Jack (Oprah's Book Club) by Marilynne Robinson
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Jack (Oprah's Book Club)

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2,371 ratings


A New York Times bestseller

Named a Best Book of 2020 by the Australian Book Review, AV Club, Books-a-Million, Electric Literature, Esquire, the Financial Times, Good Housekeeping (UK), The Guardian, Kirkus Reviews, Literary Hub, the New Statesman, the New York Public Library, NPR, the Star Tribune, and TIME

Marilynne Robinson, winner of the Pulitzer Prize and the National Humanities Medal, returns to the world of Gilead with Jack, the latest novel in one of the great works of contemporary American fiction

Marilynne Robinson’s mythical world of Gilead, Iowa—the setting of her novels Gilead, Home, and Lila, and now Jack—and its beloved characters have illuminated and interrogated the complexities of American history, the power of our emotions, and the wonders of a sacred world. Jack is Robinson’s fourth novel in this now-classic series. In it, Robinson tells the story of John Ames Boughton, the prodigal son of Gilead’s Presbyterian minister, and his romance with Della Miles, a high school teacher who is also the child of a preacher. Their deeply felt, tormented, star-crossed interracial romance resonates with all the paradoxes of American life, then and now.

Robinson’s Gilead novels, which have won one Pulitzer Prize and two National Book Critics Circle Awards, are a vital contribution to contemporary American literature and a revelation of our national character and humanity.

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ISBN-10

1250832918

ISBN-13

978-1250832917

Print length

320 pages

Language

English

Publisher

Picador Paper

Publication date

April 05, 2021

Dimensions

5.55 x 0.86 x 8.34 inches

Item weight

9.6 ounces



Popular highlights in this book

  • Cleverness has a special piquancy when it blooms out of the fraying sleeve of failure.

    Highlighted by 360 Kindle readers

  • What she actually said was You are living like someone who has died already.

    Highlighted by 300 Kindle readers

  • Forever after, the thought of her would be painful, because it had been pleasant. Strange how that is.

    Highlighted by 256 Kindle readers


Product details

ASIN :

B084M23WJP

File size :

3451 KB

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Editorial reviews

"For Marilynne Robinson’s devotees, John Ames Boughton, the titular Jack of the fourth volume of her award-winning Gilead novels, is one of the most eagerly awaited literary figures since Godot. . . Robinson is acclaimed for her numinous accounts of faith, forgiveness and hope, but read in this electrifying year of national crisis, the Gilead books are unified as well by her unsparing indictment of the American history of racism and inequality, and Christianity’s uneven will to fight them . . . I am looking forward to a fifth volume that will fill in their saga, and I hope it will be called Della.” ―Elaine Showalter, The New York Times Book Review

"Jack is the fourth novel in Robinson’s Gilead series, an intergenerational saga of race, religion, family, and forgiveness centered on a small Iowa town. But it is not accurate to call it a sequel or a prequel. Rather, this book and the others―Gilead, Home, and Lila―are more like the Gospels, telling the same story four different ways.” ―Casey Cep, The New Yorker

"In Gilead, the first volume, the Rev. John Ames writes that ‘a good sermon is one side of a passionate conversation,’ and Ms. Robinson’s novels work that way, too, replying to one another, querying, clarifying or rebutting, but always sustaining a dialogue that feels as grand and as inexhaustible as the mysteries they explore . . . These novels honor creation by affording us something we only occasionally find in the vastness of existence: a glimpse of eternity, such as it is." ―Sam Sacks, The Wall Street Journal

“With the sublime Jack, [Marilynne Robinson] resumes and deepens her quest, extending it to the contemplation of race . . . Robinson masterfully allows her protagonists to do the heavy lifting of the storytelling and employs deceptively simple dialogue as her primary tool. But make no mistake―there is richness and depth at every turn.” ―De'Shawn Charles Winsolw, O, the Oprah Magazine

"Each of [Robinson's] novels has celebrated the fact that the ineffable is inseparable from the quotidian, and rendered the ineffable, quotidian world back to us, peculiar, luminous, and precise . . . There are passages when Jack’s eye glimmers so clearly on the moment, when his dream logic feels so apt, that the whole world Robinson has illuminated with such care and attention reappears, and we are returned to the prophetic everyday.” ―Jordan Kisner, The Atlantic

