his turmoil and dysfunction as he was in his time for his globetrotting and adventuring.” ―Thomas Flynn, The Daily Beast

“Earle Labor, a scholar whose academic career focused on the life and works of Jack London, has written an exceptionally well-documented, and, if there is such a thing, authoritative biography of one of America's great writers . . . Labor, a professor emeritus of American literature at Centenary College of Louisiana and curator of a Jack London research center there, draws heavily from letters and diaries to tell London's life story in rich detail, with much attention to his declining health even as London pursued his final adventures. This biography is well-written, though not a breezy narrative, and should be satisfying to anyone who loved reading London's books.” ―David Shaffer, The Star-Tribune (Minneapolis)

“[A] loving biography of the writer . . . Recognized as the dean of Jack London studies, Labor has been an active London scholar for 60 years, has edited volumes of his stories and letters, and curates the Jack London Museum in Shreveport, Louisiana . . . Labor's effort is likely to be as definitive a treatment as anyone needs . . . Earle Labor leads us skillfully through the many ‘stories' that constituted London's life: working as an adolescent in a cannery and as an ‘oyster pirate' on Oakland's waterfront; going on a seal hunt in the Bering Sea; riding the rails across America, with an interlude of 30 days spent in the Erie County Penitentiary for vagrancy; finding out how the poor live in London's East End; joining the gold rush to the Klondike; running for mayor of Oakland on the Socialist ticket; sailing to the South Pacific and visiting Robert Louis Stevenson's grave in Samoa; observing cannibals in the Solomon Islands.” ―William H. Pritchard, The Weekly Standard

“In this comprehensive account, more richly detailed than any prior biography of Jack London, Earle Labor debunks common myths. This is a London revealed by his personal writings, along with accounts from those who knew him best. Labor's crisp prose quotes extensively, allowing the reader to interpret the full character of this noted writer, rancher, and traveler. In placing London within the context of the tumultuous Progressive Era, Labor further explains the contradictory choices and beliefs of this complex individual. The result limns a portrait of a brilliant, creative, sensitive yet self-assured man who died prematurely, on the cusp of still greater offerings.” ―Clarice Stasz, author of Jack London's Women

“This engrossing biography paints a sympathetic (though not uncritical) portrait of London's dynamic ambition and energy. Born in San Francisco in 1876 to an impoverished single mother, London (White Fang) took up factory work to support his household while still a child, and by age 18 had worked as an oyster pirate, sailor, and rail-riding hobo. Omnivorous reading and sporadic education fueled his desire to write, and a year spent surviving the Yukon Gold Rush (1897–1898) provided him with inspiration for his earliest nonfiction and fiction. As rendered by Labor (The Portable Jack London), London's official biographer and curator of the Jack London Museum in Shreveport, La., London was a complex and often contradictory individual--a writer who turned every experience into literary fodder; who disciplined himself to produce 1,000 words per day; and whose by-his-bootstraps lifestyle fueled his devotion to socialism and social justice. But London's enthusiasms also had their dark side: he was a reckless spendthrift who had to churn out mountains of copy for pay to stay ahead of his creditors; he was an incautious celebrity whose public exploits often made him tabloid fodder; and he was a free spirit who could be self-destructive at times. Here, London emerges as a rugged adventurer with a soft heart, and a larger-than-life character who might have figured as the hero in one of his own brawny bestsellers.” ―Publishers Weekly

“[Jack London] may prove the definitive biography of the sailor-adventurer-prospector turned rancher-author . . . The biography delivers a riveting portrait of his subject, drawing on letters and reminiscences of brawls and drinking incidents from London's youth . . . The incidents in London's life are delivered in a literate, colorful and compelling manner . . . The new work further cements Labor's place, and Shreveport's, in the world of Jack London studies. A fixture at the local college more than 50 years, Labor's efforts and scholarship and the largesse of the late alumnus-trustee Samuel Peters brought to Centenary the Jack London Research Center, drawing students, scholars and Londonistas from around the globe.” ―John Andrew Prime, The Shreveport Times

“I rarely read biographies such as this--accurate, gripping, written like an adventure book but always with an understated sense of reality that reminds the reader this really happened.” ―Davide Sapienza, Italian translator of Feltrinelli's edition of Call of the Wild

“Quite a few books have been published recently about Jack London's fabulous life, but Earle Labor's Jack London: An American Life is undoubtedly the definitive biography. Written by the internationally acknowledged maestro of Jack London studies, the book demonstrates both the detailed scholarly documentation and the intelligent empathy with London's complex mindset that one has missed in previous biographies (which, incidentally, have also been vitiated by sensationalist canards about London's alleged drug addiction, homosexuality, and suicide).” ―Per Serritslev Petersen, University of Aarhus, Denmark

“A highly sympathetic, knowledgeable portrayal strives to correct the ‘caricature' of this dynamic, brief life. Having tracked his subject's career since his scholarly research on London in the 1960s, Jack London Museum curator Labor . . . is an ideal biographer to capture the dazzling spirit and adventures of the acclaimed American author . . . As Labor fondly delineates, London did live large, seeming to be in a terrible hurry, starting with his childhood digestion of stories by Washington Irving, Poe, Stevenson and Kipling. He crammed his higher education into a few months and then restlessly took off again for the high seas, writing and speaking widely on socialist issues involving exploitation of the workers and social justice, diving into passionate love affairs and embarking on South Pacific adventures in his custom-made boat. All the while, London wrote like a fevered soul--1,000 words per day without fail--following what he called ‘the spirit that moves to action individuals and peoples, which gives birth and momentum to great ideas.' Labor grasps the fire and fight of this most American of authors. A vibrant biography that will surely entice readers back to the original source.” ―Kirkus

“[Labor's] affectionate, meticulous and beautifully written Jack London: An American Life . . . [is] the definitive biography of the iconic ‘American Kipling.'” ―Tom Lavoie, Shelf Awareness

“If any biography [of Jack London] is definitive, it is probably Labor's . . . Jack London lived to the fullest, saying, ‘We only live once, and we'll be dead a long time.' People will be reading him, and about him, for a long time.” ―Bruce Ramsey, The Seattle Times

“In Earle Labor's biography of the literary icon, Jack London: An American Life, London comes across as a complex, larger-than-life man. Dozens of biographies have covered London's life and work, but Labor's is an especially well-balanced, thoughtful and definitive account.” ―Leslie Ashmore, Los Altos Town Crier

About the Author
Earle Labor is the acknowledged major authority on the novelist Jack London and the curator of the Jack London Museum and Research Center in Shreveport. He is also Emeritus Professor of American Literature at Centenary College of Louisiana.

