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Ellen Foster

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Ellen Foster Cover

ISBN13: 9780375703058
ISBN10: 0375703055
Condition: Standard
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Reading Group Guide

ABOUT THIS GUIDE
The questions and discussion topics that follow are intended to enhance your group's reading of Kaye Gibbons's Ellen Foster. We hope they will give you a number of interesting angles from which to approach this harrowing yet often hilarious story of an abandoned child's search for her place in the world.

ABOUT THIS BOOK
"When I was little I would think of ways to kill my daddy," [p. 1] says eleven-year-old Ellen. Thus the young narrator begins her life-story, in the process painting an extraordinary self-portrait: Ellen is a child whose courage and humor win her a place in literature alongside J. D. Salinger's Holden Caulfield. Ellen's first eleven years are a long fight for survival. Her invalid, abused mother commits suicide, leaving Ellen to the mercies of her daddy, a drunken brute who either ignores her or makes sexual threats. Through her intelligence and grit Ellen is able to provide for herself, but her desperate attempts to create an environment of order and decorum within her nightmarish home are repeatedly foiled by her father. After his death, a judge awards Ellen's custody to her mother's mother, a bitter and vengeful woman who hated her son-in-law for ruining her own daughter's life and who hates the child Ellen for her physical resemblance to him.

Against all odds, Ellen never gives up her belief that there is a place for her in the world, a home which will satisfy all her longing for love, acceptance, and order. Her eventual success in finding that home and courageously claiming it as her own is a testimony to her unshakable faith in the possibility of good. She never loses that faith, and she never loses her sense of humor. Ellen Foster, like another American classic, Huckleberry Finn, is for all its high comedy ultimately a serious fable of personal and collective responsibility.

FOR DISCUSSION
1. Ellen is searching for a home. How does she define home at the beginning of the novel, and how does she refine her definition during the course of the narrative? What examples of family life and of parenthood has she had to guide her? How do the various parents she observes measure up? What message does Ellen receive during the course of the book about parents and parenthood? Is Gibbons's point that, in the end, family members are unreliable? That one can rely on no one but oneself?

2. Ellen is a person who is inclined to make lists; she is very concerned with order. What attempts does she make to introduce order into her own life? What is the source of this need for order and what light does it shed on Ellen's personality? How does this character trait relate to Ellen's instinct for survival? How does the theme of control and personal responsibility come up in relation to the novel's other characters? How does it relate to the deaths of Ellen's mother and grandmother?

3. Why have none of the concerned adults in Ellen's life — her teachers, Starletta's parents, Julia and Roy, Mavis — been able to rescue her from the dreadful and dangerous life she leads within her own family? How does this failure reflect upon the nature of Ellen's society? What is it about the life even of a small and interconnected community that keeps people from being able to help a desperate child? Is the legal system at fault? The social one?

4. "People say they do not try to be white" [p. 29], Ellen says about Starletta's parents. What does this tell us about them and about the society they live in? What does Ellen's initial description of Starletta's home reveal about Ellen herself? What details in her narrative expose her assumptions about black people? By extension, what do they show about her own vision of herself and her family? How do these assumptions change, and what causes them to do so? How does Ellen's observation of Mavis and her family contribute to her changing attitudes? Ellen's grandmother said she would learn something from picking cotton. What, in fact, does she learn?

5. "Nobody but a handful of folks I know pays attention to rules about how you treat somebody anyway," Ellen reflects. "But as I lay in that bed and watch my Starletta fall asleep I figure that if they could fight a war over how I'm supposed to think about her then I'm obligated to do it" [p. 126]. What discovery has Ellen made here? Why is Starletta's weekend visit so significant to Ellen? Do you think the author is saying that Ellen is now a person without prejudice?

6. The South's violent history of slavery, war, and racial hatred is the unstated background for this story. How does Gibbons make us aware of its silent presence? To what degree is Ellen herself aware of it? Is the contemporary black experience as she observes it still based upon the fact of slavery, paid or unpaid? What is Ellen's way of personally coping with this tragic history?

7. The judge who awarded Ellen's custody to her grandmother expresses the common idea that a child should be with her own family, but Ellen objects. "What do you do when the judge talks about the family society's cornerstone but you know yours was never a Roman pillar but is and always has been a crumbly old brick?" [p. 56] she asks herself. Does Gibbons imply that a child's being with its biological family is not, after all, that important? Which is more important, the family you choose or the family you are born into?

8. Ellen does not believe in the church's version of God. "Chickenshit is what I would say" [p. 96], she says of Nadine's version of Heaven. But she does have her own version of God, and speaks to him on occasion. What sort of relationship does she have with the deity? What kind of deity is he — fair or strict? Accessible or inaccessible? Forgiving or unforgiving? How much of his character derives from the traditional God about whom the church has taught her?

9. The society around Ellen — particularly her mother's family — tries to make her feel guilty about many of her actions, even, in the case of her mama's mama, about her very existence. To what degree does Ellen share the feeling that she herself is guilty? Are the acts she feels guilty about the same ones she is blamed for by the people around her? She seems deeply concerned with the idea of personal atonement. What are her feelings about atonement and how does she herself atone by the end of the novel?

10. Money and the good and bad effects of having it or not having it are a recurring issue in Ellen Foster. Ellen baldly states, "All I really cared about accumulating was money. I saved a bundle" [p. 61]. In the book, economic status is often integrated into character descriptions or included in the rationale for characters' actions. How does Gibbons depict money as a force in people's lives? Is money, in and of itself, deemed to be either good or evil?

11. In Ellen Foster, Kaye Gibbons has chosen not to use quotation marks for dialogue. Look at passages like the ones on pages 32; 47 and 48; and 1

12. How do you know who is speaking? Are we listening only to Ellen, or listening in on a private conversation? How does the author's decision not to use quotation marks affect the reading experience?

