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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But we still had to go on being each other’s main company. Chained to the porch by Mothers instructions, like grumpy twin bears in captivity, we enviously watched Nelson as he went about his business, free to go back and forth to the village and contract the kakakaka any time he had a mind to. As he walked away we could see his round pink scar spying back at us through the trees like a small, laughing eye. We also watched Methuselah, who after four months of liberation still hung around our house mumbling. It was very strange to hear the voices of our own family members coming from the tree branches, as if we’d been transformed into flying spirits of a type preoccupied with peanuts, bananas, and common phrases of greeting. Sometimes at night he’d startle us, when we forgot he spent his lonely nights in the latrine. Believe me, it gives you a queer feeling to sit down in the dark to pee and hear a voice right behind you declare, “Sister, God is great!” But we felt sorry for him and took to leaving him pieces of fruit in there. We were careful to keep the latrine door shut and latched at night, so no mongoose or civet cat would find its way in and polish him off.

At first I wanted Methuselah to come back and live in his cage, until Father explained to me that this whole arrangement was wrong. We let Methuselah go because his captivity was an embarrassment to us. It made the parrot into a less noble creature than God intended. So I had to root for Methuselah to learn to be free. I don’t know what Adah rooted for as we lay out there with our needlework, watching him waddle up and down the branches. I have to say she probably didn’t care one way or the other, really, and was just fascinated to see what would happen next. Adah is that way. She feels no obligation to have good thoughts on behalf of her mortal soul in the hereafter, or even the here and now. She can simply watch life, without caring.

Certainly she wasn’t putting in any effort on behalf of her future womanhood. Adah did weird, morbid things for her hope chest, black borders on cloth napkins and the like, which exhausted our mother. And Ruth May was exempt from hope chest, but was allowed to lie in a hammock with us and make cat’s cradles out of yarn if she promised not to run off and break something.

I lolled on my back and worked on my tablecloth listlessly, to preserve my mother’s fantasy that I’d be getting married one day, and after a while it began to draw me in. The cross-stitch itself was tedious, but the prospects were beautiful; Mother had the foresight to give me a botanical motif, knowing how I love green and growing things. Bunches of pansies and roses were meant to bloom in the four corners, all connected by a border of twining green vines. And in the very same way the Spirit long ago became manifest in the Body of Christ, the first cabbage rose began to materialize on my tablecloth. From there, I could envision the whole garden.

Still, the project seemed impossibly large. Rachel polished off a complete set of dinner napkins in the time it took me to fill in one pink rose. The humidity was so thick it dripped off our eyelashes, and in this damp atmosphere the first bouquet took so long that my metal embroidery hoops rusted in place.

The hope-chest program didn’t last long as our main preoccupation. Rachel hoped too much and ran out of material, while the rest of us hoped too little and ran out of steam. Once in a great while I still do pull out my tablecloth and try to get reinspired. I’ve even prayed for God to make me more fit to be a wife. But the rusted embroidery hoops left an unsightly orange ring on the linen that may have damaged my prospects for good.

Ruth May

TRIED TO SEE NELSON NAKED. I don’t know why I wanted to. When he gets up in the morning first he washes his face out of a dingered-up bowl in the chicken house and puts on his pants and his shirt. He washes the back of his neck with the pink hole in it till his skin shines and water runs all down.Then he looks at his clothes real hard and says a hex before he puts them on. Brown pants, red T-shirt.That’s all the clothes he has. Everybody here has just one clothes. My friends are the one with the blue pajama shirt, the one with the checkered pants with the legs rolled up, the one with shorts with big white pockets hanging out the bottom, and the one with the pinkish shirt down to his knees and no pants.The girls don’t ever, ever wear pants. And the little babies don’t wear a speck of clothes so they can just squat down and pee-pee ever-when they take a mind to.

The chicken house is made out of sticks. The wall has square little holes and I just wanted to see Nelson. I was bad. Sometimes I prayed for Baby Jesus to make me be good, but Baby Jesus didn’t.

The chickens were setting on eggs. Good little mamas, we said, making us some more chickens. Their house was nothing but a shack. They tried to hide their nests in the bushes but Nelson and I found them. He said they were bad hens trying to steal their babies from us. I tried to scold them, but he said chickens don’t understand English. He showed me how to sing to them: Kuyiba diaki, kuyiba diaki, mbote vel Mbote ve! Then we took back all those eggs. I got to help Nelson in the morning when Rachel and them had school, if I promised Mama I wouldn’t go near any other children.They are all sick. They have to go to the bathroom number two in the bushes and we might catch it.

We took the eggs in to Mama and she floated them in a bucket. Some sank on the bottom, and some floated on top like when you bob for apples.The sinkers are okay to eat and the floaters are the rotten ones. When you say, Last one in is a rotten egg! I reckon that means you’re going to float. Nelson wanted those and Mama worried he’d get sick if he ate them but she said, “Oh, go ahead,” and so he took them. But he didn’t eat them. He hid them in a place. He said the witch doctor Tata Kuvudundu wanted those eggs for the dead people that needed to lie down. Nganga means witch doctor. Tata Kuvudundu is one because he has six toes on one of his feet. Nelson said Nganga Kuvudundu could make live people dead, and dead people come back alive. Nelson thinks Tata Kuvudundu is probably so important he could run the army, but he’s too old. Maybe one of his sons instead. Nelson knows who Patrice Lumumba is, too, like me. He says some of them are saying to bury rocks in your garden right now, and after the white people are all dead, dig them up and those rocks will be turned into gold. Nelson said he didn’t believe that. Nobody really believes it, he said, except the people that want to. I said, Why will all the white people be dead? Nelson didn’t know.

There’s all these extra people going to church now. Nelson says it’s because the lion tried to eat up Adah, but Jesus turned her into a bushbuck right just at the last minute. Like in the Bible. And right when the lion’s mouth bit down on the Adah that turned into a bushbuck, the real Adah disappeared from there and turned up okay on our porch.

Nelson says everybody’s got their own little God here to protect them, special African ones that live in the little tiny thing they wear around their necks. Agree-gree is what you call it. It’s like a little bottle, only made out of sticks and shells and things. Sometimes I think about all those little teeny Gods riding around on people’s necks, a-hollering: Help! Let me out of here! Like the genie in the Laddin’s lamp. You just rub it and say, Here, little God, you better watch out for me or you’ll get eat up by the lion right along with me!

All the little Gods are mad at Jesus right now, and they’d like to hurt one of us if they could. If Jesus doesn’t look out. I told Nelson that Jesus is -way too big to ride around in a little gree-gree. He is big as a man, with long brown hair and sandals, size extra-large. Nelson says yes, everybody has figured out that He is a right good size. They’ve a lot of them started going to hear Father talk about Jesus and figure out what’s what. But Nelson says they’ve got one foot in the door of the church and one foot out. If something bad happens to one of us, out they’ll go.

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