“‘Contemporary classics’ is the oft-used descriptor of Marilynne Robinson’s Gilead series, the correct method of describing these lasting and constant books . . . [Jack is] a love story with the highest stakes . . . Jack poignantly shows us the messy, complex, heartbreaking side to getting everything you ever wanted.” ―Emily Temple, Literary Hub

“Not just a meditation on faith and human suffering but a singular portrait of the divine.” ―Leah Greenblatt, Entertainment Weekly

"As each new book appears, the world that Marilynne Robinson first created in Gilead becomes more textured and complex . . . What emerges at the end of Jack is the extent of Marilynne Robinson’s command. She shares with George Eliot an interest in large questions and also a fascination with a wildness in the soul, with a sensuality and a spiritual striving that cannot be easily calmed, and can be captured only by the rarest talent.” ―Colm Tóibín, 4Columns

“Can love save a man from perdition? That question, braided with romance and religion, is at the heart of Marilynne Robinson’s new novel . . .Robinson cradles [Jack’s] love for Della with the tenderness of a gracious creator.” ―Ron Charles, The Washington Post

“A sometimes tender, sometimes fraught story of interracial love in a time of trouble . . . The story flows swiftly―and without a hint of inevitability ―as Robinson explores a favorite theme, ‘guilt and grace met together.’ An elegantly written proof of the thesis that love conquers all―but not without considerable pain.” ―Kirkus (Starred review)

"Robinson’s latest glorious work of metaphysical and moral inquiry, nuanced feelings, intricate imagination, and exquisite sensuousness . . .Myriad manifestations of pain are evoked, but here, too, are beauty, mystery, and joy as Robinson holds us rapt with the exactitude of her perceptions and the exhilaration of her hymnal cadence, and so gracefully elucidates the complex sorrows and wonders of life and spirit.” ―Booklist (Starred review)

“Languidly page through a new Marilynne Robinson novel and forget that any world exists outside her rippling cornfields and creaky country kitchens, where slow-building crises of faith and reason are talked through by well-meaning, if troubled, people . . . Prepare to be sucked in by our country’s most thoughtful novelist.” ―Vulture

“Robinson’s stellar, revelatory fourth entry in her Gilead cycle . . . is a beautiful, superbly crafted meditation on the redemption and transcendence that love affords.” ―Publishers Weekly (Starred Review)

"A meditation on human decency and the capacity for redemption." ―Joumana Khatib, The New York Times

"Marilynne Robinson returns once more to the lovely, soulful world of Gilead, Iowa, for another evocative novel about the questions of religion and how we understand our place in the world. The author’s spare, poetic style has already conjured up her near-mythic setting in previous books Gilead, Home, and Lila, and to this near-unimpeachable trifecta she now adds Jack, which focuses its attention on John Ames Boughton, a supporting player in those previous stories. The son of Gilead’s Presbyterian minister, his interracial romance with high school teacher Della is traced from its awkward beginnings to heartfelt (and heartbreaking) later days, with all of Robinson’s signature explorations of the strange power of belief―and the lack thereof." ―AV Club

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Sample

He was walking along almost beside her, two steps behind. She did not look back. She said, “I’m not talking to you.”

“I completely understand.”

“If you did completely understand, you wouldn’t be following me.”

He said, “When a fellow takes a girl out to dinner, he has to see her home.”

“No, he doesn’t have to. Not if she tells him to go away and leave her alone.”

“I can’t help the way I was brought up,” he said. But he crossed the street and walked along beside her, across the street. When they were a block from where she lived, he came across the street again. He said, “I do want to apologize.”

“I don’t want to hear it. And don’t bother trying to explain.”

“Thank you. I mean I’d rather not try to explain. If that’s all right.”

“Nothing is all right. All right has no place in this conversation.” Still, her voice was soft.

“I understand, of course. But I can’t quite resign myself.”

She said, “I have never been so embarrassed. Never in my life.”

He said, “Well, you haven’t known me very long.”

She stopped. “Now it’s a joke. It’s funny.”

He said, “There’s a problem I have. The wrong things make me laugh. I think I spoke to you about that.”

“And where did you come from, anyway? I was just walking along, and there you were behind me.”

“Yes. I’m sorry if I frightened you.”

“No, you didn’t. I knew it was you. No thief could be that sneaky. You must have been hiding behind a tree. Something ridiculous.”

