Barbara Kingsolver - The Poisonwood Bible

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Amazon.com Review
Oprah Book Club® Selection, June 2000: As any reader of The Mosquito Coast knows, men who drag their families to far-off climes in pursuit of an Idea seldom come to any good, while those familiar with At Play in the Fields of the Lord or Kalimantaan understand that the minute a missionary sets foot on the fictional stage, all hell is about to break loose. So when Barbara Kingsolver sends missionary Nathan Price along with his wife and four daughters off to Africa in The Poisonwood Bible, you can be sure that salvation is the one thing they're not likely to find. The year is 1959 and the place is the Belgian Congo. Nathan, a Baptist preacher, has come to spread the Word in a remote village reachable only by airplane. To say that he and his family are woefully unprepared would be an understatement: "We came from Bethlehem, Georgia, bearing Betty Crocker cake mixes into the jungle," says Leah, one of Nathan's daughters. But of course it isn't long before they discover that the tremendous humidity has rendered the mixes unusable, their clothes are unsuitable, and they've arrived in the middle of political upheaval as the Congolese seek to wrest independence from Belgium. In addition to poisonous snakes, dangerous animals, and the hostility of the villagers to Nathan's fiery take-no-prisoners brand of Christianity, there are also rebels in the jungle and the threat of war in the air. Could things get any worse?
In fact they can and they do. The first part of The Poisonwood Bible revolves around Nathan's intransigent, bullying personality and his effect on both his family and the village they have come to. As political instability grows in the Congo, so does the local witch doctor's animus toward the Prices, and both seem to converge with tragic consequences about halfway through the novel. From that point on, the family is dispersed and the novel follows each member's fortune across a span of more than 30 years.
The Poisonwood Bible is arguably Barbara Kingsolver's most ambitious work, and it reveals both her great strengths and her weaknesses. As Nathan Price's wife and daughters tell their stories in alternating chapters, Kingsolver does a good job of differentiating the voices. But at times they can grate-teenage Rachel's tendency towards precious malapropisms is particularly annoying (students practice their "French congregations"; Nathan's refusal to take his family home is a "tapestry of justice"). More problematic is Kingsolver's tendency to wear her politics on her sleeve; this is particularly evident in the second half of the novel, in which she uses her characters as mouthpieces to explicate the complicated and tragic history of the Belgian Congo.
Despite these weaknesses, Kingsolver's fully realized, three-dimensional characters make The Poisonwood Bible compelling, especially in the first half, when Nathan Price is still at the center of the action. And in her treatment of Africa and the Africans she is at her best, exhibiting the acute perception, moral engagement, and lyrical prose that have made her previous novels so successful. -Alix Wilber
From Publishers Weekly
In this risky but resoundingly successful novel, Kingsolver leaves the Southwest, the setting of most of her work (The Bean Trees; Animal Dreams) and follows an evangelical Baptist minister's family to the Congo in the late 1950s, entwining their fate with that of the country during three turbulent decades. Nathan Price's determination to convert the natives of the Congo to Christianity is, we gradually discover, both foolhardy and dangerous, unsanctioned by the church administration and doomed from the start by Nathan's self-righteousness. Fanatic and sanctimonious, Nathan is a domestic monster, too, a physically and emotionally abusive, misogynistic husband and father. He refuses to understand how his obsession with river baptism affronts the traditions of the villagers of Kalinga, and his stubborn concept of religious rectitude brings misery and destruction to all. Cleverly, Kingsolver never brings us inside Nathan's head but instead unfolds the tragic story of the Price family through the alternating points of view of Orleanna Price and her four daughters. Cast with her young children into primitive conditions but trained to be obedient to her husband, Orleanna is powerless to mitigate their situation. Meanwhile, each of the four Price daughters reveals herself through first-person narration, and their rich and clearly differentiated self-portraits are small triumphs. Rachel, the eldest, is a self-absorbed teenager who will never outgrow her selfish view of the world or her tendency to commit hilarious malapropisms. Twins Leah and Adah are gifted intellectually but are physically and emotionally separated by Adah's birth injury, which has rendered her hemiplagic. Leah adores her father; Adah, who does not speak, is a shrewd observer of his monumental ego. The musings of five- year-old Ruth May reflect a child's humorous misunderstanding of the exotic world to which she has been transported. By revealing the story through the female victims of Reverend Price's hubris, Kingsolver also charts their maturation as they confront or evade moral and existential issues and, at great cost, accrue wisdom in the crucible of an alien land. It is through their eyes that we come to experience the life of the villagers in an isolated community and the particular ways in which American and African cultures collide. As the girls become acquainted with the villagers, especially the young teacher Anatole, they begin to understand the political situation in the Congo: the brutality of Belgian rule, the nascent nationalism briefly fulfilled in the election of the short-lived Patrice Lumumba government, and the secret involvement of the Eisenhower administration in Lumumba's assassination and the installation of the villainous dictator Mobutu. In the end, Kingsolver delivers a compelling family saga, a sobering picture of the horrors of fanatic fundamentalism and an insightful view of an exploited country crushed by the heel of colonialism and then ruthlessly manipulated by a bastion of democracy. The book is also a marvelous mix of trenchant character portrayal, unflagging narrative thrust and authoritative background detail. The disastrous outcome of the forceful imposition of Christian theology on indigenous natural faith gives the novel its pervasive irony; but humor is pervasive, too, artfully integrated into the children's misapprehensions of their world; and suspense rises inexorably as the Price family's peril and that of the newly independent country of Zaire intersect. Kingsolver moves into new moral terrain in this powerful, convincing and emotionally resonant novel.