Most helpful customer reviews

34 of 36 people found the following review helpful.
The truth about Jack London by world reknown scholar
By ookkees
Over 40 years in the making, this biography is built solidly upon original research into the life of Jack London. Well-known myths and fallacies are left behind leaving only the truth to shine through. Dr. Labor has striven for the utmost accuracy, revealing both the bright and dark sides of his subject. Did Charlie Chaplain once impersonate a waiter to serve Jack London and Wyatt Earp at a Los Angeles Restaurant as one report states? He very well may have, but the episode is NOT in this book because it could not be independently verified. That is the accuracy for which he has striven.

London's life was as much of an adventure as any of his best books...and was the basis for much material in his books. If there is one shortcoming to this biography, it is the limitation of space. Much interesting material had to be jettisoned in order to fit the work into the space allowed by the publishers. Still, if you only read one biography of Jack London, this is the one it should be. You cannot choose a better one.

27 of 31 people found the following review helpful.
An Unexpected Disappointment
By Simple Jack
Any number of biographers have tackled Jack London's extraordinary life, and there are plenty of choices out there for those who wish to find out about his origins and life's work. The most widely-read of these include "Sailor on Horseback" by Irving Stone; "Jack" by Andrew Sinclair; and more recently "Wolf" by James Haley.

Of these, the iconic tome remains Irving Stone's, written just two decades after London's death and published in 1938. Irving Stone himself is one of the great authors of the mid-twentieth century, and his "Sailor on Horseback the Biograhy of Jack London" is an excellent piece of work. Stone had the full cooperation of Charmian London (Jack's second wife) as well as many other people who knew London well and were still available for interviews and as sources of raw material. "Sailor on Horseback" reads right along, and accords Jack London a gracious and truthful respect, lauding his hard work, vision, imagination, and most importantly, London's humanity, which was his most outstanding trait.

"Jack London,: A biography" by Richard O'Connor was published in 1964, and is a good read, with a number of interesting details not found in most biographical work on London, even today. O'Connor still, however, makes occasional attempts to hit below the belt, like most of London's biographers. It was followed by Andrew Sinclair's "Jack: A Biography of Jack London" (1977), which adopted a mildly snide tone (chalk it up to an old grudge over "The People of the Abyss") and a new perspective of judging London by polite, upper-middle class mores. There were some fresh details about some of London's experiences, but Sinclair's book -- which remains a worthwhile read -- provided nothing truly revelatory.

In 1997 Alex Kershaw's "Jack London: A Life" made its appearance. Very much like Richard O'Connor's book, Kershaw's biography ranges from magnanimous to vituperative, but its closing chapter (which should have been its opening premise) redeems Kershaw to a great degree. However, Kershaw actually takes the step of suggesting Jack London's views on race were similar to Adolf Hitler's, an outrage in utter contradiction to London's socialist views and well-known humanism.

Next in the upper tier of London biographies was James Haley's "Wolf: The Lives of Jack London." While Haley accords Mr. London quite a bit more respect than does Mr. Sinclair -- as one author of limited talents attempting to render an understanding of another of towering and enduring skill -- it is laced with what seems envious innuendo regarding London's sanity and sex life, and retains the haughty, bourgeoisie indictment of London for failing to properly raise his daughters, among other social missteps. It also continues the misunderstanding of London's racial perspectives, an unveracious canard floated by academics such as Professor Kevin Starr in his lengthy, but rather unstrengthy, series of books on California history.

At about the same time as Mr. Haley's work arrived, Jeanne Campbell Reesman published a paean to the academic elite, Jack London's Racial Lives: A Critical Biography, explaining the reasons for Mr. London's inclusion of race relations in his work. (The backstory here is that London used some terms and described some situations -- as did Mark Twain and many other authors of his time -- that are now considered politically incorrect or offensive by today's standards. For some reason, London has been keel-hauled for this, while Twain and others were given a free pass). Reesman attempts to explain London's inclusion of racial issues in his work as a result of an incredibly complex early life, where the young author-to-be was surrounded by peoples of all colors and ethnicities, but was apparently influenced by some very bad authority figures, including his mother. Reesman's book is practically indecipherable, loaded with academic jargon and all manner of racial and social equations intended to elevate its author to the status of literary clinician. The book, mostly incoherent, does Jack London far more harm than good. Reesman's lack of credentials as a psychologist, philosopher, or anthropologist don't do her much good here in supporting her thesis, in any event.

Now we come to Mr. Earle Labor's "Jack London: An American Life". Mr. Labor has been studying Jack London for many decades, and, according to the dust jacket notes, is the "major authority" on Jack London. (Labor has been associated with Jack London "scholarship" for many decades, but I would take exception to notion that he is the "major" authority on London; many other fine men and women have contributed to the body of work concerning Jack London, and some have added material of great significance.)

This is a book I wanted to like and worked hard at doing so. However, I found it impossible. The notes on the dust jacket suggest the book is rife with new details regarding London's 40 years on this Earth, but they were really few and far between, and not especially significant.

What is far more important with respect to Mr. Labor's book are the details he left out, and the now all-too-familiar pronunciation of polite society's judgment on Mr. London. Jack London was a self-educated man, or "auto-didact" as such folks are called by the academic community. Without question, London's astonishing and rapid rise as an author did not sit well with many of that ilk, and that point of fact has irked a fair number of them over the decades. George Orwell -- who could be said to have derived much of the plot for "1984" from London's socialist classic "The Iron Heel," nonetheless called London's work "crude". The noted literary critic H. L. Mencken disparaged London for his lack of formal education, all the while freely admitting of his genius. Labor, an Emeritus Professor of Literature, strives to be humane, compassionate, and objective, but the strictures of his position, and associations with various organizations purporting to be authorities on Jack London, are clearly evident in this newest biography.

The most important event at issue here is the possibility that Jack London committed suicide. Irving Stone's book strongly suggests this quite probable, but stops short of stating it as fact. It seems that suicide is a shameful act and there has been quite a movement for some few decades now to squash Irving Stone's suggestions, perhaps beginning with Professor Labor's "Open Letter to Irving Stone." Labor is certainly the man for the job, for he completely omits many of the evidentiary details included in Stone's work and dismisses Stone as a liar. I suspect the possibility London may have in fact killed himself, or unintentionally overdosed on drugs, is not particularly palatable to a certain segment of his followers in the academic community; it's certainly not something done by a gentleman. But for Professor Labor to simply skewer Irving Stone as a bald-faced liar when Stone presents strong evidence in support of a possible suicide or drug overdose is a problem in a world where ample evidence for such a possibility has been long-established. In fact, biographer Andrew Sinclair commented in late 2014 regarding the cause of Mr. London's death that "London's inheritor, Milo Shephard, on the Wolf House ranch showed me the syringes and ampoules that killed him: an unpremeditated overdose of morphine and atropine sulphate, wrongly diagnosed as uraemia." Moreover, Mr. London's own daughter has twice supported the idea her father took his own life, in both "Jack London & His Times" and in her later book, "Jack London and His Daughters". In the latter volume, Ms. London states, "He died on November 22; mercifully, for some time we did not know that he had taken his own life." If ever there was a prime source for material regarding Jack London, his daughter would have to be at least nominally included.