“Well,” he said, “in any case, I have seen you safely to your door.” He took out his wallet and extracted a five-dollar bill.

“Now, what is this! Giving me money here on my doorstep? What are people supposed to think about that? You want to ruin my life!”

He put the money and the wallet back. “Very thoughtless of me. I just wanted you to know I wasn’t ducking out on the check. I know that’s what you must think. You see, I did have the money. That was my point.”

She shook her head. “Me scraping around in the bottom of my handbag trying to put together enough quarters and dimes to pay for those pork chops we didn’t eat. I left owing the man twenty cents.”

“Well, I’ll get the money to you. Discreetly. In a book or something. I have those books of yours.” He said, “I thought it was a very nice evening, till the last part. One bad hour out of three. One small personal loan, promptly repaid. Maybe tomorrow.”

She said, “I think you expect me to keep putting up with you!”

“Not really. People don’t, generally. I won’t blame you. I know how it is.” He said, “Your voice is soft even when you’re angry. That’s unusual.”

“I guess I wasn’t brought up to quarrel in the street.”

“I actually meant another kind of soft.” He said, “I have a few minutes. If you want to talk this over in private.”

“Did you just invite yourself in? Well, there’s nothing to talk over. You go home, or wherever it is you go. I’m done with this, whatever it is. You’re just trouble.”

He nodded. “I’ve never denied it. Seldom denied it, anyway.”

“I’ll grant you that.”

They stood there a full minute.

He said, “I’ve been looking forward to this evening. I don’t quite want it to end.”

“Mad as I am at you.”

He nodded. “That’s why I can’t quite walk away. I won’t see you again. But you’re here now—”

She said, “I just would not have believed you would embarrass me like that. I still can’t believe it.”

“Really, it seemed like the best thing, at the time.”

“I thought you were a gentleman. More or less, anyway.”

“Very often I am. In most circumstances. Dyed-in-the-wool, much of the time.”

“Well, here’s my door. You can leave now.”

“That’s true. I will. I’m just finding it a little difficult. Give me a couple of minutes. When you go inside, I’ll probably leave.”

“If some white people come along, you’ll be gone soon enough.”

He took a step back. “What? Do you think that’s what happened?”

“I saw them, Jack. Those men. I’m not blind. And I’m not stupid.”

He said, “I don’t know why you are even talking to me.”

“That’s what I’d like to know, myself.”

“They were just trying to collect some debts. They can be pretty rough about it. I can’t risk, you know, an altercation. The last one almost got me thirty days. So that would have embarrassed you, maybe more.”

“You are something!”

“Maybe,” he said, “but I’m not— I’m so glad you told me. I could have left you here thinking— I wouldn’t want you to—”

“The truth isn’t so much better, you know. Really—”

“Yes, it is. Sure it is.”

“So now I’m supposed to forgive you because what you did isn’t the absolutely worst thing you could have done.”

“Well, the case could be made, couldn’t it? I mean, I feel much better now that we’ve cleared that up. If I’d walked away ten minutes ago, think how different it would have been. And then I really never would have seen you again.”

“Who said you will now?”

He nodded. “I can’t help thinking the odds are better.”

“Maybe, if I decide to believe you. Maybe not.”

“You really ought to believe me,” he said. “What harm would it do? You can still hang up on me if I call. Return my letters. Nothing would be different. Except you wouldn’t have to have such unpleasant thoughts about how you’ve spent a few hours over a couple of weeks. That splendid evening we meant to have. You could forgive me that much.”

“Forgive myself,” she said. “For being so foolish.”

“You could think of it that way, too.”

She turned and looked at him. “Don’t laugh at this, any of this, ever,” she said. “I think you want to. And if you’re trying to be ingratiating, it isn’t working.”

“It doesn’t work. How well I know. It is some spontaneous, chemical thing that happens. Contact between Jack Boughton and—air. Like phosphorus, you know. No actual flame, of course. Foxfire, more like that. A rosy heat of embarrassment around any ordinary thing. No way to hide it. I suppose entropy should have a nimbus—”

“Stop talking,” she said.

“It’s nerves.”

“I know it is.”

“Pay no attention.”

“You’re breaking my heart.”

He laughed. “I’m just talking to keep you here listening. I certainly don’t mean to break your heart.”

“No, you’re telling me the truth now. It’s a pity. I have never heard of a white man who got so little good out of being a white man.”

