“You can’t help thinking of other coming-of-age novels from the South: Huckleberry Finn or To Kill a Mockingbird.”—The New York Times Book Review
Until that September of 1952, Luke Chandler had never kept a secret or told a single lie. But in the long, hot summer of his seventh year, two groups of migrant workers—and two very dangerous men—came through the Arkansas Delta to work the Chandler cotton farm. And suddenly mysteries are flooding Luke’s world.
A brutal murder leaves the town seething in gossip and suspicion. A beautiful young woman ignites forbidden passions. A fatherless baby is born . . . and someone has begun furtively painting the bare clapboards of the Chandler farmhouse, slowly, painstakingly, bathing the run-down structure in gleaming white. And as young Luke watches the world around him, he unravels secrets that could shatter lives—and change his family and his town forever.
“You can’t help thinking of other coming-of-age novels from the South: Huckleberry Finn or To Kill a Mockingbird.”—The New York Times Book Review
Until that September of 1952, Luke Chandler had never kept a secret or told a single lie. But in the long, hot summer of his seventh year, two groups of migrant workers—and two very dangerous men—came through the Arkansas Delta to work the Chandler cotton farm. And suddenly mysteries are flooding Luke’s world.
A brutal murder leaves the town seething in gossip and suspicion. A beautiful young woman ignites forbidden passions. A fatherless baby is born . . . and someone has begun furtively painting the bare clapboards of the Chandler farmhouse, slowly, painstakingly, bathing the run-down structure in gleaming white. And as young Luke watches the world around him, he unravels secrets that could shatter lives—and change his family and his town forever.
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Overview
“You can’t help thinking of other coming-of-age novels from the South: Huckleberry Finn or To Kill a Mockingbird.”—The New York Times Book Review
Until that September of 1952, Luke Chandler had never kept a secret or told a single lie. But in the long, hot summer of his seventh year, two groups of migrant workers—and two very dangerous men—came through the Arkansas Delta to work the Chandler cotton farm. And suddenly mysteries are flooding Luke’s world.
A brutal murder leaves the town seething in gossip and suspicion. A beautiful young woman ignites forbidden passions. A fatherless baby is born . . . and someone has begun furtively painting the bare clapboards of the Chandler farmhouse, slowly, painstakingly, bathing the run-down structure in gleaming white. And as young Luke watches the world around him, he unravels secrets that could shatter lives—and change his family and his town forever.
Product Details
| ISBN-13: | 9780385501200 |
|---|---|
| Publisher: | JG Publishing |
| Publication date: | 02/06/2001 |
| Pages: | 400 |
| Product dimensions: | 6.41(w) x 9.53(h) x 1.25(d) |
| Lexile: | 780L (what's this?) |
About the Author
Hometown:
Oxford, Mississippi, and Albemarle County, VirginiaDate of Birth:
February 8, 1955Place of Birth:
Jonesboro, ArkansasEducation:
B.S., Mississippi State, 1977; J.D., University of Mississippi, 1981Website:
http://www.jgrisham.comRead an Excerpt
Chapter I
The hill people and the Mexicans arrived on the same day. It was a Wednesday, early in September 1952. The Cardinals were five games behind the Dodgers with three weeks to go, and the season looked hopeless. The cotton, however, was waist-high to my father, over my head, and he and my grandfather could be heard before supper whispering words that were seldom heard. It could be a “good crop.”
They were farmers, hardworking men who embraced pessimism only when discussing the weather and the crops. There was too much sun, or too much rain, or the threat of floods in the lowlands, or the rising prices of seed and fertilizer, or the uncertainties of the markets. On the most perfect of days, my mother would quietly say to me, “Don’t worry. The men will find something to worry about.”
Pappy, my grandfather, was worried about the price for labor when we went searching for the hill people. They were paid for every hundred pounds of cotton they picked. The previous year, according to him, it was $1.50 per hundred. He’d already heard rumors that a farmer over in Lake City was offering $1.60.
This played heavily on his mind as we rode to town. He never talked when he drove, and this was because, according to my mother, not much of a driver herself, he was afraid of motorized vehicles. His truck was a 1939 Ford, and with the exception of our old John Deere tractor, it was our sole means of transportation. This was no particular problem except when we drove to church and my mother and grandmother were forced to sit snugly together up front in their Sunday best while my father and I rode in the back, engulfed in dust. Modern sedans were scarce in rural Arkansas.
Pappy drove thirty-seven miles per hour. His theory was that every automobile had a speed at which it ran most efficiently, and through some vaguely defined method he had determined that his old truck should go thirty-seven. My mother said (to me) that it was ridiculous.