Beyond this, Labor continues the tradition of dismissing London's first novel, "A Daughter of the Snows" as "a clumsy Klondike romance". In fact, it's a very readable book, and an important part of the chronicling of American history, with vivid, stunning descriptions of life during the Alaskan gold rush; and perhaps more importantly, it features a very strong, capable, well-rendered female protagonist (Frona Welse) who (unlike Maud Brewster) is free of the usual tropes and quite credible. He also dismisses many of London's more obscure short stories as hack work, calling "The Passing of Marcus O'Brien", "The Unparalleled Invasion", "The Enemy of All the World", "A Curious Fragment" and "The Dream of Debs" "second-rate". While a couple of these might not keep one up at night turning pages, "The Unparalleled Invasion" is truly visionary, describing the use of WMD's and aerial bombardment long before it become a reality, and interspersing then-current political realities with prognostications that have proven eerily accurate. (Interestingly enough, Alex Kershaw cites "The Dream of Debs" as being one of London's better short stories and is far more magnanimous with respect to Jack London's later and lesser-known work, showing there is clear disagreement in the journalistic and academic communities on these points.)

Labor also utterly trashes the novel "Jerry of the Islands", suggesting the dog "Jerry" does little more than round up native labor for the copra plantations. This, in my view, is the most egregious of mischaracterizations. Professor Labor truly appears not to have even read "Jerry of the Islands". The book is one of London's best, not simply for its descriptions of the brutal conditions of life in the Solomon Islands, but for its obvious rebuttal of President Theodore Roosevelt's famous and controversial "Nature Faker" accusation. One of Jerry's adventures is a stint with a blind, elderly islander who is attacked by a group of young native thugs. The blind man has trained Jerry to not only communicate and count using a series of soft barks, but to point out the location of the enemy combatants, enabling him to ultimately defeat them with well-placed arrows. Because of its intense and thorough treatment of animal psychology, this book is one of London's most important, but like "Martin Eden", it is not well-known and certainly deserves better than this summary dismissal.

The remainder of the book is, in my view, somewhat plodding, if generally accurate and competent. Where "Jack London: An American Life" really fails is in generating a new, vibrant interest in Jack London's lesser-known work, which is a rich treasure trove of not only writing of the first quality, but of the times in which London lived. By so easily overlooking and even denigrating London's "other" work, Labor fails in precisely what one ought to expect from a Professor of Literature: to instill a new wonder and curiosity in readers about one of America's -- and the world's -- greatest authors.

For this reason alone, I will continue to recommend "Sailor on Horseback" as the best of the London biographies; Stone treats London with the respect, compassion, and yes, at times, even the awe that he's earned as a writer and adventurer, without attempting to hide his flaws in some kind of misguided whitewash. Where Labor's book may yet play an important role is in introducing new readers to Jack London; I just hope those readers can find a copy of "Sailor on Horseback" to get the rest of the story.

9 of 10 people found the following review helpful.
In-depth review: the life of a "self-made man"
By John L Murphy
As an early pal saw Jack, he strove "to be the conqueror". This, Earle Labor argues, was London's greatest asset and his greatest liability. After a second lowly paid and repetitive, dangerous job feeding a machine, he refused to bow to the "work-beast" again.

Instead, he relied on his strength, his determination, and his wits. He finally sold a couple of "yarns" at the age of twenty-one. Most writers at this stage would have little to go on from their experience. Jack had plenty.

Labor takes us through the early years, already crammed with possibilities for the later London to draw upon. As a teenager, Oakland cannery worker, oyster pirate, fish patrolman, hobo, able-bodied seaman, he did all this before returning to high school and, briefly, the U. of Cal. Although he had to drop out to work again, after his menial labor, he vowed to find a better way to make a living.

Then, the 1897 Klondike Gold Rush spurred him and his uncle north to the Yukon. Labor memorably captures the excitement and dread of this hyped event. While we never learn how London eked out his five dollars worth of gold, this is not Labor's concern. He wants us instead to learn how Jack began to listen, watch, and ponder what he saw all around him. Out of this, soon after, nearly eighty stories would emerge when, finally, he left hard labor behind for a career as a paid writer.

What distinguished London from his contemporaries who had beaten him back to cash in on writing about the Klondike and the Northland, Labor finds, was Jack's "human interest, romantic imagination, and sympathetic understanding". He gets the silence in, the primitive pull of the landscape, where its woods and animals lurked, and where foolish men fell to the harsh climate. Although late to the rush to get the Yukon down on paper, London's fiction remains in print today.

A popular writer, one whom before Labor chose him for his dissertation in 1961 lacked respect among the professorial establishment, London for Labor represents not only a dynamic, clever hustler, but a man in thrall to his own vitality, however dampened by his weakness for alcohol--as a teenager, already he had a near-fatal poisoning one night. He scrapped, he connived, and he conned. He watched other men give in to weakness, and among tough guys, he soon got the hang of survival.

London wisely slowed down--somewhat--once he found a publisher. At a thousand words a day, six days a week, by 1900 this "Self-Made Man" was acclaimed as "the American Kipling" with a similar knack for conveying high-minded ambitions in vernacular, jocular terms, and with a commitment to convey on paper the voice and temperament of an observer vowing to remain "original". Both were inspired by Western efforts to colonize and civilize the wild reaches. Yet, Jack resisted imperialism.

Drawing on his own radical tendencies and encounters on the road of hobo and tramp sailor, London balanced his hard-headed nature to cash in as a professional, stable writer (he was the first to combine his reportage with photography) with his political and social concerns. His private life, with affairs with Anna Strunsky and Charmian Kittredge, rivals the scandals of his fictional characters or any of this era, surely; Labor tells the real stories adroitly.

Meanwhile, the Russo-Japanese War created more notoriety, and his divorce from Bessie still more. Restless, he wandered on the waters where once he stole oysters, and he toured the lecture circuit, preaching revolution. In 1905, he moved to the Valley of the Moon, his rural haven, fifty miles north of the Golden Gate: "I found my paradise.

