Oprah's Book Club Selections for 1998

Oprah Book Club® Selection, December 1998: A funny thing happens to Novalee Nation on her way to Bakersfield, California. Her ne'er-do-well boyfriend, Willie Jack Pickens, abandons her in an Oklahoma Wal-Mart and takes off on his own, leaving her with just 10 dollars and the clothes on her back. Not that hard luck is anything new to Novalee, who is "seventeen, seven months pregnant, thirty-seven pounds overweight--and superstitious about sevens.... For most people, sevens were lucky. But not for her," Billie Letts writes. "She'd had a bad history with them, starting with her seventh birthday, the day Momma Nell ran away with a baseball umpire named Fred..."

Still, finding herself alone and penniless in Sequoyah, Oklahoma is enough to make even someone as inured to ill fortune as Novalee want to give up and die. Fortunately, the Wal-Mart parking lot is the Sequoyah equivalent of a town square, and within hours Novalee has met three people who will change her life: Sister Thelma Husband, a kindly eccentric; Benny Goodluck, a young Native American boy; and Moses Whitecotton, an elderly African American photographer. For the next two months, Novalee surreptitiously makes her home in the Wal-Mart, sleeping there at night, exploring the town by day. When she goes into labor and delivers her baby there, however, Novalee learns that sometimes it's not so bad to depend on the kindness of strangers--especially if one of them happens to be Sam Walton, the superchain's founder.

Where the Heart Is oddly mixes heart-warming vignettes and surprising, brutal violence. Novalee's story is juxtaposed with occasional chapters chronicling Willy Jack's downward spiral into prison, disappointment, and degradation. And even in Sequoyah, sudden storms, domestic violence, kidnapping, and deadly fires punctuate Novalee's progress from homeless, unwed teen mom to successful, happy member of the community. This is not a subtle book; there's never any doubt that our heroine will make a home for herself and her baby or that Willy Jack will get what he deserves for abandoning them. Still, Billie Letts has created several memorable characters, and there's always room for another novel that celebrates the life-affirming qualities of reading, the importance of education, and the power of love to change lives. --Alix Wilber

Talk about unlucky sevens. An hour ago, seventeen-year-old, seven months pregnant Novalee Nation was heading for California with her boyfriend. Now she finds herself stranded at a Wal-Mart in Sequoyah, Oklahoma, with just $7.77 in change. But Novalee is about to discover hidden treasures in this small Southwest town--a group of down-to-earth, deeply caring people willing to help a homeless, jobless girl living secretly in a Wal-Mart. From Bible-thumping blue-haired Sister Thelma Husband to eccentric librarian Forney Hull who loves Novalee more than she loves herself, they are about to take her--and you, too--on a moving, funny, and unforgettable journey to . . . Where the Heart Is.

Oprah Book Club® Selection, October 1998: On a violent, stormy winter night, a home birth goes disastrously wrong. The phone lines are down, the roads slick with ice. The midwife, unable to get her patient to a hospital, works frantically to save both mother and child while her inexperienced assistant and the woman's terrified husband look on. The mother dies but the baby is saved thanks to an emergency C-section. And then the nightmare begins: the assistant suggests that maybe the woman wasn't really dead when the midwife operated:

Did she perform at least eight or nine cycles as my mother said, or four or five as Asa recalled? That is the sort of detail that was disputable. But at some point within minutes of what my mother believed had been a stroke, after my mother concluded the cardiopulmonary resuscitation had failed to generate a pulse or a breath, she screamed for Asa and Anne to find her the sharpest knife in the house.

In Midwives, Chris Bohjalian chronicles the events leading up to the trial of Sibyl Danforth, a respected midwife in the small Vermont town of Reddington, on charges of manslaughter. It quickly becomes evident, however, that Sibyl is not the only one on trial--the prosecuting attorney and the state's medical community are all anxious to use this tragedy as ammunition against midwifery in general; this particular midwife, after all, an ex-hippie who still evokes the best of the flower-power generation, is something of an anachronism in 1981. Through it all, Sibyl, her husband, Rand, and their teenage daughter, Connie, attempt to keep their family intact, but the stress of the trial--and Sibyl's growing closeness to her lawyer--puts pressure on both marriage and family. Bohjalian takes readers through the intricacies of childbirth and the law, and by the end of Sibyl Danforth's trial, it's difficult to decide which was more harrowing--the tragic delivery or its legal aftermath.