She also said he and my father had once fought over whether the truck should go faster. But my father rarely drove it, and if I happened to be riding with him, he would level off at thirty-seven, out of respect for Pappy. My mother said she suspected he drove much faster when he was alone.
We turned onto Highway 135, and, as always, I watched Pappy carefully shift the gears — pressing slowly on the clutch, delicately prodding the stick shift on the steering column — until the truck reached its perfect speed. Then I leaned over to check the speedometer: thirty-seven. He smiled at me as if we both agreed that the truck belonged at that speed.
Highway 135 ran straight and flat through the farm country of the Arkansas Delta. On both sides as far as I could see, the fields were white with cotton. It was time for the harvest, a wonderful season for me because they turned out school for two months. For my grandfather, though, it was a time of endless worry.
On the right, at the Jordan place, we saw a group of Mexicans working in the field near the road. They were stooped at the waist, their cotton sacks draped behind them, their hands moving deftly through the stalks, tearing off the bolls. Pappy grunted. He didn’t like the Jordans because they were Methodists — and Cubs fans. Now that they already had workers in their fields, there was another reason to dislike them.
The distance from our farm to town was fewer than eight miles, but at thirty-seven miles an hour, the trip took twenty minutes. Always twenty minutes, even with little traffic. Pappy didn’t believe in passing slower vehicles in front of him. Of course, he was usually the slow one.
Near Black Oak, we caught up to a trailer filled to the top with snowy mounds of freshly picked cotton. A tarp covered the front half, and the Montgomery twins, who were my age, playfully bounced around in all that cotton until they saw us on the road below them. Then they stopped and waved. I waved back, but my grandfather did not. When he drove, he never waved or nodded at folks, and this was, my mother said, because he was afraid to take his hands from the wheel. She said people talked about him behind his back, saying he was rude and arrogant. Personally, I don’t think he cared how the gossip ran.
We followed the Montgomery trailer until it turned at the cotton gin. It was pulled by their old Massey Harris tractor, and driven by Frank, the eldest Montgomery boy, who had dropped out of school in the fifth grade and was considered by everyone at church to be headed for serious trouble.
Highway 135 became Main Street for the short stretch it took to negotiate Black Oak. We passed the Black Oak Baptist Church, one of the few times we’d pass without stopping for some type of service. Every store, shop, business, church, even the school, faced Main Street, and on Saturdays the traffic inched along, bumper to bumper, as the country folks flocked to town for their weekly shopping. But it was Wednesday, and when we got into town, we parked in front of Pop and Pearl Watson’s grocery store on Main.
I waited on the sidewalk until my grandfather nodded in the direction of the store. That was my cue to go inside and purchase a Tootsie Roll, on credit. It only cost a penny, but it was not a foregone conclusion that I would get one every trip to town. Occasionally, he wouldn’t nod, but I would enter the store anyway and loiter around the cash register long enough for Pearl to sneak me one, which always came with strict instructions not to tell my grandfather. She was afraid of him. Eli Chandler was a poor man, but he was intensely proud. He would starve to death before he took free food, which, on his list, included Tootsie Rolls. He would’ve beaten me with a stick if he knew I had accepted a piece of candy, so Pearl Watson had no trouble swearing me to secrecy.
But this time I got the nod. As always, Pearl was dusting the counter when I entered and gave her a stiff hug. Then I grabbed a Tootsie Roll from the jar next to the cash register. I signed the charge slip with great flair, and Pearl inspected my penmanship. “It’s getting better, Luke,” she said.
“Not bad for a seven-year-old,” I said. Because of my mother, I had been practicing my name in cursive writing for two years. “Where’s Pop?” I asked. They were the only adults I knew who insisted I call them by their “first” names, but only in the store when no one else was listening. If a customer walked in, then it was suddenly Mr. and Mrs. Watson. I told no one but my mother this, and she told me she was certain no other child held such privilege.
“In the back, putting up stock,” Pearl said. “Where’s your grandfather?”
It was Pearl’s calling in life to monitor the movements of the town’s population, so any question was usually answered with another.
“The Tea Shoppe, checking on the Mexicans. Can I go back there?” I was determined to outquestion her.
“Better not. Y’all using hill people, too?”
“If we can find them. Eli says they don’t come down like they used to. He also thinks they’re all half crazy. Where’s Champ?” Champ was the store’s ancient beagle, which never left Pop’s side.
Pearl grinned whenever I called my grandfather by his first name. She was about to ask me a question when the small bell clanged as the door opened and closed. A genuine Mexican walked in, alone and timid, as they all seemed to be at first. Pearl nodded politely at the new customer.
I shouted, “Buenos días, señor!”
The Mexican grinned and said sheepishly, “Buenos días,” before disappearing into the back of the store.