In Hawai'i, he learned to surf, and in the Solomon Islands, as Labor interprets it, he and his partner saw misery to rival the colonial horrors evoked by Conrad's "Heart of Darkness." The physical ailments he acquired there worsened, and that and his carousing and drinking shortened his life.

More publicity followed. By thirty-five, London was "firmly established as headline copy for every newspaper in the country" and as Labor reminds us, before radio, the press possessed massive influence. Jack welcomed attention, but he also needed a rest, as his health suffered from the tropics. Inspired by the ranch and his love for Charmian, he wrote his longest novel, "The Valley of the Moon."

The unlucky year of 1913 signaled a decline. Although the highest-paid author in America, with a million books sold by Macmillan, he found himself pitching "crackerjack" serials as "a dog writer" to grab "the biggest public I have".

Late in 1916, despite or because of a daily diet of duck, he gave in to uremia. He was buried "beneath a giant lava boulder rejected by the builders of Wolf House". Labor concludes with a nod to the pilgrims who continue to visit the grave, nearly a century after London's death.

Those visitors continue to read London's fiction and journalism. Outside of this circle, for whom Earle compiles this intimately told account, fewer may recall much about this media-savvy author's impact. Labor amasses the details, drawn from reliable sources.

The subtitle has been applied by many previous chroniclers of other people's lives, but in Jack London's case, it fits well. Earle Labor has made London's life and work his lifework during the past half-century. Labor introduces a man who roamed not only the Americas but Asia. He set off when only a teenager. Labor corrects Jack's boasts by corroborating his claims against testimony of his friends and family-- and the historical record. Sympathetic to London's compassion, energy, and ambition, Labor compiles a sober, smoothly told, careful study which will prove a definitive, comprehensive biography. Labor emphasizes the life far more than any work, so this is not a critical examination of the writing, but a retelling of London's career.

While his results may cause the curious to marvel more at London's frenetic pace rather than the more than fifty books he found time to produce (and I closed this wishing for far more on the books and the stories, which by contrast or intent barely gain notice), his life remains engrossing. I am not a London specialist, so I came to this admittedly hoping for a critical biography. But, Professor Labor cannot be faulted for his thorough, well-documented, presentation of the life of an author he has followed since his own boyhood reading his "yarns".

Perhaps Jack London pioneered the style of the bestselling adventurer and rogue; his lecture tours anticipated the talk shows and book signings accorded his equivalents today. Separating the claims of many previous biographers from the facts, Labor's report of Jack's vital if too vigorous (given his premature demise) gadabouts tells his own brawny epic.

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Thursday, July 10, 2014

~ Free PDF The Finger: A Handbook, by Angus Trumble

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The Finger: A Handbook, by Angus Trumble

FROM THE AUTHOR OF A BRIEF HISTORY OF THE SMILE, A COMPLETE INDEX OF THE DIGIT

In this collision between art and science, history and pop culture, the acclaimed art historian Angus Trumble examines the finger from every possible angle. His inquiries into its representation in art take us from Buddhist statues in Kyoto to the ceiling of the Sistine Chapel, from cave art to Picasso’s Guernica, from Van Dyck’s and Rubens’s winning ways with gloves to the longstanding French taste for tapering digits. But Trumble also asks intriguing questions about the finger in general: How do fingers work, and why do most of us have five on each hand? Why do we bite our nails?

This witty, odd, and fascinating book is filled with diverse anecdotes about the silent language of gesture, the game of love, the spinning of balls, superstitions relating to the severed fingers of thieves, and systems of computation that were used on wharves and in shops, markets, granaries, and warehouses throughout the ancient Roman world. Side by side with historical discussions of rings and gloves and nail polish are meditations on the finger’s essential role in writing, speech, sports, crime, law, sex, worhsip, memory, scratching politely at eighteenth-century French doors (instead of crudely knocking), or merely satisfying an itch—and, of course, in the eponymous show of contempt.

  • Sales Rank: #3070176 in Books
  • Published on: 2010-05-11
  • Released on: 2010-05-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.38" h x 1.13" w x 5.90" l, 1.03 pounds
  • Binding: Hardcover
  • 320 pages

From Publishers Weekly
Trumble (A Brief History of the Smile), curator of paintings and sculpture at the Yale Center for British Art, blends art history, anatomy, and etymology in this analysis of finger lore that originated as a lecture to Australian orthopedic surgeons. Contrary to the OED, Trumble contends that the thumb is a finger. In the fraught world of human relationships, he says, the handshake is indispensable, and a proper one must include the enclosing clasp of the thumb. Queen Elizabeth I owned hundreds of pairs of gloves and gave gloves as gifts in a sophisticated diplomatic game; in portraying his right hand expensively gloved in a self-portrait, Rubens was affirming his rank; and Eleanor Roosevelt was the first first lady to wear colored nail polish. Trumble enumerates the necessities of fingers: they are indispensable in playing the violin and in sex; ancient Romans could count to one million using their 10 digits; babies' discovery of pointing with the index finger as a means of getting attention seems partly innate. This prodigiously researched work offers many gold nuggets of wisdom to a rarefied audience, though it's verbose and esoteric in the extreme. 22 b&w illus. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
Art historian and curator Trumble conducts magnifying investigations into aspects of our physiology we take for granted, first in A Brief History of the Smile (2004), and now in this cheerfully encompassing natural, cultural, and artistic survey of the finger. Trumble is at once ferociously comprehensive and silly, yet he also expresses affecting perspectives on how exactly our fingers, including the all-important thumb, have made us such a dazzlingly inventive and marauding species. Trumble finds fingers everywhere, from ancient handprints in cave paintings to a pointing baby to Hindu and Buddhist mudras (ancient, ritualized gestures of the hands and fingers) to Michelangelo’s iconic “hands of God and Adam” to advanced methods of finger calculations and diverse forms of etiquette. He also writes about gloves, nail polish, and hand signals––secretive, sexual, and aggressive. This is the sort of exuberant nonfiction in which you learn something surprising on every page, and not only does Trumble amass a great wealth of finger facts, his interpretations are deft and pleasing in their acuity, and his delight in the entire endeavor is contagious. --Donna Seaman

Review
Praise for The Finger: “[A] cheerfully encompassing natural, cultural, and artistic survey of the finger. Trumble is at once ferociously comprehensive and silly . . . This is the sort of exuberant nonfiction in which you learn something surprising on every page, and not only does Trumble amass a great wealth of finger facts, his interpretations are deft and pleasing in their acuity, and his delight in the entire endeavor is contagious.” —Donna Seaman, Booklist “An adept cultural tour of our fingers . . . Intelligent, passionate and amusing.” —Kirkus Reviews “[Trumble] blends art history, anatomy, and etymology in this analysis of finger lore . . . This prodigiously researched work offers many gold nuggets of wisdom.” —Publishers Weekly Praise for A Brief History of the Smile:

“A charming scholarly analysis of simpers and grins across space and time.” —The Boston Globe

Most helpful customer reviews

11 of 11 people found the following review helpful.
Two Thumbs Up
By Barry Nalebuff
Angus Trumble takes the reader on a wide-ranging ambidextrous tour of everything digital: it's a history, anatomy, and art lesson all in one. With the help of his keen curator's eye, art comes alive. We see how the Prima Porta statue of Augustus leading the way with his outstretched index in the fashion of a loaded pistol is reprised by Michelangelo as Adam's awaking left hand reaches but not quite touches God's similarly commanding outstretched index. In Picasso's Guernica, our eyes are drawn to the surprisingly normal hands amidst all the carnage. Fingers play a central role in art across the centuries and cultures. Some of Trumble's indelible favorites include the 42-handed Kannon in Kyoto to the fingers of Pluto pressing into the fleshy thigh of Persephone in Bernini's impossibly soft marble sculpture. Alongside the art lesson, you'll get a detailed anatomy of the hand, learn about the history of gloves and nail polish, handshakes and thumb sucking, even sign language, including a particularly droll chapter on that special sign given by the middle finger. There's fantastic detours along the way: does the Panda have a sixth finger (no), how high can you count with your fingers (the Romans made it to 1,000,000 and you can too). I have to hand it to him for a job well done.

p.s. Apparently, thumbs up in ancient Rome meant condemnation. Here, I am using thumbs up in the more modern Siskel and Ebert school. And yes, that really is my real name.

0 of 0 people found the following review helpful.
Three Stars
By Rosanne Naunheim
more like a listing of every possible fact than a cohesive read

0 of 0 people found the following review helpful.
Bitter
By PAUL CHANG
Bitter.

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>> Ebook Download Thomas Hart Benton: A Life, by Justin Wolff

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Thomas Hart Benton: A Life, by Justin Wolff

Born in Missouri at the end of the nineteenth century, Thomas Hart Benton would become the most notorious and celebrated painter America had ever seen. The first artist to make the cover of Time, he was a true original: an heir to both the rollicking populism of his father's political family and the quiet life of his Appalachian grandfather. In his twenties, he would find his calling in New York, where he was drawn to memories of his small-town youth―and to visions of the American scene.

By the mid-1930s, Benton's heroic murals were featured in galleries, statehouses, universities, and museums, and magazines commissioned him to report on the stories of the day. Yet even as the nation learned his name, he was often scorned by critics and political commentators, many of whom found him too nationalistic and his art too regressive. Even Jackson Pollock, his once devoted former student, would turn away from him in dramatic fashion. A boxer in his youth, Benton was quick to fight back, but the widespread backlash had an impact―and foreshadowed many of the artistic debates that would dominate the coming decades.

In this definitive biography, Justin Wolff places Benton in the context of his tumultuous historical moment―as well as in the landscapes and cultural circles that inspired him. Thomas Hart Benton―with compelling insights into Benton's art, his philosophy, and his family history―rescues a great American artist from myth and hearsay, and provides an indelibly moving portrait of an influential, controversial, and often misunderstood man.

  • Sales Rank: #604207 in Books
  • Published on: 2012-03-13
  • Released on: 2012-03-13
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.37" h x 1.32" w x 6.20" l, 1.49 pounds
  • Binding: Hardcover
  • 416 pages

Review

“Wolff . . . makes the artist interesting, largely by taking a balanced view of him. He neither praises nor critically buries Benton but rather, and with what feels like an undercurrent of empathy, works hard to give him his day in court . . . Some biographies edit out ambiguity; they want us to love or loathe their subjects. Wolff takes the opposite tack. He lays out all of Benton's contrarieties [and] argues them through . . . The Benton who emerges is not appealing, but neither is he simple, even though he spent much of his energy trying to be.” ―Holland Cotter, The New York Times Book Review

“Thomas Hart Benton may be the artist for our times. He'd fit right into the tea party and Occupy Wall Street, anywhere left, right or center where folks gather to protest big business and big government . . . [Justin Wolff] plants the artist in the politics of his time and deftly traces the artistic influences that eventually brought Benton to his mature style, one based upon what he saw with his own eyes but bursting with muscular energy. Wolff also paints a sensitive portrait of a man often full of self-doubt yet as stubborn as a Missouri mule . . . [He writes] with remarkable evenhandedness and clarity.” ―Bill Marvel, The Dallas Morning News

“A valuable and welcome book . . . Carefully researched and exceptionally readable . . . Thanks to Thomas Hart Benton: A Life . . . we have the chance to renew our understanding and appreciation of this seminal figure and his legacy. Wolff convincingly demonstrates that Benton was a gifted artist who played a central role as American art moved into the modern era.” ―Terry Hartle, The Christian Science Monitor

“[An] energetic and revelatory biography . . . By making judicious and entertaining use of Benton's letters and autobiographies, along with an array of eyewitness testimonies, Wolff portrays Benton as insecure and arrogant, gruff and sensitive, pugnacious and charming . . . Wolff's biography succeeds in recalibrating our appreciation for a quintessential American artist and his perpetually provoking art.” ―Donna Seaman, The Kansas City Star

“Fascinating . . . While many people are familiar with Benton's oeuvre, the artist himself has largely eluded examination. Wolff rectifies the oversight rather well, giving us a portrait of this complicated, fascinating, often contradictory man that is crisp, well informed and satisfyingly complete.” ―Michael J. Bonafield, Star-Tribune (Minneapolis)

“Impressive . . . Thoughtful . . . Wolff's biography moves deftly from Benton's family history, to Benton's own description of his aesthetic principles, to deft readings of Benton's signature works . . . The achievement of Wolff's biography is to step behind Benton and peer over his shoulder as he tried to paint the America he thought he desired.” ―Joseph Campana, Los Angeles Review of Books

“A balanced and insightful reassessment of [a] major, controversial and at times neglected American painter and muralist . . . Justin Wolff has created a scholarly mural of Benton, revealing to us the many facets of the man and the artist within the context of the American and world culture of his time.” ―Lawrence Wayne Markert, The Roanoke Times

“Justin Wolff . . . presents a study of Benton's life and work that is both learned and lively.” ―Jules Wagman, St. Louis Post-Dispatch

“Wolff writes with the muscular energy of Benton's earthy paintings while performing the more tempered precision of informed and fair analysis as he deciphers the contentiousness and ambiguities of this pugnacious individualist and ornery populist . . . Wolff's is the most illuminating portrait yet of this contrary artist in search of authenticity.” ―Donna Seaman, Booklist (starred review)