Narrated by a now adult Connie, Midwives moves back and forth in time, fitting vital pieces of information about what happened that night like pieces of a jigsaw puzzle into its complicated plot. As Connie looks back on her mother's trial, she is still trying to understand what happened--not on the night of the disaster--but in the months and years that followed. --Margaret Prior

A talented midwife is arrested for murder when she saves a baby by performing a Caesarean section once she believes the mother has died--only to have her assistant insist later that the woman was still very much alive. Told in the mesmerizing voice of the midwife's daughter, Midwives depicts the aftermath of the tragedy.

Oprah Book Club® Selection, September 1998: What makes Pearl Cleage's novel so damned enjoyable? At first glance, after all, What Looks Like Crazy on an Ordinary Day seems pretty heavy going: HIV, suicide, sudden infant death syndrome, and drunk driving all figure prominently in the lives of narrator Ava Johnson and her older sister Joyce. It isn't long before crack addiction, domestic violence, and unwed motherhood have joined the list--so, where's the pleasure? The answer lies in the sharp and funny attitude Cleage brings to her depiction of one African American community in the troubled '90s. Ava Johnson, for example, might be HIV-positive, but she's refreshingly forthright about it: "Most of us got it from the boys. Which is, when you think about it, a pretty good argument for cutting men loose, but if I could work up a strong physical reaction to women, I would already be having sex with them. I'm not knocking it. I'm just saying I can't be a witness. Too many titties in one place to suit me."

Ada has spent the last 10 years living in Atlanta. When she discovers she's infected, she sells her hairdressing business and heads back to her childhood home of Idlewild, Michigan, to spend the summer with her recently widowed sister before moving on to San Francisco. Once there, however, she finds herself embroiled in big-city problems--drugs, violence, teen pregnancy, and an abandoned crack-addicted baby, to name just a few--in a small-town setting. Ava also meets Eddie Jefferson, a man with a past who just might change her mind about the imprudence of falling in love.

In less assured hands, such a catalog of disasters would make for maudlin, melodramatic reading indeed. But Cleage, an accomplished playwright, has a way both with characters and with language that lifts this tale above its movie-of-the-week tendencies. In Ava she has created a character who not only effortlessly carries the weight of the story but also provides entertaining commentary on African American life as she goes. Discussing the insular nature of the black community in Atlanta, she recalls, "I'd walk into a reception room and there'd be a room full of brothers, power-brokering their asses off, and I'd realize I'd seen them all naked. I'd watch them striding around, talking to each other in those phony-ass voices men use when they want to make it clear they got juice, and it was so depressing, all I'd want to do was go home and get drunk." Later, she describes the preacher's wife's hair as "pressed and hot-curled within an inch of its life.... Hardly anybody asks for that kind of hard press anymore. Sister seems to have missed the moment when we decided it was okay for the hair to move."

As the trials and tribulations pile on, the experiences of Cleage's characters prove to be universal: death, love, second chances. Ava's acerbic, smart-mouthed narrative keeps the story buoyant; by the time this endearingly imperfect heroine and her cohorts have negotiated the rocky road to a happy ending, readers will be sorry to see her go, even as they wish her well. --Alix Wilber

In a remarkable debut novel that sizzles with sensuality, crackles with life-affirming energy and moves the reader to laughter and tears, author Pearl Cleage creates a world rich in character, human drama, and deep, compassionate understanding. After a decade of luxe living in Atlanta, Ava Johnson has returned to tiny Idlewild, Michigan -- her fabulous career and power plans smashed to bits on one dark truth: Ava has tested positive for HIV. Bur rather than a sorrowful end, her homecoming is a new beginning. Because, in the ten-plus years since she left, all the problems of the big city have invaded the sleepy community of her childhood. Because dear friends and family sorely need her help in the face of impending trouble and tragedy, and Ava cannot turn her back on them. And because, most importantly, Ava Johnson is inexplicabley and undeniably falling in love.

Oprah Book Club® Selection, June 1998: What if you were a 40-year-old housepainter, horrifically abused, emotionally unavailable, and your identical twin was a paranoid schizophrenic who believed in public self-mutilation? You'd either be a guest on the Jerry Springer Show or Dominick Birdsey, the antihero, narrator, and bad-juju magnet of I Know This Much Is True. Somewhere in the recesses of this hefty 912-page tome lurks an honest, moving account of one man's search, denial, and acceptance of self. This is no easy feat considering his grandfather seemed to take parenting tips from the SS and his grandmother was a possible teenage murderess, his stepfather a latent sadist, and his brother, Thomas, a politically motivated psychopath. Not one to break with tradition, Dominick continues the dysfunctional legacy with rape, a failed marriage, a nervous breakdown, SIDS, a car crash, and a racist conspiracy against a coworker--just to name a few.