“It has its uses, even for me. I am assumed to know how many bubbles there are in a bar of soap. I’ve had the honor of helping to make civic dignitaries of some very unlikely chaps. I’ve—”

“Don’t,” she said. “Don’t, don’t. I have to talk about the Declaration of Independence on Monday. There is nothing funny about that.”

“True. Not a thing.” He said, “I really am going to say something true, Miss Della. So listen. This doesn’t happen every day.” Then he said, “It’s ridiculous that a preacher’s daughter, a high-school teacher, a young woman with excellent prospects in life, would be hanging around with a confirmed, inveterate bum. So I won’t bother you anymore. You won’t be seeing me again.” He took a step away.

She looked at him. “You’re telling me goodbye! Why do you get to do that? I told you goodbye and you’ve kept me here listening to your nonsense so long I’d almost forgotten I said it.”

“Sorry,” he said. “I see your point. But I was trying to do what a gentleman would do. If a gentleman could actually be in my situation here. I could cost you everything, and there’s no good I could ever do you. Well, that’s obvious. I’m saying goodbye so you’ll know I understand how things are. I’m actually making you a promise, and I’ll stick to it. You’ll be impressed.”

She said, “Those books you borrowed.”

“They’ll be on your porch step tomorrow. Or soon after. With that money I owe you.”

“I don’t want them back. No, maybe I do. I suppose you wrote in them.”

“Pencil only. I’ll erase it.”

“No, don’t do that. I’ll do it.”

“Yes, I can see that there might be satisfactions involved.”

“Well,” she said, “I told you goodbye. You told me goodbye. Now walk away.”

“And you go inside.”

“As soon as you’re gone.”

They laughed.

After a minute, he said, “You just watch. I can do this.” And he lifted his hat to her and strolled off with his hands in his pockets. If he did look back, it was after she had closed the door behind her.

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About the authors

Marilynne Robinson

Marilynne Robinson

Marilynne Robinson is the author of the bestselling novels "Lila," "Home" (winner of the Orange Prize), "Gilead" (winner of the Pulitzer Prize), and "Housekeeping" (winner of the PEN/Hemingway Award).

She has also written four books of nonfiction, "When I Was a Child I Read Books," "Absence of Mind," "Mother Country" and "The Death of Adam." She teaches at the University of Iowa Writers' Workshop.

She has been given honorary degrees from Brown University, the University of the South, Holy Cross, Notre Dame, Amherst, Skidmore, and Oxford University. She was also elected a fellow of Mansfield College, Oxford University.

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Reviews

Customer reviews

4.2 out of 5

2,371 global ratings

mulcahey

mulcahey

5

Challenging

Reviewed in the United States on January 18, 2021

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Stipulated: Marilynne Robinson is a genius and her art is original, powerful, nourishing, gorgeous without being "pretty." People will be reading HOUSEKEEPING, GILEAD and LILA long after you and I are gone.

Stipulated: JACK is the most challenging and least enjoyable of her Gilead series of novels. Jack Boughton, the character, is not good company and not easy to be with. The book is narrated from inside his head. We get hints of what other people think of him, but mostly it's about what Jack thinks of himself, and the problem is, he's a black hole. Everything disappears in him: resolutions, promises, fresh starts, truths and lies. He disappears them all just as he does the objects of his petty thefts.

Stipulated: It's impossible to know what Jack sees in Della and even more impossible to guess what Della sees in him. In all his shabby nobility, he's still pretty awful.

Stipulated: Every story proceeds from some givens; sometimes love is the given. We can begin from Boy (or Girl) loves Girl (or Boy) and understand it's not to be questioned. It's the foundation for working out the events of the story. If we don't know what Jack sees in Della, and still less what she sees in him, it's because Jack doesn't have the answers to those questions either.

Stipulated: There aren't many "events." Part of Robinson's magic is that she can build a plot development out of a character sitting alone in a closed, dark dance studio in the dead of night.

Stipulated: A Black minister's daughter and a white minister's son will of course have a common frame of reference. It's offensive to protest that Della and her people don't seem Black enough. They are the very sort of religious folk Jack's been around all his life, except for their race. And for Della's father's very interesting separatism, inspired by Marcus Garvey.

Stipulated: Faith, in all its contradictions and ineffability, is not just a preoccupation with Robinson, it's an investigation she is continually conducting. She interrogates Christianity in ways that I'm sure some of the faithful find shocking. But she's always asking the very questions we are asking, or should be asking.