“[A] comprehensive and critically astute biography . . . A lucid and engaging study of the artist's life in its historical context.” ―Publishers Weekly

“Wolff fully and fairly explores Benton's early training and work at home and in Europe, his successes in the 1930s, and his fall from critical--if not public--favor in the 1940s and the postwar period . . . Based on firm research, this book is also accessibly written and is recommended for general readers as well as specialists.” ―Jack Perry Brown, Library Journal

“Justin Wolff's new life of Benton is immensely readable, effortlessly erudite, and, best of all, very perceptive about the ways mature artists become (and stay) artists. He gives us Thomas Hart Benton--paradoxical, combative, underappreciated, and ultimately brilliant--in illuminating detail.” ―Richard Ford

“This is the kind of book one slows down to savor. Justin Wolff calls it A Life, and that's what he delivers--not just the facts of Benton's life, fascinating as they are, but the sense of life, the lively feel of time, history, and place. In Thomas Hart Benton, Wolff has found an ideal vehicle to document and dramatize the rapid changes that in a mere lifetime shaped the perception of an American art. This is an engaging, exemplary biography.” ―Stuart Dybek, author of The Coast of Chicago

“Justin Wolff's elegant life of the famously belligerent Thomas Hart Benton should be the last word on the subject. This is a fine portrait of the artist in his time--witty, scrupulous, and shrewd.” ―Ward Just, author of An Unfinished Season

“A marvelously thoughtful and graceful portrait of an artist who was thoughtless and graceless--albeit brilliant. Justin Wolff sees past the bluster of Benton's public image and into the heart of a complex and compelling figure whose vision helped define the can-do spirit of America in the first half of the twentieth century.” ―Deborah Solomon, author of Utopia Parkway: The Life and Work of Joseph Cornell

“Despite his cantankerous personality and, later, his unfashionable, often repellent views, Thomas Hart Benton was a central figure in American art in the late 1920s and 1930s. Justin Wolff's captivating biography offers a vivid account of his Midwestern roots; his long apprenticeship in Paris and New York; his influences, ideas, controversies, and friendships; and the circumstances that contributed to his great early murals. This is an engrossing story of a difficult man and an embattled artist who emerged as our most energetic, idiosyncratic figurative painter.” ―Morris Dickstein, author of Dancing in the Dark: A Cultural History of the Great Depression

“Justin Wolff's splendid new biography of Thomas Hart Benton is a brilliant act of artistic restoration. Wolff strips away years of caricature, legend, and neglect to reveal the sweep of his artistic life, from his youth as the misfit scion of a famed political family to his years as a Depression-era artist in New York City playing folk music with Jackson Pollock. Wolff's Benton is vibrant, contradictory, and, in our own era of partisan strife, startlingly contemporary. Thomas Hart Benton is a monumental achievement and a joy to read.” ―Whitney Terrell, author of The King of Kings County

“Justin Wolff has rendered a thoughtful, meticulously composed portrait of a notoriously difficult subject--a man whose life and relationships were every bit as dynamic as the murals that earned Benton fame. Untangling the contradictory elements of Benton's politics and persona, Wolff manages also to capture the complexity of the places and periods that shaped his work. Thomas Hart Benton is an impressive, and welcome, contribution to American cultural history.” ―R. Tripp Evans, author of Grant Wood: A Life

“The outspoken and contradictory Thomas Hart Benton gets his due in this new biography. With admirable clarity, Justin Wolff illuminates the populism of Benton's art and the painter's pugnacious stance toward other artists, museums, and the aesthetics of abstraction.” ―Wanda M. Corn, author of The Great American Thing: Modern Art and National Identity, 1915–1935

About the Author
Justin Wolff is an Associate Professor of Art History at the University of Maine. He is the author of Richard Caton Woodville: American Painter, Artful Dodger.

Most helpful customer reviews

6 of 6 people found the following review helpful.
Good start
By Lorna Aldrich
In the first part of the book, the author explains the sources of the artist's style, classical and modern, leading to the "pulsating" nature of the forms in his murals. Having done that, the work becomes repetitive and of necessity a long litany of the people with whom the artist feuded. The author judges the work "banal." Then why write the book?

5 of 5 people found the following review helpful.
A Great Art Biography
By J. Smallridge
This is a terrific read about a fascinating artist. Wolff does a nice job of placing Benton into context while highlighting all of his ambiguities (someone who was sexist, homophobic, and politically complex). What struck me most about the book is the way in which Benton, as a staggering genius, came into his own and then slowly was surpassed by other artists. What also struck me is that the work was praised by R. Tripp Evans, who wrote a dull biography on Grant Wood. The contrast between the lively, fighter Benton and the subdued, closeted Wood couldn't be more stark. And, this book makes that clear in a very compelling way.

4 of 4 people found the following review helpful.
Thomas Hart Benton
By murray ngoima
This book is a valuable resource for someone seeking to understand the "art world" in the United States in the 30s and 40s (and later). It is a thoroughly researched and fascinating focus on the thread of one life story interweaving with its larger context. Thomas Hart Benton is revealed as a complex and complicated person, described with both compassion and objectivity.

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Monday, July 7, 2014

> Ebook Download Lila: A Novel, by Marilynne Robinson

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Lila: A Novel, by Marilynne Robinson

Winner of the National Book Critics Circle Award
National Book Award Finalist

A new American classic from the Pulitzer Prize-winning author of Gilead and Housekeeping

Marilynne Robinson, one of the greatest novelists of our time, returns to the town of Gilead in an unforgettable story of a girlhood lived on the fringes of society in fear, awe, and wonder.
Lila, homeless and alone after years of roaming the countryside, steps inside a small-town Iowa church-the only available shelter from the rain-and ignites a romance and a debate that will reshape her life. She becomes the wife of a minister, John Ames, and begins a new existence while trying to make sense of the life that preceded her newfound security.
Neglected as a toddler, Lila was rescued by Doll, a canny young drifter, and brought up by her in a hardscrabble childhood. Together they crafted a life on the run, living hand to mouth with nothing but their sisterly bond and a ragged blade to protect them. Despite bouts of petty violence and moments of desperation, their shared life was laced with moments of joy and love. When Lila arrives in Gilead, she struggles to reconcile the life of her makeshift family and their days of hardship with the gentle Christian worldview of her husband which paradoxically judges those she loves.
Revisiting the beloved characters and setting of Robinson's Pulitzer Prize-winning Gilead and Home, a National Book Award finalist, Lila is a moving expression of the mysteries of existence that is destined to become an American classic.

