Winner of the Los Angeles Times Book Award for Fiction
Synopses & Reviews
< p=""> A phenomenal bestseller and winner of the < i=""> Los Angeles Times<> Book Award for fiction, < i=""> Pigs in Heaven<> continues the story of Taylor and Turtle, first introduced in < i=""> The Bean Trees<> . <>
Taylor Greer and her adopted Cherokee daughter Turtle, first met in The Bean Trees, will captivate readers anew in Kingsolver's assured and eloquent sequel, which mixes wit, wisdom and the expert skills of a born raconteur into a powerfully affecting narrative. Now six years old and still bearing psychological marks of the abuse that occured before she was rescued by Taylor, Turtle is discovered by formidable Indian lawyer Annawake Fourkiller, who insists that the child be returned to the Cherokee Nation. Taylor reacts by fleeing her Tucson home with Turtle to begin a precarious existence on the road; skirting the edge of poverty and despair, she eventually realizes that Turtle has become emotionally unmoored. In taking a fresh look at the Solomonic dilemma of choosing between two equally valid claims on a child's life, Kingsolver achieves the admirable feat of making the reader understand and sympathize with both sides of the controversy, as she contrasts Taylor's inalterable mother's love with Annawake's determination to save Turtle from the stigmatization she can expect from white society. The chronicle acquires depth and humor when Kingsolver integrates the story of Taylor's mother Alice, a woman who believes that the Greers are "doomed to be a family with no men in it" (that she is proven wrong adds a delicious element of romance to the story). Alice's resolve to help her daughter takes her into the heart of the Cherokee Nation and results in an astonishing but credible meshing of lives. In the end, both justice and compassion are served. Kingsolver's intelligent consideration of issues of family and culture both in her evocation of Native American society and in her depiction of the plight of a single mother brims with insight and empathy. Every page of this beautifully controlled narrative offers prose shimmering with imagery and honed to simple lyric intensity. In short, the delights of superior fiction can be experienced here. Publishers Weekly (Copyright Reed Business Information, Inc.)
"Immensely readable, warmhearted...brim[ming] with down-home wisdom and endearing characters." Boston Globe
"Not the truly wonderful book it might have been characters who seem important disappear; carefully marked trails turn out to be merely picaresque, leading nowhere but a terrific read nonetheless." Kirkus Reviews
"That rare combination of a dynamic story told in dramatic language, combined with issues that are serious, debatable and painful...[it's] about the human heart in all its shapes and ramifications." Los Angeles Times Book Review
"Breathtaking...unforgettable....This profound, funny, bighearted novel, in which people actually find love and kinship in surprising places, is also heavenly....A rare feat and a triumph." Cosmopolitan
"Kingsolver makes you care about her characters to the point of tears; she is bitingly funny and she writes like a dream." San Francisco Chronicle
"There is no one quite like Barbara Kingsolver in contemporary literature. Her dialogue sparkles with sassy wit and the earthy poetry of ordinary folks' talk; her descriptions have a magical lyricism rooted in daily life but also on familiar terms with the eternal." The Washington Post Book World
"[A]ssured and eloquent...mixes wit, wisdom and the expert skills of a born raconteur into a powerfully affecting narrative....Every page of this beautifully controlled narrative offers prose shimmering with imagery and honed to simple lyric intensity." Publishers Weekly
With 18 weeks and counting on the New York Times bestseller list and more than 220,000 copies sold, this winner of the Los Angeles Times Book Award for Fiction continues the story of Taylor and Turtle, first introduced in The Bean Trees. Dramatic, rich in character, and vividly honest, Pigs in Heaven is Kingsolver's most compelling work to date.
A phenomenal bestseller and winner of the Los Angeles Times Book Award for fiction, Pigs in Heaven continues the story of Taylor and Turtle, first introduced in The Bean Trees.
About the Author
Barbara Kingsolver was born on April 8, 1955. She grew up "in the middle of an alfalfa field," in the part of eastern Kentucky that lies between the opulent horse farms and the impoverished coal fields. While her family has deep roots in the region, she never imagined staying there herself. "The options were limited--grow up to be a farmer or a farmer's wife."
Kingsolver has always been a storyteller: "I used to beg my mother to let me tell her a bedtime story." As a child, she wrote stories and essays and, beginning at the age of eight, kept a journal religiously. Still, it never occurred to Kingsolver that she could become a professional writer. Growing up in a rural place, where work centered mainly on survival, writing didn't seem to be a practical career choice. Besides, the writers she read, she once explained, "were mostly old, dead men. It was inconceivable that I might grow up to be one of those myself . . . "
Kingsolver left Kentucky to attend DePauw University in Indiana, where she majored in biology. She also took one creative writing course, and became active in the last anti-Vietnam War protests. After graduating in 1977, Kingsolver lived and worked in widely scattered places. In the early eighties, she pursued graduate studies in biology and ecology at the University of Arizona in Tucson, where she received a Masters of Science degree. She also enrolled in a writing class taught by author Francine Prose, whose work Kingsolver admires.