I found JACK difficult, in a good way. Robinson is rooting around in the dark below the surface of us all for how a lost soul might become found, in the words of the hymn, even when law and custom and what's taken for "decency" are arrayed against him. I want Robinson to succeed, to demonstrate there's a way. Don't you? Wouldn't that be a good thing to study, at this point in history, at any point in history?

If she's done, then I am forever grateful for what Robinson has given us. But I can't help hoping she persists in her inquiry about goodness and love and how one solitary heart can find affirmation in a landscape and the stars and a plate of baked beans.

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vivian fischer

vivian fischer

5

An amazing author, but not a casual read

Reviewed in the United States on January 18, 2021

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Marilynne Robinson has crafted one of the tenderest and loveliest love stories I’ve ever read, with sentences and thoughts deeply moving and luminescent. As in the other books in this series, the main theme is that of crippling racism. Jack and Della, the meeting of true minds in the book, face and almost impossible future in St. Louis, in the time wedged between World War II and the impending destruction of the black community of the city by eminent domain. I love Marilyn Robinson‘s books, and find myself looking up the references that I don’t quite understand; This extra work is really essential, as it brings into focus cultural references that I would’ve otherwise missed and that transform the book. A high recommendation, but not a beach read!

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Kris Heywood

Kris Heywood

5

JACK fleshes out the character we meet in the previous books in the series.