12. "Dora, let me tell you a thing or two," Ellen says. "There is no Santa Claus" [p. 107]. Yet, on Christmas Eve, Ellen longs to hear something landing on the roof. Having been deprived of her own childhood illusions, she hates Dora for retaining all of hers, but in spite of Starletta's happy Christmas and her toys, Ellen does not hate Starletta. What is the difference between Dora's and Starletta's innocent belief in Santa Claus? What does the Christmas scene as a whole say about the characters of Dora and Nadine? What does it say about family, childhood, innocence, and celebration?

13. What does Ellen's encounter with the school psychiatrist tell us about Ellen? What does it tell us about the psychiatrist and the kind of therapy he practices? How effective is the therapy as a tool for dealing with children like Ellen? Is it the psychiatrist's personal defects that keep it from working with Ellen, or would it be equally ineffective no matter who the practitioner was?

14. Two of the primary metaphors that recur throughout the novel are the magician and the microscope. What do you think each symbolizes? Who is the magician? How do his "appearances" after the deaths of Ellen's mother and father affect her internalization of the events? Why does the novel's diction change so markedly during these passages?

15. Why has Gibbons chosen the quotation from Emerson's Self-Reliance to begin her novel? How does the quotation relate to the text, to the character of Ellen, and to Gibbons's stated and implied themes? What has the novel itself to say about the attribute of self-reliance? Do you find that the novel's focus upon that quality places it within a particular tradition of American literature? What other American novels does Ellen Foster echo? If you have read Mark Twain's Huckleberry Finn, can you compare the two novels? Would it be fair to say that Ellen Foster is a female version of that very masculine story? How does the concept of "self-reliance" mold both books?

What Our Readers Are Saying

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Average customer rating based on 1 comment:

emmejo, September 5, 2013 (view all comments by emmejo)
Ellen's life becomes unbearable after her mother dies. She can't handle her drunken father alone, and spends plenty of time away from home. But things don't get much better once she is out of his hands; she ends up bouncing from home to home, some better, some worse. She tries to keep her friends, particularly Starletta, who despite being poor and black, is Ellen's best friend, and family, but it is difficult. Finally she ends up in a wonderful foster home, where she finally feels like she can belong, but she is still haunted by harsh events in her past.

This book was a fast read; the language is simple, Ellen is an engaging character and the fast pace of the plot means something new is always happening. Unfortunately, this means we never get a solid sense of many of the characters and places, just a quick sketch. The author is also a little too experimental with narrative and punctuation, which made things unnecessarily unclear in some spots. There were times I was really wishing for quotation marks, because elements had run together in such a way that it took a re-read or two to figure out what was actually said.
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Product Details

ISBN:
9780375703058
Subtitle:
A Novel
performance Narrated:
Ruth Ann Phimister.
Author:
Gibbons, Kaye
Author:
Kelman, Stephen
Publisher:
Vintage
Location:
S.l.
Subject:
General
Subject:
Audiobooks
Subject:
Fiction
Subject:
Classics
Subject:
Family saga
Subject:
Southern states
Subject:
Orphans
Subject:
Espionage
Subject:
Children of alcoholics
Subject:
Bildungsromans
Subject:
Oprah's book club
Subject:
Children of alcoholics - Southern States -
Subject:
General Fiction
Subject:
Literary
Subject:
Literature-A to Z
Copyright:
Edition Description:
Trade Cloth
Series:
Vintage Contemporaries
Series Volume:
v. 3
Publication Date:
19971105
Binding:
Undefined
Grade Level:
General/trade
Language:
English
Illustrations:
15 chapter openers and line art
Pages:
144
Dimensions:
42 x 50 cm. +

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Fiction and Poetry » Literature » A to Z
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Ellen Foster Used Trade Paper
0 stars - 0 reviews
$3.95 In Stock
Product details 144 pages Vintage Books USA - English 9780375703058 Reviews:
"Review" by , "What might have been grim, melodramatic material in the hands of a less talented author is instead filled with lively humor, compassion, and intimacy. This short novel focuses on Ellen's strengths rather than her victimization, presenting a memorable heroine who rescues herself."
"Review" by , "An exhilarating and endearing tale of an 11-year-old orphan, who calls herself 'old Ellen,' moving from one woebegone situation to another with spirit and determination."
"Review" by , "Gibbons has produced a warm and caring first novel about a backwoods child persevering through hard times to establish a new and satisfying identity. It is written with the freshness of a child but the wisdom of an adult."
"Review" by , "The voice of this resourceful child is mesmerizing because we are right inside her head. The words are always flawlessly right....Thus does Gibbons persuade us, as few writers can, that even a terrible childhood can be a state of grace."
"Review" by , "Ellen is all the more a dreadful child for being a sensible and perceptive one; she is a limited, rather than an unreliable, narrator and her eventual realisation of her racist patronage of her friend Starletta is a telling, if highly artificial, rebuke to adults even more limited, even less reliable."
"Synopsis" by , US
"Synopsis" by , "When I was little I would think of ways to kill my daddy. I would figure out this or that way and run it down through my head until it got easy." So begins the tale of Ellen Foster, the brave and engaging heroine of Kay Gibbons's first novel, which won the Sue Kaufman Prize from the American Academy of Institute of Arts and Letters. Wise, funny, affectionate, and true, Ellen Foster is, as Walker Percy called it, "The real thing. Which is to say, a lovely, sometimes heartwrenching novel. . . . [Ellen Foster] is as much a part of the backwoods South as a Faulkner character—and a good deal more endearing."
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