Kingsolver's fiction is rich with the language and imagery of her native Kentucky. But when she first left home, she says, "I lost my accent . . . [P]eople made terrible fun of me for the way I used to talk, so I gave it up slowly and became something else." During her years in school and two years spent living in Greece and France she supported herself in a variety of jobs: as an archaeologist, copy editor, X-ray technician, housecleaner, biological researcher and translator of medical documents. After graduate school, a position as a science writer for the University of Arizona soon led her into feature writing for journals and newspapers. Her numerous articles have appeared in a variety of publications, including The Nation, The New York Times, and Smithsonian, and many of them are included in the collection, High Tide in Tucson: Essays from Now or Never. In 1986 she won an Arizona Press Club award for outstanding feature writing, and in 1995, after the publication of High Tide in Tucson, Kingsolver was awarded an Honorary Doctorate of Letters from her alma mater, De Pauw University.
Kingsolver credits her careers in scientific writing and journalism with instilling in her a writer's discipline and broadening her "fictional possiblities." Describing herself as a shy person who would generally prefer to stay at home with her computer, she explains that "journalism forces me to meet and talk with people I would never run across otherwise."
From 1985 through 1987, Kingsolver was a freelance journalist by day, but she was writing fiction by night. Married to a chemist in 1985, she suffered from insomnia after becoming pregnant the following year. Instead of following her doctor's recommendation to scrub the bathroom tiles with a toothbrush, Kingsolver sat in a closet and began to write The Bean Trees, a novel about a young woman who leaves rural Kentucky (accent intact) and finds herself living in urban Tucson.
The Bean Trees, published by HarperCollins in 1988, and reissued in a special ten-year anniversary hardcover edition in 1998, was enthusiastically received by critics. But, perhaps more important to Kingsolver, the novel was read with delight and, even, passion by ordinary readers. "A novel can educate to some extent," she told Publishers Weekly. "But first, a novel has to entertain--that's the contract with the reader: you give me ten hours and I'll give you a reason to turn every page. I have a commitment to accessiblity. I believe in plot. I want an English professor to understand the symbolism while at the same time I want the people I grew up with--who may not often read anything but the Sears catalogue--to read my books."
For Kingsolver, writing is a form of political activism. When she was in her twenties she discovered Doris Lessing. "I read the Children of Violence novels and began to understand how a person could write about the problems of the world in a compelling and beautiful way. And it seemed to me that was the most important thing I could ever do, if I could ever do that."
The Bean Treeswas followed by the collection, Homeland and Other Stories(1989), the novels Animal Dreams(1990), and Pigs in Heaven(1993), and the bestselling High Tide in Tucson: Essays from Now and Never(1995). Kingsolver has also published a collection of poetry, Another America: Otra America(Seal Press, 1992, 1998), and a nonfiction book, Holding the Line: Women in the Great Arizona Mine Strike of l983(ILR Press/Cornell University Press, 1989, 1996). The Poisonwood Bible, published in 1998, earned accolades at home and abroad, and was an Oprah's Book Club selection.
Barbara's Prodigal Summer, released in November of 2000, is a novel set in a rural farming community in southern Appalachia. Small Wonder, April 2002, presents twenty-three wonderfully articulate essays. Here Barbara raises her voice in praise of nature, family, literature, and the joys of everyday life while examining the genesis of war, violence, and poverty in our world.
Barbara Kingsolver presently lives outside of Tucson with her husband Steven Hopp, and her two daughters, Camille from a previous marriage, and Lily, who was born in 1996. When not writing or spending time with her family, Barbara gardens, cooks, hikes, and works as an environmental activist and human-rights advocate.
Given that Barbara Kingsolver's work covers the psychic and geographical territories that she knows firsthand, readers often assume that her work is autobiographical. "There are little things that people who know me might recognize in my novels," she acknowledges. "But my work is not about me. I don't ever write about real people. That would be stealing, first of all. And second of all, art is supposed to be better than that. If you want a slice of life, look out the window. An artist has to look out that window, isolate one or two suggestive things, and embroider them together with poetry and fabrication, to create a revelation. If we can't, as artists, improve on real life, we should put down our pencils and go bake bread."