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As soon as I had her good and terrified I’d slip away. I’d go hunt for the Pygmies, who are supposed to be dwelling right under our noses in the forest, or for monkeys (easier to spot). Or I’d cut up fruit for Methuselah, still hanging around begging, and catch grasshoppers for Leon, the chameleon we keep in a wooden crate. Mother lets us keep him on the condition -we never bring him in the house.Which is funny, because I found him inside the house. His bulging eye sockets swivel whichever way they please, and we love to get his eyes going so one looks up and the other down. He catches the grasshoppers we throw in his box by whipping out his tongue like a slingshot.

I could also try to talk Father into letting me tag along with him. There was always that possibility. Father spends his days making rounds through the village, trying to strike up chats with the idle old men, or venturing farther afield to inspect the state of grace in the neighboring villages.There are several little settlements within a day’s walk, but I’m sorry to report they all fall under the jurisdiction of our same godless chief, Tata Ndu.

Father never lets me go that far, but I beg him anyhow. I try to avoid the drudgery of housekeeping chores, which is more up Rachel’s alley if she can stoop to being helpful on a given day. My view of the home is, it is always better to be outside. So I loiter at the edge of the village, waiting for Father’s return. There, where the dirt road makes a deep red cut between high yellow walls of grass, you never know what might be coming toward you on dusty feet. Women, usually, carrying the world on their heads: a huge glass demijohn full of palm wine, with a calabash bowl perched on top like an upside-down hat; or a bundle of firewood tied up with elephant grass, topped off with a big enamel tub full of greens. The Congolese sense of balance is spectacular.

Most of the girls my age, or even younger, have babies. They appear way too young to be married, till you look in their eyes. Then you’ll see it. Their eyes look happy and sad at the same time, but unexcited by anything, shifting easily off to the side as if they’ve already seen most of what there is. Married eyes. And the younger girls-if they are too young to be married and too old to be strapped on someone’s back (which is not a wide margin)-why, they come striding along swinging their woven bags over their shoulders and scowl at you, as if to say, Out of my road, can’t you see I’m busy! They may only be little girls tagging after their mothers, but believe you me, with them it’s all business.The girls are usually just about bald, like the boys. (Mother says it’s from not getting their proteins.) But you can tell the girls by their stained, frilly dresses, castoffs from some distant land. It took me aback for months that they look so much like little boys in ruffly dresses. No girl or woman wears pants, ever.We are the odd birds here. Apparently they think we’re boys, except maybe Rachel, and can’t tell a one of us apart from the other. They call us all Beelezi, which means

Belgians! I mean to tell you, they call us that right to our faces. It’s how they greet us: “Mbote, Beelezil”!