  • Sales Rank: #45442 in Books
  • Published on: 2014-10-07
  • Released on: 2014-10-07
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x 1.09" w x 5.76" l, 1.00 pounds
  • Binding: Hardcover
  • 272 pages

Review

“Writing in lovely, angular prose that has the high loneliness of an old bluegrass tune, Ms. Robinson has created a balladlike story . . . The novel is powerful and deeply affecting . . . Ms. Robinson renders [Lila's] tale with the stark poetry of Edward Hopper or Andrew Wyeth.” ―Michiko Kakutani, The New York Times

“Lila is a book whose grandeur is found in its humility. That's what makes Gilead among the most memorable settings in American fiction . . . Gilead [is] a kind of mythic everyplace, a quintessential national setting where our country's complicated union with faith, in all its degrees of constancy and skepticism, is enacted.” ―Sam Sacks, The Wall Street Journal

“My message is simple. Even if you haven't found the two previous books to your taste, give Lila a try . . . what we get . . . is the highest fictional magic: a character who seems so real, it's hard to remember that she exists only in the page of this book . . . No writers can see life whole. There's too much of it, too many sides, to be comprehended by a single vision. But some books give us a sense of such wholeness, and they are precious for it. Lila is such a book.” ―John Wilson, Chicago Tribune

“Lila, Marilynne Robinson's remarkable new novel, stands alone as a book to read and even read again. It's both a multilayered love story and a perceptive look at how early depirvation causes lasting damage . . . Robinson is a novelist of the first order.” ―Ellen Heltzel, The Seattle Times

“Grade: A Emotionally and intellectually challenging, it's an exploration of faith in God, love, and whatever else it takes to survive.” ―Entertainment Weekly

“Gorgeous writing, an absolutely beautiful book . . . This should come as no surprise to anyone familiar with Robinson, a novelist who can make the most quotidian moments epic because of her ability to peel back the surfaces of ordinary lives . . . [a] profound and deeply rendered novel.” ―David L. Ulin, Los Angeles Times

“Marilynne Robinson is one of the great religious novelists, not only of our age, but any age . . . Not even gorgeous is a strong enough word for what grandeur charges the pages of Lila.” ―Casey Cep, New Republic

“Written in beautiful, precise language, [Lila] glows like a banked fire that provides steady illumination. Lila should prompt first-time Robinson readers to track down her other works.” ―Martha Woodall, Philadelphia Inquirer

“Set aside the idea that Housekeeping, Marilynne Robinson's groundbreaking 1980 debut novel, should be on anyone's short list for the Great American Novel . . . It's just as well to open Lila with no preconceptions and just star reading. The pages in this volume are dense, but once you release yourself to Robinson's rhythms, the rewards are profound and layered, and what was intimidating becomes magnetic . . . Robinson has created a work in Lila that's both old-fashioned and contemporary. Timeless.” ―The Denver Post

“Ever since the publication of Robinson's thrilling first novel, Housekeeping, reviewers have been pointing out that, for an analyst of modern alienation, she is an unusual specimen: a devout Protestant, reared in Idaho. She now lives in Iowa City, where she teaches at the Iowa Writers' Workshop and where, for years, she has been accustomed to interrupting her career as a novelist to produce essays on such matters as the truth of John Calvin's writings. But Robinson's Low Church allegiance has hugely benefited her fiction . . . This is an unflinching book.” ―Joan Acocella, The New Yorker

“Marilynne Robinson tracks the movements of grace as if it were a wild animal, appearing for fleeting intervals and then disappearing past the range of vision, emerging again where we least expect to find it. Her novels are interested in what makes grace necessary at all--shame and its afterlife, loss and its residue, the limits and betrayals of intimacy. In Lila, her brilliant and deeply affecting new novel, even her description of sunlight in a St. Louis bordello holds a kind of heartbreak . . . Robinson's determination to shed light on . . . complexities--the solitude that endures inside intimacy, the sorrow that persists beside joy--marks her as one of those rare writers genuinely committed to contradiction as an abiding state of consciousness. Her characters surprise us with the depth and ceaseless wrinkling of their feelings.” ―Leslie Jamison, The Atlantic

“Radiant . . . As in Gilead and Home, Robinson steps away from the conventions of the realistic novel to deal with metaphysical abstractions, signaling by the formality of her language her adoption of another convention, by which characters inhabiting an almost Norman Rockwell-ish world . . . live and think on a spiritual plane . . . [Lila is] a mediation on morality and psychology, compelling in its frankness about its truly shocking subject: the damage to the human personality done by poverty, neglect and abandonment.” ―Diane Johnson, The New York Times Book Review

“In her new novel, Lila, Marilynne Robinson has written a deeply romantic love story embodied in the language and ideas of Calvinist doctrine. She really is not like any other writer. She really isn't . . . Robinson has created a small, rich and fearless body of work in which religion exists unashamedly, as does doubt, unashamedly.” ―Cathleen Schine, The New York Review of Books

“Robinson's genius is for making indistinguishable the highest ends of faith and fiction . . . The beauty of Robinson's prose suggests an author continually threading with spun platinum the world's finest needle.” ―Michelle Orange, Bookforum

“The protagonist of the stunning Lila is as lost a character as can be found in literature . . . Don't hesitate to read Lila . . . It's a novel that stands on its own and is surely one of the best of the year.” ―Holly Silva, St Louis Post-Dispatch

“Existence and 'all the great storms that rise in it' are at the heart of Marilynne Robinson's glorious new novel, Lila . . . Lila is--at once--powerful, profound, and positively radiant in its depiction of its namesake, a child reared by drifters who finds a kindred soul in 'a big, silvery old man,' the Rev. John Ames . . . Life, death, joy, fear, doubt, love, violence, kindness--all of this, and more, dwells in Lila, a book, I will venture, already for the ages, its protagonist engraved upon our souls.” ―Karen Brady, The Buffalo News

“Lila is a dark, powerful, uplifting, unforgettable novel. And Robinson's Gilead trilogy--Gilead, Home, and Lila--is a great achivement in American fiction.” ―Bryan Wooley, Dallas Morning News

“Starred Review This third of three novels set in the fictional plains town of Gilead, Iowa, is a masterpiece of prose in the service of the moral seriousness that distinguishes Robinson's work . . . Lila is a superb creation. Largely uneducated, almost feral, Lila has a thirst for stability and knowledge. As she yearns to forget the terrible memories and shame of her past, Lila is hesitant to reveal them to her loving new husband. The courtship of the couple--John Ames: tentative, shy, and awkward; Lila: naïve, suspicious, wary, full of dread--will endure as a classic set piece of character revelation, during which two achingly lonely people discover the comfort of marital love . . . Robinson carefully crafts this provocative and deeply meaningful spiritual search for the meaning of existence. What brings the couple together is a joyous appreciation of the beauty of the natural world and the possibility of grace.” ―Publishers Weekly