A stretch, both literally and figuratively from his Oprah-christened bestseller, She's Come Undone, Lamb's book ventures outside the confines of the tightly bound beach read and marathons through a detailed, neatly cataloged account of every familial travesty and personal failure one can endure. At its heart lies Freud's "return of the repressed": the more we try to deny who we are, the more we become what we fear. Lamb takes Freud's psychological abstraction to the realm of everyday living, packing his novel with tender, believable dialogue and thoughtful observation. --Rebekah Warren

With his stunning debut novel, She's Come Undone, Wally Lamb won the adulation of critics and readers with his mesmerizing tale of one woman's painful yet triumphant journey of self-discovery. Now, this brilliantly talented writer returns with I Know This Much Is True, a heartbreaking and poignant multigenerational saga of the reproductive bonds of destruction and the powerful force of forgiveness. A masterpiece that breathtakingly tells a story of alienation and connection, power and abuse, devastation and renewal--this novel is a contemporary retelling of an ancient Hindu myth. A proud king must confront his demons to achieve salvation. Change yourself, the myth instructs, and you will inhabit a renovated world.

When you're the same brother of a schizophrenic identical twin, the tricky thing about saving yourself is the blood it leaves on your bands--the little inconvenience of the look-alike corpse at your feet. And if you're into both survival of the fittest and being your brother's keeper--if you've promised your dying mother--then say so long to sleep and hello to the middle of the night. Grab a book or a beer. Get used to Letterman's gap-toothed smile of the absurd, or the view of the bedroom ceiling, or the influence of random selection. Take it from a godless insomniac. Take it from the uncrazy twin--the guy who beat the biochemical rap.

Dominick Birdsey's entire life has been compromised and constricted by anger and fear, by the paranoid schizophrenic twin brother he both deeply loves and resents, and by the past they shared with their adoptive father, Ray, a spit-and-polish ex-Navy man (the five-foot-six-inch sleeping giant who snoozed upstairs weekdays in the spare room and built submarines at night), and their long-suffering mother, Concettina, a timid woman with a harelip that made her shy and self-conscious: She holds a loose fist to her face to cover her defective mouth--her perpetual apology to the world for a birth defect over which she'd had no control.

Born in the waning moments of 1949 and the opening minutes of 1950, the twins are physical mirror images who grow into separate yet connected entities: the seemingly strong and protective yet fearful Dominick, his mother's watchful "monkey"; and the seemingly weak and sweet yet noble Thomas, his mother's gentle "bunny." From childhood, Dominick fights for both separation and wholeness--and ultimately self-protection--in a house of fear dominated by Ray, a bully who abuses his power over these stepsons whose biological father is a mystery. I was still afraid of his anger but saw how he punished weakness--pounced on it. Out of self-preservation I hid my fear, Dominick confesses. As for Thomas, he just never knew how to play defense. He just didn't get it.

But Dominick's talent for survival comes at an enormous cost, including the breakup of his marriage to the warm, beautiful Dessa, whom he still loves. And it will be put to the ultimate test when Thomas, a Bible-spouting zealot, commits an unthinkable act that threatens the tenuous balance of both his and Dominick's lives.

To save himself, Dominick must confront not only the pain of his past but the dark secrets he has locked deep within himself, and the sins of his ancestors--a quest that will lead him beyond the confines of his blue-collar New England town to the volcanic foothills of Sicily 's Mount Etna, where his ambitious and vengefully proud grandfather and a namesake Domenico Tempesta, the sostegno del famiglia, was born. Each of the stories Ma told us about Papa reinforced the message that he was the boss, that he ruled the roost, that what he said went.

Oprah Book Club® Selection, May 1998: "I come from a place where breath, eyes and memory are one, a place from which you carry your past like the hair on your head. Where women return to their children as butterflies or as tears in the eyes of the statues that their daughters pray to." The place is Haiti and the speaker is Sophie, the heroine of Edwidge Danticat's novel, "Breath, Eyes, Memory." Like her protagonist, Danticat is also Haitian; like her, she was raised in Haiti by an aunt until she came to the United States at age 12. Indeed, in her short stories, Danticat has often drawn on her background to fund her fiction, and she continues to do so in her debut novel.