The women smile, but then cover their mouths, embarrassed.The little babies take one look and burst out crying. It’s enough to give you a complex. But I don’t care, I’m too fascinated to hide indoors or stay cooped up in our yard. Curiosity killed the cat, I know, but I try to land on my feet.

Right smack in the middle of the village is a huge kapok tree, which is where they get together and have their market every fifth day. Oh, that’s something to see! All the ladies come to sell and bicker. They might have green bananas, pink bananas, mounds of rice and other whitish things piled on paper, onions or carrots or even peanuts if it’s our lucky day, or bowls of little red tomatoes, misshapen things but highly prized. You might even see bottles of bright orange soda pop that someone walked here all the way from Leopoldville, I guess, and will walk a long way more before they’re all sold. There’s a lady that sells cubes of caramel-colored soap that look good to eat. (Ruth May snitched one and took a bite, then cried hard, not so much from the bad taste as the disappointment, I imagine. There’s so little here for a child in the way of sweets.) Also sometimes we’ll see a witch doctor with aspirins, pink pills, yellow pills, and animal pieces all laid out in neat rows on a black velvet cloth. He listens to your ailments, then tells you whether you need to buy a pill, a good-luck charm, or just go home and forget about it. That’s a market day for you. So far we’ve only purchased things from around the edges; we can’t get up the nerve to walk in there whole hog and do our shopping. But it’s fascinating to look down the rows and see all those long-legged women in their colorful pagnes, bent over almost double to inspect things laid out on the ground. And women pulling their lips up to their noses when they reach out to take your money.You watch all that noise and business, then look past them to the rolling green hills in the distance, with antelopes grazing under flat-topped trees, and it doesn’t fit together. It’s like two strange movies running at the same time.

On the other days when there’s no market, people just congregate in the main square for one thing and another: hairdos, shoe repair, or just gossiping in the shade. There’s a tailor who sets up his foot-pedal sewing machine under the tree and takes their orders, simple as that. Hairdos are another matter, surprisingly complicated, given that the women have no real hair to speak of. They get it divided into rows of long parts in very intricate patterns so their heads end up looking like balls of dark wool made of a hundred pieces, very fancily stitched together. If they’ve got an inch or two to work with, the hairdresser will wrap sprigs of it in black thread so it stands up in little spikes, like Mama Boanda Number Two’s. The hairdo business always draws an audience. The motto seems to be, If you can’t grow your own, supervise somebody else’s. The elderly women and men look on, working their gums, dressed in clothes exactly the same color as their skin, from all the many ground-in years of wash and wear. From a distance you can’t tell they have on anything at all, but just the faintest shadow of snow-white hair as if Jack Frost lightly touched down on their heads. They look as old as the world. Any colorful thing they might hold in their hands, like a plastic bucket, stands out strangely. Their appearance doesn’t sit square with the modern world.

Mama Lo is the main hairdresser. She also runs a palm-oil business on the side, getting little boys to squash it out of the little red oil-palm nuts in her homemade press and selling it to the other villagers just a little each day, for frying their greens and what not. Mama Lo doesn’t have any husband, though she’s as industrious as the day is long. With the way they do here, it seems like some fellow would snap her up as a valuable add-on to his family. She isn’t a whole lot to look at, I’ll grant you, with her sad little eyes and wrinkled mouth she keeps shut, morning till night, while she does everybody’s hair. The state of her own hair is a mystery, since she always wraps her head in a dazzling cloth printed with peacock feathers.Those lively feathers don’t really match her personality, but like Tata Boanda in his ladies’-wear sweater, she seems unaware that her outfit is ironic.

If I settle down on a stump somewhere at the edge of the village square, they’ll forget about me sooner or later, I’ve found. I like to sit there and keep an eye out for the woman with the great big white purse, exactly like what Mamie Eisenhower might take shopping, which she carries proudly through the village on her head. And I love to watch the boys climb up palm trees to cut down the oil nuts. Way high up there with the sunlight falling reddish-brown on the palm trunks and the boys’ narrow limbs, they look beautiful. They seem touched by the Lord’s grace. In any event, they never fall.The palm fronds wave around their heads like ostrich plumes.

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