“*Starred Review* Robinson has created a tour de force, an unforgettably dynamic odyssey, a passionate and learned moral and spiritual inquiry, a paean to the earth, and a witty and transcendent love story--all within a refulgent and resounding novel so beautifully precise and cadenced it wholly tranfixes and transforms us.” ―Donna Seaman, Booklist

“*Starred Review* This is a lovely and touching story that grapples with the universal question of how God can allow his children to suffer. Recommended for fans of Robinson as well as those who enjoyed Elizabeth Strout's Olive Kitteridge, another exploration of pain and loneliness set against the backdrop of a small town.” ―Evelyn Beck, Library Journal

“Literary lioness Robinson--she's won a Pulitzer Prize for fiction, a Hemingway Foundation/PEN Award, and a National Book Critics Circle Award, among other laurels--continues the soaring run of novels with loosely connected story lines and deep religious currents that she launched a decade ago, almost a quarter century after her acclaimed fiction debut, Housekeeping . . . Lila's journey--its darker passages illuminated by Robinson's ability to write about love and the natural world with grit and graceful reverence--will mesmerize both longtime Robinson devotees and those coming to her work for the first time.” ―Elle

About the Author

Marilynne Robinson is the author of the novels Home, Gilead (winner of the Pulitzer Prize), and Housekeeping, and four books of nonfiction, When I Was a Child I Read Books, Mother Country, The Death of Adam, and Absence of Mind. She teaches at the University of Iowa Writers' Workshop.

Most helpful customer reviews

146 of 153 people found the following review helpful.
The perfect bookend to Gilead and Home
By fryjord
Gilead and Home are two of my favorite novels, so I could not have been more excited when Lila arrived at my doorstep. The character of Lila (Reverend Ames' wife) remained somewhat of a mystery in both the earlier novels. She was the much younger, loving wife of the wonderful Reverend Ames, but she was a woman with a private past that even her much older husband knew little about. This book fills in the character of Lila and begins with her as a 5 year-old girl crying outside a house with no one there to help her. She gets saved by Doll, and they develop a sweet maternal relationship that shapes the rest of her life.

Ultimately, Robinson might be my favorite writer. I do not have a religious bone in my body, but I find myself returning to Gilead again and again just to read Reverend Ames' thoughts on the world. And Robinson is also such an understanding, empathetic writer. In Home, Jack Boughton's struggles with religion and predestination shape the novel, but she refuses to condemn him for his atheism. Lila is a third piece to that puzzle about a woman uneasy with religion but read to engage with the questions it raises.

So yeah...these three novels have deeply affected me. The prose in Lila is as beautiful as her three earlier novels, and at points, possibly even more beautiful. Lila's torment gives Robinson the chance to do things with languages few people in the history of writing have been able to do. I recommend it highly.

221 of 236 people found the following review helpful.
Life and the Divine, as Perceived by a Near-Feral Woman
By Lynne Spreen
There are no chapters in this book. Is this a literary conceit, as in a writer playfully breaking rules, or is she making a point that what she has to say is so important that chapters might interfere with concentration? Since Robinson will never be accused of playfulness, and I don't sense she's dictatorial, I offer a third possibility: the lack of chapters (although there are section breaks) may be metaphoric. Because once you get into the story, you will become a wanderer, compelled to the journey, hungering for some bit of plot but only receiving as much as is necessary to give you enough energy to continue. You will be fed by stunningly compassionate depictions of the apparent worst in human behavior, and by contemplations of the divine, such that this will allow you to continue on through the sparse landscape that is Lila.

One of the high points for me, a reader who counts Gilead as one of her top five books of all time, was the return of the good Reverend Ames. This thoughtful, open-minded, generous man sees Lila as a gift, not only for her companionship but as a window into another dimension of human life and spirituality. Because while Lila is only a few degrees removed from feral, she is bright and curious, and her perspective is riveting if bleak. Indeed, her intellect causes her intense pain, hungering as she does for understanding about life on earth and her place in it - as don't we all. In this, as with Ames' tortured acceptance of his own mortality and that of his friend Boughton, the book touches universal chords.

This story primarily consists of internal monologue, and much of it is oblique, so if you are not drawn to that kind of writing, this may not be for you. I love introspection, but still, I veered between feeling gratified and frustrated as I read this beautiful book. Ultimately, I know I will have to read it again, probably more than once, in order to do it justice. I'm not sure I'm smart enough for this deep a book, but like Lila, I'm smart enough to sense there's more to it than I can see from where I'm standing.

112 of 121 people found the following review helpful.
"Whatever happens, just be quiet, and it'll pass, most likely."
By Amelia Gremelspacher
Lila voices that part of us that is fundamentally alone, and preternaturally outside the the bounds of society. I love this character. She is not the least cuddly in her wildness, and she knows only how to stand in the world she has learned. Marilynne Robinson has mastered that archetype of the loner ruled only by the internal truths of her ties to nature. Robinson has returned to Gilead, a poor town on the verge of collapsing to the surrounding wilderness, resisting only with the basic decency of its citizens. Robinson has woven a moral fiber which embraces the Bible as it is woven into the rules of empathy and natural order.

Lila was born into the ultimately neglectful family. She was found by Doll, alone on a porch and half dead at age of four. She and Doll wander the world in the days preceding the Dust Bowl. "Doll my have been the loneliest woman in the world, and she was the loneliest child." They were ruled by "Whatever happens, just be quiet, and it'll pass, most likely." We find her years later, aged by the places she has seen, drawn to the world of Gilead. She has found a savior in the kind, old minister who has fallen in love with her. The courtship is the loveliest thing I have read in years. They come to value the comfort of the other standing by her shoulder. She has come to care for the kind old man and finds him beautiful. Their marriage is lyrical to me.

The ethical code in Robinson's books is a rather lovely one. The old minister says, "Any judgment of the kind is a great presumption. And presumption is a very grave sin." Lila come to believe that the search for meaning is like knowing a song. "In a song a note follows the one before because it is that song and not another one.". This is a book in which to linger. I would honestly read a recipe written by Marilynne Robinson, but this is because she writes such wonderful language. She has found a way to put words to thought that surpasses the rule of silence.

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The Freedom of the Poet, by John Berryman

Thirty-six essays by John Berryman regarding those poets who influencing his life.

  • Sales Rank: #1274430 in Books
  • Published on: 1976-04
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 389 pages

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