The story begins in Haiti, on Mother's Day, when young Sophie discovers that she is about to leave the only home she has ever known with her Tante Atie in Croix-des-Rosets, Haiti, to go live with her mother in New York City. These early chapters in Haiti are lovely, subtly evoking the tender, painful relationship between the motherless child and the childless woman who feels honor bound to guard the natural mother's rights to the girl's affections above her own. Presented with a Mother's Day card, Tante Atie responds: "'It is for a mother, your mother.' She motioned me away with a wave of her hand. 'When it is Aunt's Day, you can make me one.'" Danticat also uses these pages to limn a vibrant portrait of life in Haiti from the cups of ginger tea and baskets of cassava bread served at community potlucks to the folk tales of a "people in Guinea who carry the sky on their heads."

With Sophie's transition from a fairly happy existence with her aunt and grandmother in rural Haiti to life in New York with a mother she has never seen, Danticat's roots as a short-story writer become more evident; "Breath, Eyes, Memory" begins to read more like a collection of connected stories than a seamlessly evolved novel. In a couple of short chapters, Sophie arrives in New York, meets her mother, makes the acquaintance of her mother's new boyfriend, Marc, and discovers that she was the product of a rape when her mother was a teenager in Haiti. The novel then jumps several years ahead to Sophie's graduation from high school and her infatuation with an older man who lives next door. Unfortunately, this is also the point in the novel where Danticat begins to lay her themes on with a trowel instead of a brush: Sophie's mother becomes obsessed with protecting her daughter's virginity, going so far as to administer physical "tests" on a regular basis--testing which leads eventually to a rift in their relationship and to Sophie's struggle with her own sexuality. Soon the litany of victimization is flying thick and fast: female genital mutilation, incest, rape, frigidity, breast cancer, and abortion are the issues that arise in the final third of the novel, eventually drowning both fine writing and perceptive characterization under a deluge of angst.

Still, there is much to admire about "Breath, Eyes, Memory," and if at times the plot becomes overheated, Danticat's lyrical, vivid prose offers some real delight. If nothing else, this novel is sure to entice readers to look for Danticat's short stories--and possibly to sample other fiction from the West Indies as well. --Alix Wilber

At an astonishingly young age, Edwidge Danticat has become one of our most celebrated new novelists, a writer who evokes the wonder, terror, and heartache of her native Haiti--and the enduring strength of Haiti's women--with a vibrant imagery and narrative grace that bear witness to her people's suffering and courage.

At the age of twelve, Sophie Caco is sent from her impoverished village of Croix-des-Rosets to New York, to be reunited with a mother she barely remembers. There she discovers secrets that no child should ever know, and a legacy of shame that can be healed only when she returns to Haiti--to the women who first reared her. What ensues is a passionate journey through a landscape charged with the supernatural and scarred by political violence, in a novel that bears witness to the traditions, suffering, and wisdom of an entire people.

Oprah Book Club® Selection, April 1998: "The first time my husband hit me I was nineteen years old," begins Fran Benedetto, the broken heroine of Anna Quindlen's Black and Blue. With one sweeping sentence, the door to an abused and tortured world is swung wide open and the psyche of a crushed and tattered self-image exposed. "Frannie, Frannie, Fran"--as Bobby Benedetto liked to call her before smashing her into kitchen appliances--was a young, energetic nursing student when she met her husband-to-be at a local Brooklyn bar. She was instantly captivated by his dark, brooding looks and magnetic personality, but her fascination soon solidified into a marital prison sentence of incessant abuse and the destruction of her own identity. After an especially horrific beating and rape, Fran realizes that the next attack could be the last. Fearing her son would be left alone with Bobby, she escapes one morning with her child. Fran's salvation comes in the form of Patty Bancroft and Co., a relocation agency for abused women that touts better service than the witness protection program. Armed only with a phone number, a few hundred dollars, and the help of several anonymous volunteers, Fran begins a new life. The agency relocates her to Florida, where she becomes Beth Crenshaw, a recently divorced home-care assistant from Delaware. Fran and her son adapt, meeting challenges with unexpected resilience and resolve until their past returns to haunt them. Quindlen renders the intricacies of spousal abuse with eerie accuracy, taking the reader deep within the realm of dysfunctional human ties. However, her vivid descriptions of abuse, emotional disintegration, and acute loneliness at times numb the reader with their realism.

With this stunning novel about a woman and a marriage that begins in passion and becomes violent, the Pulitzer Prize--winning journalist and bestselling author of One True Thing and Object Lessons moves to a new dimension as a writer of superb fiction. "If literature were judged solely by its ability to elicit strong emotions," Kirkus Reviews said about One True Thing, "columnist-cum-novelist Quindlen would win another Pulitzer." And the same will be said about Black and Blue, a brilliant novel of suspense, substance, and importance.

