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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Nommo, I wrote down on the notebook I had opened out for us at our big table. Nommo ommon NoMmo, I wrote, wishing to learn this word forward and backward. Theoretically I was in the process of showing Nelson, at his urging, how to write a letter (ignoring the fact he would have no way to mail it). He enjoys my silent tutelage and asks for it often. But Nelson as a pupil is apt to turn teacher himself at the least provocation. And he seems to think his chatter improves our conversation, since I only write things on paper.

“NOMMO MVULA IS MY SISTER RACHEL?” I queried.

He nodded.

Ruth May, then, is Nommo Bandu, and Leah is Nommo Leba. And where does Nommo come from?

He pointed to his mouth. Nommo comes from the mouth, like water vapor, he said: a song, a poem, a scream, a prayer, a name, all these are nommo. Water itself is nommo, of the most important kind, it turns out. Water is the word of the ancestors given to us or withheld, depending on how well we treat them. The word of the ancestors is pulled into trees and men, Nelson explained, and this allows them, to stand and live as muntu.

A TREE IS ALSO MUNTU? I wrote. Quickly I drew stick man and stick tree side by side, to clarify. Our conversations are often mostly pictures and gestures. “A tree is a type of person?”

“Of course,” Nelson said. “Just look at them. They both have roots and a head.”

Nelson was puzzled by my failure to understand such a simple thing.

Then he asked, “You and your sister Leba, how do you mean you came from the same seed?”

Twins, I wrote. He didn’t recognize the word. I drew two identical girls side by side, which he found even more baffling, given that Leah and I-the beauty and the beast-were the twins under consideration. So then, since no one was around to watch us and Nelson seems incapable of embarrassment, I brought forth a shameless pantomime of a mother giving birth to one baby, then-oh my!- another. Twins. His eyes grew wide. “Baza!”

I nodded, thinking he was not the first to be amazed by this news about Leah and me. But it must have been more than that, because he leaped away from me with such haste that he knocked over his chair.

“Baza!” he repeated, pointing at me. He delicately touched my forehead and recoiled, as if my skin might burn him.

I scribbled with some defensiveness: You never saw twins?

He shook his head with conviction. “Any woman who has baza should take the two babies to the forest after they are born and leave them there. She takes them fast, right away. That is very very very necessary.”

Why?

“The ancestors and gods,” he stammered. “All gods. What god would not be furious at a mother who kept such babies? I think the whole village would be flooded or mostly everyone would die, if a mother kept her baza”

I looked around the room, saw no immediate evidence of catastrophe, and shrugged. I turned the page on our lesson in business correspondence, and began to work on an elaborate pencil drawing of Noah’s ark. After a while Nelson righted his chair and sat down approximately four feet away from me. He leaned very far over to try to peer at my picture.

THIS IS NOT ABOUT TWINS, I wrote across the top. Or who knows, maybe it is, I thought. All those paired-up bunnies and elephants.

“What happened to your village when your mother did not take you to the forest?”

I considered the year of my birth, and wrote: WE WON THE WAR. Then I proceeded to draw the outline of an exceptionally elegant giraffe. But Nelson glowered, still waiting for evidence that my birth had not brought down a plague upon my house. NO FLOODS. NO EPIDEMICS, I wrote. ALL IS WELL IN USA, WHERE MOTHERS KEEP THEIR BAZA EVERYDAY.

Nelson stared at me with such pure, annoyed skepticism I was tempted to doubt my own word. Hadn’t there been, say, a rash of hurricanes in the months after Leah and I were born? A bad winter nationwide for the flu? Who knew. I shrugged, and drew a second giraffe with a dramatic, Z-shaped crook to its neck. The benduka giraffe.

Nelson was not going to let me off. Clearly my twinhood was a danger to society. “Tata Jesus, what does he say?”

TOO MUCH, AS A RULE.

“What does he say to do when a woman has…” he hesitated over even saying the word in English.

I shrugged, but Nelson kept pushing me on this point. He would not believe that the Jesus Bible, with its absolutely prodigious abundance of words, gave no specific instructions to mothers of newborn twins. Finally I wrote: JESUS SAYS TO KEEP THEM, I GUESS.

Nelson became agitated again. “So you see, both wives of Tata Boanda go to the Jesus Church! And the Mama Lakanga! All these women and their friends and husbands! They think they will have twins again, and Tata Jesus will not make them leave the babies in the forest.”

This was fascinating news, and I queried him on the particulars. According to Nelson’s accounting, nearly half my father’s congregation were relatives of dead twins. It is an interesting precept on which to found a ministry: The First Evangelical Baptist Church of the Twin-Prone. I also learned from Nelson that we are hosting seven lepers every Sunday, plus two men who have done the thing that is permanently unforgiven by local gods-that is, to have accidentally killed a clansman or child. We seem to be the Church for the Lost of Cause, which is probably not so far afield from what Jesus himself was operating in his time.

This should not have been a great surprise. Anatole had already tried to explain to us the societal function of our church, during that fateful dinner that ended in a shattered plate. But the Reverend feels he is doing such a ripping job of clarifying all fine points of the Scripture to the heathen, he cannot imagine that he is still merely serving the purpose of cleaning up the streets, as it were.

Removing troublesome elements from the main ceremonial life of Kilanga. The Reverend failed to notice that every churchgoing family whose children were struck hard with the kakakaka quietly removed themselves back to ancestor worship, while a few of the heathen families that were hard hit quietly came and tried out Christianity. While it makes perfect sense to me, this pragmatic view of religion escapes the Reverend utterly. Each time a new convert limps through the door on a Sunday morning, he will boast over dinner that he is “really calling them home now, buddy. Finally attracting the attention of some of the local big shots.”

And so he continues ministering to the lepers and outcasts. By pure mistake, his implementation is sometimes more pure than his intentions. But mostly it is the other way around. Mostly he shouts, “Praise be!” while the back of his hand knocks you flat.

How did he come to pass, this nommo Nathan Price? I do wonder. In the beginning was the word, the war, the way of all flesh. The mother, the Father, the son who was not, the daughters who were too many. The twins who brought down the house, indeed. In the beginning was the word the herd the blurred the turd the debts incurred the theatrical absurd. Our Father has a bone to pick with this world, and oh, he picks it like a sore. Picks it with the Word. His punishment is the Word, and his deficiencies are failures of words- as when he grows impatient with translation and strikes out precariously on his own, telling parables in his wildly half-baked Kikongo. It is a dangerous thing, I now understand, to make mistakes with nommo in the Congo. If you assign the wrong names to things, you could make a chicken speak like a man. Make a machete rise up and dance.

We his daughters and wife are not innocent either. The players in his theater. We Prices are altogether thought to be peculiarly well-intentioned, and inane. I know this. Nelson would never come out and say as much. But he has always told me, when I ask, the words we get wrong. I can gather the rest. It is a special kind of person who will draw together a congregation, stand up before them with a proud, clear voice, and say words wrong, week after week.

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