“They’re good people,” Pearl said under her breath, as if the Mexican spoke English and might be offended by something nice she said. I bit into my Tootsie Roll and chewed it slowly while rewrapping and pocketing the other half.
“Eli’s worried about payin’ them too much,” I said. With a customer in the store, Pearl was suddenly busy again, dusting and straightening around the only cash register.
“Eli worries about everything,” she said.
“He’s a farmer.”
“Are you going to be a farmer?”
“No ma’am. A baseball player.”
“For the Cardinals?”
“Of course.”
Pearl hummed for a bit while I waited for the Mexican. I had some more Spanish I was anxious to try.
The old wooden shelves were bursting with fresh groceries. I loved the store during picking season because Pop filled it from floor to ceiling. The crops were coming in, and money was changing hands.
Pappy opened the door just wide enough to stick his head in. “Let’s go,” he said; then, “Howdy, Pearl.”
“Howdy, Eli,” she said as she patted my head and sent me away.
“Where are the Mexicans?” I asked Pappy when we were outside.
“Should be in later this afternoon.”
We got back in the truck and left town in the direction of Jonesboro, where my grandfather always found the hill people.
What People are Saying About This
“John Grisham is about as good a storyteller as we’ve got.”—The New York Times Book Review
“The kind of book you read slowly because you don’t want it to end ... John Grisham takes command of this literary category just as forcefully as he did legal thrillers with The Firm.... Never let it be said this man doesn’t know how to spin a good yarn.”—Entertainment Weekly
“Characters that no reader will forget. .. prose as clean and strong as any Grisham has yet laid down ... and a drop-dead evocation of a time and place that mark this novel as a classic slice of Americana.”—Publishers Weekly
“Some of the finest dialogue of his career ... Every detail rings clear and true, and nothing is wasted.”—Seattle Times
Read all of John Grisham’s #1 New York Times bestsellers:
The Brethren The Testament The Street Lawyer The Partner The Runaway Jury The Rainmaker The Chamber The Client The Pelican Brief The Firm A Time to Kill
Available from Dell
Coming soon!
The Summons
The new novel by John Grisham
Available from Doubleday
Reading Group Guide
Beautifully evoking an extraordinary time and place, A PAINTED HOUSE has captivated millions of readers. Depicting aspects of family, community, trust, and faith through the eyes of a charming little boy, the book makes a memorable choice for reading groups. The questions, discussion topics, and author biography that follow are intended to enhance your reading of John Grisham's A PAINTED HOUSE. We hope they will enrich your experience of this enduring novel.
1. Luke Chandler is exposed to events that many adults have never even seen. What is the effect of reading about these circumstances—from a difficult childbirth to the possibility of financial ruin—through the eyes of a seven-year-old narrator?
2. The Chandlers cannot afford some of the hallmarks of the1950s American dream, such as a television set or a stylish-looking car. Yet other aspects of that time period, such as the Korean War, make an unmistakable impression on them. How does the Chandler household measure up to your own memories or impressions of that era?
3. Several generations of women are presented in A PAINTED HOUSE, including Gran, Luke's mother, and Tally. How do contemporary women compare to those three characters?
4. Baseball is a central theme in the novel, providing Luke with heroes, dreams, and a diversion from the exhaustion of picking cotton. When the Arkansans challenge the Mexicans to a baseball game, however, Luke sees a darker side to competition. In what way does this scene foreshadow the conclusion of the novel?
5. How might the novel have been different if Luke's father or mother had narrated it?
6. How does your opinion of Cowboy change throughout thenovel? What do you think attracts Tally to him? How did you react to his final showdown with Hank?
7. Discuss the role of Ricky in A PAINTED HOUSE. Though we never meet him directly, he does play a key part in the progress of the plot. What is the effect of his absence, and the letter writing it inspires? In what way does his experience differ from that of modern soldiers?
8. What keeps Pappy from giving up on farming?
9. What role do the Methodist and Baptist churches play in the Black Oak community? How well do religious teachings serve Luke during 1952?
10. In what way is Black Oak a snapshot of the world at large?
11. Luke says that most members of his community are descended from Scotch-Irish immigrants. What are some of the legacies of this ancestry?
12. The weather is a powerful force in A PAINTED HOUSE; floods, heat, hail, and tornadoes all add suspense to the novel. What is it like for the Chandlers to live at the complete mercy of the weather? How is their situation different from that of the cousins who perform indoor industrial work up north? What are the costs and benefits of relying on the natural world for your livelihood?
13. At the end of the novel, Luke and his parents become migrant workers themselves, venturing off to a new part of the country solely for employment opportunities. Twenty-first-century workers are often asked to transfer to a new part of the globe in order to further their careers. What is the best way to make decisions between financial security and family or cultural ties?