Reviewed in the United States on March 31, 2021

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From the American Association for Gifted Children, 1978, pg. 9, quoting a gifted boy: "We are not 'normal' and we know it; it can be fun sometimes but not funny always. We tend to be much more sensitive than other people. Multiple meanings, innuendos, and self-consciousness plague us. Intensive self-analysis, self-criticism, and the ability to recognize that we have limits makes us despondent." It is my contention that Jack Boughton is not only a gifted person, but what is defined as "twice exceptional." The novel JACK makes me recalibrate the essence of the other Gilead books. While the narrator of GILEAD is the old preacher John Ames, the protagonist is clearly Jack. The gentle, mostly wise old Pastor Ames can't allow himself to understand until near the end of the book that he has rejected and even hated Jack from the moment Jack's father "tricked" Ames into trying to accept the infant boy by naming him John Ames Boughton. He rejects Jack because he is still grieving for his own dead infant and sees Jack as a cuckoo child, a usurper. Ames can't even feel good when he touches Jack's brow to baptize him. The resentment is total and quickly suppressed, but Jack feels it then, and he feels it as he is growing up in a family so cohesive and righteous in their faith that there literally is no place for him to become himself. He was a difficult breach birth, hurting his mother even before his entry into a world he continues to feel is hostile to him. He quickly becomes the scapegoat of the family to the point that they suspect him not only of the small wrongs and pranks he does commit, but of larger, uglier crimes he does not. In other words, he feels early on that he can do nothing right and begins to act out and withdraw. His siblings love him, but they also love to worry about him and to tattle on him, keeping him the perpetual outsider. True to their faith, they also love to forgive him, over and over again. They love to despair over him and pray for him. You might say he is their most important family project, and it is not a success because try as they might, they can never understand him. The more they pray over him to become a good preacher's son, the more he feels compelled to act out against it. Old Ames thinks Jack's precociousness is arrogance, when in truth it is only an abiding insecurity. Jack learns early to hide his hurt under a veneer of indifference. Throughout GILEAD and HOME, he is testing his loved ones, and they keep failing the test, particularly his father, whose throwaway, thoughtless answers to Jack's probing questions about the Civil Rights struggle must cut Jack to the quick every time his father dismisses Jack's concerns. Old Ames dislikes Jack so much that he is sure Jack has come home in order to do something awful, like stealing Lila and his son away from him. Ames is convinced of it and can barely hide his jealousy even from himself. It isn't until Jack is finally able to share his secret with the old man that Ames understands how wrong he has done him, but even at the end, he cannot pass the ultimate test and embrace Jack's wife and child, invite them into his heart, and use his considerable influence to make Jacks' family life in Gilead possible or even bearable. As Jack gets ready to leave town, Ames finally finds within him the strength to bless him—not understanding that the only reason Jack is allowing this belated baptism is because he has given up on life altogether. In JACK, he tells Pastor Hutchins that he has been contemplating suicide but will not do it while his father is still alive. And he also says that Della is his sole reason for living. So in the end of GILEAD, when he thinks he will never see Della or his son again, and knows that his father is dying, we understand what his next step is likely to be. GILEAD has a more extensive timeline than JACK, and HOME goes one step further, in that we witness the irony of Della and his son showing up a couple of days after he disappears, so that he will never know that there has been a reprieve. I am struck by Glory's passion for the little girl who died and for the child's mother. She even considered kidnapping the baby and/or bringing its mother into town to live. Yet when Glory introduces herself to Jack's bi-racial son, she does not say, "I'm your aunt," instead, she says, "I'm your father's sister." Nor does she press Della and him very hard to come into the house, doesn't insist on exchanging addresses so they might stay in touch—all she does is hand the boy a souvenir of Jack as a good-bye gift. In HOME, we see Jack not through old Ames' jaundiced eyes but through Glory's resentful ones. As she slowly begins to register his humanity, we see that he was much more deeply affected by the big sin of his youth than his family ever understood. In truth, he was so shocked by his own misdeed that he condemns himself to permanent exile and a living death as punishment, a punishment he renews by sabotaging himself whenever things begin to go even the slightest bit well for him. Thus he makes himself fail at every task, every job, every relationship. His dream was that his family will accept Della and his son, but he soon realizes, each time his father reveals his prejudices, how impossible that dream actually is. In new-age terms, Jack and Della are twin souls. The author makes it obvious during the long cemetery dialogue, when they discover that they are on the same wavelength in so many ways. Souls have no race, no color, no age, no prejudices, no labels. Della and Jack know this instinctively. It is a knowledge so deep and immediate that they cannot ignore it. Della is everything Jack's family wants so much for him to be: an obedient child who cheerfully accepts the mold her father presses her into, growing into adulthood willing to live her life according to the wishes of her proud, loving, separatist father. And yet she longs to be free of his expectations but in a sense keeps being recaptured to follow the path her family has laid for her. Allowing herself to love Jack sets her free of this family bondage, but she remains trapped in a dehumanizing system of ever greater proportions. I have read that gifted children are special needs children, and that those needs are seldom met or even understood. Surely, Jack was such a child. Gifted children who are not understood are often oppositional. They might act out, and can have severe ADD, which they can easily disguise from the world because of their intelligence. Jack, who loves to learn, nonetheless makes his brother Teddy take his classes and write his exams. What appears as laziness might simply be an inability to remain focused. Just to make matters worse, he is born with the alcoholic gene. Once he takes his first drink, the syndrome is triggered and will dog him for the rest of his days. He drinks to punish himself. After the first sip, he is a goner. Every time he crawls out of the hole of his addiction and starts a new foothold in life, he soon sabotages himself with the next bout of drunkenness. His opinion of himself is so low that he sees himself as a jailbird even when he is not guilty. It's almost as if he's thinking, "if people think I am bad, then I must be bad." After he is convicted for something he didn't do, he considers himself every bit as guilty as the Judge who sentences him does. Jack sees himself as a draft dodger even though he is rejected as unsuitable by the military. Having been raised in the unworldly, religious atmosphere of his father's house in Gilead, he doesn't understand the rules of the gutter, is cheated out of his freedom, out of his pay, out of his cash, again and again. He sees himself as someone who has no rights and no claims, who deserves not only a living hell but is predestined for perdition. Although he rejects his family's religious faith, he retains the belief that he is worthless and deserves eternal damnation. Can you imagine how different the outcome would have been if his father had bequeathed the house to him instead of to Glory—or, better yet, to them both? Della and his son could have been able to come home to stay. If the author plans to continue the saga, a good place to take the next book would be to the two little boys, after each of them has lost his father. Can you imagine a time so cruel that Pastor Ames, who has served his town over his entire life, as did his father and grandfather before him, is convinced that as soon as he is dead, his wife and child will be ejected, with no place to live, no income, forced to move to a fallen down shack with a leaking roof where they might not survive the next winter? Can you imagine that Glory would NOT invite them to move into her big empty house? Can you imagine Jack's son standing at the door one day, as a teenager or young adult, his father's river-picture in his hands, looking for answers? I can. Anyone who wants to understand the nature of Jack should watch this video from ZDogg MD entitled, The Curse of the Gifted: The Challenges of High IQ Children

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