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Gilead

Cover of Gilead

Gilead

Gilead Series, Book 1

The 2004 Pulitzer Prize winning novel
A New York Times Top-Ten Book of 2004
Winner of the National Book Critics Circle Award for Fiction

Nearly 25 years after Housekeeping, Marilynne Robinson returns with an intimate tale of three generations, from the Civil War to the 20th century: a story about fathers and sons and the spiritual battles that still rage at America's heart. In the words of Kirkus, it is a novel "as big as a nation, as quiet as thought, and moving as prayer. Matchless and towering." GILEAD tells the story of America and will break your heart.

The 2004 Pulitzer Prize winning novel
A New York Times Top-Ten Book of 2004
Winner of the National Book Critics Circle Award for Fiction

Nearly 25 years after Housekeeping, Marilynne Robinson returns with an intimate tale of three generations, from the Civil War to the 20th century: a story about fathers and sons and the spiritual battles that still rage at America's heart. In the words of Kirkus, it is a novel "as big as a nation, as quiet as thought, and moving as prayer. Matchless and towering." GILEAD tells the story of America and will break your heart.

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  • Excerpt from Gilead by Marilynne Robinson. Copyright © 2004 by Marilynne Robinson. Published in November, 2004 by Farrar, Straus & Giroux, LLC. All rights reserved.


    I TOLD YOU LAST NIGHT THAT I MIGHT BE GONE sometime, and you said, Where, and I said, To be with the Good Lord, and you said, Why, and I said, Because I'm old, and you said, I don't think you're old. And you put your hand in my hand and you said, You aren't very old, as if that settled it. I told you you might have a very different life from mine, and from the life you've had with me and that would be a wonderful thing, there are many ways to live a good life. And you said, Mama already told me that. And then you said, Don't laugh! because you thought I was laughing at you. You reached up and put your fingers on my lips and gave me that look I never in my life saw on any other face besides your mother's. It's a kind of furious pride, very passionate and stern. I'm always a little surprised to find my eyebrows unsinged after I've suffered one of those looks. I will miss them.

    It seems ridiculous to suppose the dead miss anything. If you're a grown man when you read this--it is my intention for this letter that you will read it then--I'll have been gone a long time. I'll know most of what there is to know about being dead, but I'll probably keep it to myself. That seems to be the way of things.

    I don't know how many times people have asked me what death is like, sometimes when they were only an hour or two from finding out for themselves. Even when I was a very young man, people as old as I am now would ask me, hold on to my hands and look into my eyes with their old milky eyes, as if they knew I knew and they were going to make me tell them. I used to say it was like going home. We have no home in this world, I used to say, and then I'd walk back up the road to this old place and make myself a pot of coffee and a friend-egg sandwich and listen to the radio, when I got one, in the dark as often as not. Do you remember this house? I think you must, a little. I grew up in parsonages. I've lived in this one most of my life, and I've visited in a good many others, because my father's friends and most of our relatives also lived in parsonages. And when I thought about it in those days, which wasn't too often, I thought this was the worst of them all, the draftiest and the dreariest. Well, that was my state of mind at the time. It's a perfectly good old house, but I was all alone in it then. And that made it seem strange to me. I didn't feel very much at home in the world, that was a face. Now I do.

    And now they say my heart is failing. The doctor used the term "angina pectoris," which has a theological sound, like misericordia. Well, you expect these things at my age. My father died an old man, but his sisters didn't live very long, really. So I can only be grateful. I do regret that I have almost nothing to leave you and your mother. A few old books no one else would want. I never made any money to speak of, and I never paid any attention to the money I had. It was the furthest thing from my mind that I'd be leaving a wife and child, believe me. I'd have been a better father if I'd known. I'd have set something by for you.

    That is the main thing I want to tell you, that I regret very deeply the hard times I know you and your mother must have gone through, with no real help from me at all, except my prayers, and I pray all the time. I did while I lived, and I do now, too, if that is how things are in the next life.

    I can hear you talking with your mother, you asking, she answering. It's not the words I hear, just the sounds of your voices. You don't like to go to sleep, and every night she has to sort of talk you into it all over again. I never hear her sing except at night, from the next room, when she's coaxing you to sleep....
About the Author-
  • Marilynne Robinson is the recipient of a 2012 National Humanities Medal, awarded by President Barack Obama, for "her grace and intelligence in writing." She is the author of Gilead, winner of the 2005 Pulitzer Prize for Fiction and the National Book Critics Circle Award, Home, winner of the Orange Prize and the Los Angeles Times Book Prize, and Lila, winner of the National Book Critics Circle Award. Her first novel, Housekeeping, won the Hemingway Foundation/PEN Award. Robinson's nonfiction books include The Givenness of Things, When I Was a Child I Read Books, Absence of Mind, The Death of Adam, and Mother Country, which was nominated for a National Book Award. She teaches at the University of Iowa Writers' Workshop and lives in Iowa City.
Reviews-
  • Publisher's Weekly

    Starred review from September 27, 2004
    Fans of Robinson's acclaimed debut Housekeeping
    (1981) will find that the long wait has been worth it. From the first page of her second novel, the voice of Rev. John Ames mesmerizes with his account of his life—and that of his father and grandfather. Ames is 77 years old in 1956, in failing health, with a much younger wife and six-year-old son; as a preacher in the small Iowa town where he spent his entire life, he has produced volumes and volumes of sermons and prayers, "rying to say what was true." But it is in this mesmerizing account—in the form of a letter to his young son, who he imagines reading it when he is grown—that his meditations on creation and existence are fully illumined.

    Ames details the often harsh conditions of perishing Midwestern prairie towns, the Spanish influenza and two world wars. He relates the death of his first wife and child, and his long years alone attempting to live up to the legacy of his fiery grandfather, a man who saw visions of Christ and became a controversial figure in the Kansas abolitionist movement, and his own father's embittered pacifism. During the course of Ames's writing, he is confronted with one of his most difficult and long-simmering crises of personal resentment when John Ames Boughton (his namesake and son of his best friend) returns to his hometown, trailing with him the actions of a callous past and precarious future. In attempting to find a way to comprehend and forgive, Ames finds that he must face a final comprehension of self—as well as the worth of his life's reflections.
    Robinson's prose is beautiful, shimmering and precise; the revelations are subtle but never muted when they come, and the careful telling carries the breath of suspense. There is no simple redemption here; despite the meditations on faith, even readers with no religious inclinations will be captivated. Many writers try to capture life's universals of strength, struggle, joy and forgiveness—but Robinson truly succeeds in what is destined to become her second classic. Agent, Ellen Levine. 5-city author tour.

  • Ellen Emry Heltzel, St. Petersburg Times Gilead is a beautiful work--demanding, grave and lucid . . . Robinson's words have a spiritual force that's very rare in contemporary fiction.
  • An inspired work from a writer whose sensibility seems steeped in holy fire. Robinson's 1981 debut, Housekeeping, was a perfect novel if ever there was one, and her long-awaited second novel proves just as captivating . . . Robinson's prose is lovely and wonderfully precise . . . Gilead is a gentle journey that will be even better the second time you read it.
  • The wait since 1981 and Housekeeping is over. Robinson returns with a second novel that, however quiet in tone and... [Gilead] is so serenely beautiful, and written in a prose so gravely measured and thoughtful, that one feels touched with grace just to read it. Gilead possesses the quiet ineluctable perfection of Flaubert's A Simple Heart as well as the moral and emotional complexity of Robert Frost's deepest poetry . . . Immensely moving.
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