14. Poverty is a highly relative concept in A PAINTED HOUSE. Though they have no indoor plumbing and have perilously high debts, the Chandlers nonetheless give generously to those in need. How do you define 'rich' and 'poor'?
15. The Chandler house itself conveys a meaningful message. What is the significance of the way in which it gets painted? Do you believe that Pappy really does finish the job after Luke and his family leave? What is the effect of that detail? What causes Luke to set aside his dream of ordering a Cardinals jacket and instead use his meager earnings to buy paint?
16. In terms of plot and writing style, are any elements of John Grisham's legal thrillers evident in A PAINTED HOUSE?
17. Discuss your own coming-of-age story. What are your first memories of home? Who were the first people you loved?
18. A PAINTED HOUSE ends with tantalizing possibilities. Speculate about how Luke's life unfolds after his family leaves the Arkansas Delta.
Interviews
A Letter from John Grisham
Dear Friends:
A Painted House is not a legal thriller. In fact, there is not a single lawyer, dead or alive, in this story. Nor are there judges, trials, courtrooms, conspiracies or nagging social issues.
A Painted House is a work of fiction. It was inspired by my childhood in rural Arkansas. The setting is reasonably accurate, though historical accuracy should not be taken too seriously. One or two of these characters may actually have lived and breathed on this earth, though I know them only through family lore, which in my family is a most unreliable source. One or two of these events may indeed have taken place, though I've heard so many different versions of these events that I believe none of them myself.
Sincerely,
John Grisham
Foreword
1. Luke Chandler is exposed to events that many adults have never even seen. What is the effect of reading about these circumstances—from a difficult childbirth to the possibility of financial ruin—through the eyes of a seven-year-old narrator?
2. The Chandlers cannot afford some of the hallmarks of the1950s American dream, such as a television set or a stylish-looking car. Yet other aspects of that time period, such as the Korean War, make an unmistakable impression on them. How does the Chandler household measure up to your own memories or impressions of that era?
3. Several generations of women are presented in A PAINTED HOUSE, including Gran, Luke’s mother, and Tally. How do contemporary women compare to those three characters?
4. Baseball is a central theme in the novel, providing Luke with heroes, dreams, and a diversion from the exhaustion of picking cotton. When the Arkansans challenge the Mexicans to a baseball game, however, Luke sees a darker side to competition. In what way does this scene foreshadow the conclusion of the novel?
5. How might the novel have been different if Luke’s father or mother had narrated it?
6. How does your opinion of Cowboy change throughout the novel? What do you think attracts Tally to him? How did you react to his final showdown with Hank?
7. Discuss the role of Ricky in A PAINTED HOUSE. Though we never meet him directly, he does play a key part in the progress of the plot. What is the effect of his absence, and the letter writing it inspires? In what way does his experience differ from that of modern soldiers?
8. What keeps Pappy from giving up on farming?
9. What roledo the Methodist and Baptist churches play in the Black Oak community? How well do religious teachings serve Luke during 1952?
10. In what way is Black Oak a snapshot of the world at large?
11. Luke says that most members of his community are descended from Scotch-Irish immigrants. What are some of the legacies of this ancestry?
12. The weather is a powerful force in A PAINTED HOUSE; floods, heat, hail, and tornadoes all add suspense to the novel. What is it like for the Chandlers to live at the complete mercy of the weather? How is their situation different from that of the cousins who perform indoor industrial work up north? What are the costs and benefits of relying on the natural world for your livelihood?
13. At the end of the novel, Luke and his parents become migrant workers themselves, venturing off to a new part of the country solely for employment opportunities. Twenty-first-century workers are often asked to transfer to a new part of the globe in order to further their careers. What is the best way to make decisions between financial security and family or cultural ties?
14. Poverty is a highly relative concept in A PAINTED HOUSE. Though they have no indoor plumbing and have perilously high debts, the Chandlers nonetheless give generously to those in need. How do you define “rich” and “poor”?
15. The Chandler house itself conveys a meaningful message. What is the significance of the way in which it gets painted? Do you believe that Pappy really does finish the job after Luke and his family leave? What is the effect of that detail? What causes Luke to set aside his dream of ordering a Cardinals jacket and instead use his meager earnings to buy paint?
16. In terms of plot and writing style, are any elements of John Grisham’s legal thrillers evident in A PAINTED HOUSE?
17. Discuss your own coming-of-age story. What are your first memories of home? Who were the first people you loved?
18. A PAINTED HOUSE ends with tantalizing possibilities. Speculate about how Luke’s life unfolds after his family leaves the Arkansas Delta.