In Black and Blue, Fran Benedetto tells a spellbinding story: how at nineteen she fell in love with Bobby Benedetto, how their passionate marriage became a nightmare, why she stayed, and what happened on the night she finally decided to run away with her ten-year-old son and start a new life under a new name. Living in fear in Florida--yet with increasing confidence, freedom, and hope--Fran unravels the complex threads of family, identity, and desire that shape a woman's life, even as she begins to create a new one. As Fran starts to heal from the pain of the past, she almost believes she has escaped it--that Bobby Benedetto will not find her and again provoke the complex combustion between them of attraction and destruction, lust and love.

Black and Blue is a beautifully written, heart-stopping story in which Anna Quindlen writes with power, wisdom, and humor about the real lives of men and women, the varieties of people and love, the bonds between mother and child, the solace of family and friendship, the inexplicable feelings between people who are passionately connected in ways they don't understand. It is a remarkable work of fiction by the writer whom Alice Hoffman has called "a national treasure."

Oprah Book Club® Selection, March 1998: Here on Earth is set in motion when March Murray and her teenage daughter travel from their California home to New England. Their stay is to be brief. Judith Dale, her childhood housekeeper-cum-foster mother, has died, and March must set things to right and get out of gloomy Jenkintown as quickly as possible. "Five days tops," she reassures her scientist husband. Instead, she is pulled back into the arms of Hollis, her first love--an avaricious, Heathcliff-like individual who radiates sulfur and cruelty. "She left and didn't come back, not even when he called her, and yet here she is, on this dark night; here and no place else." In this deep fable of loss and control, love and fear, Alice Hoffman allows us into her characters' cores and makes us wish their fortunes were happier. Here on Earth is filled with wisdom, what-ifs, and animals who seem, if not to know more than human beings, at least to know how to shy from danger.

AUTOGRAPHED BY AUTHOR!! GREAT CONDITION, WILL SHIP FAST!

Oprah Book Club® Selection, January 1998: Toni Morrison's Paradise takes place in the tiny farming community of Ruby, Oklahoma, which its residents proudly proclaim "the one all-black town worth the pain." Settled by nine African American clans during the 1940s, the town represents a small miracle of self-reliance and community spirit. Readers might be forgiven, in fact, for assuming that Morrison's title refers to Ruby itself, which even during the 1970s retains an atmosphere of neighborliness and small-town virtue. Yet Paradises are not so easily gained. As we soon discover, Ruby is fissured by ancestral feuds and financial squabbles, not to mention the political ferment of the era, which has managed to pierce the town's pious isolation. In the view of its leading citizens, these troubles call for a scapegoat. And one readily exists: the Convent, an abandoned mansion not far from town--or, more precisely, the four women who occupy it, and whose unattached and unconventional status makes them the perfect targets for patriarchal ire. ("Before those heifers came to town," the men complain, "this was a peaceable kingdom.") One July morning, then, an armed posse sets out from Ruby for a round of ethical cleansing.

Paradise actually begins with the arrival of these vigilantes, only to launch into an intricate series of flashbacks and interlaced stories. The cast is large--indeed, it seems as though we must have met all 360 members of Ruby's populace--and Morrison knows how to imprint even the minor players on our brains. Even more amazing, though, are the full-length portraits she draws of the four Convent dwellers and their executioners: rich, rounded, and almost painful in their intimacy. This richness--of language and, ultimately, of human understanding--combats the aura of saintliness that can occasionally mar Morrison's fiction. It also makes for a spectacular piece of storytelling, in which such biblical concepts as redemption and divine love are no postmodern playthings but matters of life and (in the very first sentence, alas) death.

"They shoot the white girl first. With the others they can take their time." Toni Morrison's first novel since she was awarded the Nobel Prize for Literature opens with a horrifying scene of mob violence then chronicles its genesis in a small all-black town in rural Oklahoma. Founded by descendants of free slaves as intent on isolating themselves from the outside world as it once was on rejecting them, the patriarchal community of Ruby is built on righteousness, rigidly enforced moral law, and fear. But seventeen miles away, another group of exiles has gathered in a promised land of their own. And it is upon these women in flight from death and despair that nine male citizens of Ruby will lay their pain, their terror, and their murderous rage...

Paradise is a tour de force of storytelling power, richly imagined and elegantly composed. Morrison challenges our most fiercely held beliefs as she weaves folklore and history, memory and myth, into an unforgettable meditation on race, religion, gender, and the way a society can turn on itself until it is forced to explode.