Hill Towns

( 9 )

Overview

A single traumatic event in her childhood irrevocably marked Catherine Gaillard, leaving her stranded in her cloistered mountaintop Tennessee town for thirty years. But now she is embarking upon a life-changing trip to Italy with her husband, Joe, hoping to put the incident behind her forever. As they make their way across the breathtaking countryside of Tuscany with two other couples, Cat and Joe soon feel themselves being pulled in separate directions, and the fabric of their marriage begins to unravel. And a ...

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Hill Towns

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Overview

A single traumatic event in her childhood irrevocably marked Catherine Gaillard, leaving her stranded in her cloistered mountaintop Tennessee town for thirty years. But now she is embarking upon a life-changing trip to Italy with her husband, Joe, hoping to put the incident behind her forever. As they make their way across the breathtaking countryside of Tuscany with two other couples, Cat and Joe soon feel themselves being pulled in separate directions, and the fabric of their marriage begins to unravel. And a journey that began as a carefree tour crosses unexpected boundaries, carrying them deep into the heart of their relationship, becoming the ultimate test of their love.

Siddons' phenomenal national bestseller is a rare story of depth and deliverance. Spending two months on the New York Times bestseller list, Hill Towns explores the structure of marriage as a middle-aged wife and her English professor husband leave the safe haven of their Tennessee home and travel through Italy with friends.

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Editorial Reviews

Kirkus Reviews
Siddons' last big commercial outing (Colony, 1992) was built along a New England-Southern axis. This time, she creates a passel of characters her fans will find reassuringly familiar, and then sends them far out of their ken—to Italy. Catherine Compton—a true Siddons woman in that she can whine engagingly—is from a tiny college town in Tennessee and has a macabre background: her mom and dad died while making love on a bridge. As a result, Cat grows up agoraphobic, refusing to leave the safe, idyllic little world of Trinity College, where her handsome Yankee husband, Joe Gaillard, teaches English. But when Joe's prot‚g‚, Colin Gerard, plans to get married in Italy, Cat faces her fears, books a flight, and—under the light of an Italian sun—finds everything different. Above all, Joe has a midlife crisis, sparked by the loss of his luggage and fanned by Ada Forrest, the wife of famous painter whom the Gaillards meet in Rome. Meanwhile, Sam Forrest takes a shine to Cat; her "snub, narrow Renaissance look" inspires him artistically, not to mention romantically. The two couples join the newlyweds on a honeymoon stomp across the boot, slurping bellinis at Florian's in Venice, marveling over Michelangelo's David in Florence, and finally holing up at a villa outside Siena. There, Sam reveals the portrait of Cat he's been working on, which portrays her as St. Theresa—though in sexual, not religious ecstasy. Joe is not amused, but the Gaillards will work things out before they head back to Tennessee, with their horizons expanded. Siddons's theme is the moral and psychological ambiguity that arises from American contact with the European other. Henry James did itbetter—with a whole lot more subtlety—but, still, Siddons's tried-and-true fans will be pleased. (First printing of 200,000; Literary Guild Dual Selection for September)
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Product Details

  • ISBN-13: 9780061715730
  • Publisher: HarperCollins Publishers
  • Publication date: 8/18/2009
  • Pages: 387
  • Sales rank: 358,225
  • Product dimensions: 5.34 (w) x 8.08 (h) x 1.02 (d)

Meet the Author

Anne Rivers Siddons

Anne Rivers Siddons's bestselling novels include Nora, Nora; Sweetwater Creek; Islands; and Fox's Earth. She is also the author of the nonfiction work John Chancellor Makes Me Cry. She and her husband divide their time between Charleston, South Carolina, and Brooklin, Maine.

Biography

Born in 1936 in a small town near Atlanta, Anne Rivers Siddons was raised to be a dutiful daughter of the South -- popular, well-mannered, studious, and observant of all the cultural mores of time and place. She attended Alabama's Auburn University in the mid-1950s, just as the Civil Rights Movement was gathering steam. Siddons worked on the staff of Auburn's student newspaper and wrote an editorial in favor of integration. When the administration asked her to pull the piece, she refused. The column ran with an official disclaimer from the university, attracting national attention and giving young Siddons her first taste of the power of the written word.

After a brief stint in the advertising department of a bank, Siddons took a position with the up and coming regional magazine Atlanta, where she worked her way up to senior editor. Impressed by her writing ability, an editor at Doubleday offered her a two-book contract. She debuted in 1975 with a collection of nonfiction essays; the following year, she published Heartbreak Hotel, a semi-autobiographical novel about a privileged Southern coed who comes of age during the summer of 1956.

With the notable exception of 1978's The House Next Door, a chilling contemporary gothic compared by Stephen King to Shirley Jackson's classic horror novel The Haunting of Hill House, Siddons has produced a string of well-written, imaginative, and emotionally resonant stories of love and loss -- all firmly rooted in the culture of the modern South. Her books are consistent bestsellers, with 1988's Peachtree Road (1988) arguably her biggest commercial success. Described by her friend and peer, Pat Conroy, as "the Southern novel for our generation," the book sheds illuminating light on the changing landscape of mid-20th-century Atlanta society.

Although her status as a "regional" writer accounts partially for Siddons' appeal, ultimately fans love her books because they portray with compassion and truth the real lives of women who transcend the difficulties of love and marriage, family, friendship, and growing up.

Good To Know

Although she is often compared with another Atlanta author, Margaret Mitchel, Siddons insists that the South she writes about is not the romanticized version found in Gone With the Wind. Instead, her relationship with the region is loving, but realistic. "It's like an old marriage or a long marriage. The commitment is absolute, but the romance has long since worn off...I want to write about it as it really is: I don't want to romanticize it."

Siddons' debut novel Heartberak Hotel was turned into the 1989 movie Heart of Dixie, starry Ally Sheedy, Virginia Madsen, and Phoebe Cates.

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    1. Also Known As:
      Sybil Anne Rivers Siddons (full name)
    2. Hometown:
      Charleston, South Carolina and a summer home in Maine overlooking Penobscot Bay
    1. Date of Birth:
      January 9, 1936
    2. Place of Birth:
      Atlanta, Georgia
    1. Education:
      B.A., Auburn University, 1958; Atlanta School of Art, 1958

Read an Excerpt

Chapter One

When I Was Five Years Old I Made A Coldly Desperate decision to live forever in a town on a hill, and so I have, from that terrible night in June until this one, thirty-seven years and one month later. If it has been bad for me, as many people these days seem to be telling me, I can only consider that anything else at all would have been worse.

"They never saw it coming; they didn't know what hit them," everybody said after my parents were struck and killed by a speeding truck on the old chain bridge over Tolliver's Creek. After that, I knew as simply and unalterably as a child knows anything that staying alive meant always being able to see what was coming. Always knowing what might hit you. So when my father's parents, kind and substantial Virginians from the Tidewater who might have given me every advantage, made to take me home with them after the funeral, I simply screamed and screamed until, in despair, they left me behind with my mother's eccentric people, who lived on the top of the mountain where my parents had died. I had great affection for my Virginia grandparents and little for the erratic, reclusive Cashes, who were strange even in that hill country, where strangeness is king, but the ramshackle, overgrown Cash house commanded the Blue Ridge foothills in all directions. From there I would always know what was coming. From there I would see it long before it saw me.

I could not have explained this at age five, of course; I have only recently become fully aware of it. Then, I only knew that on the mountain I was safe and off it I was not. Everything in my small being strained after mygrandmother and grandfather Compton as they drove away from the sly, sunless home of my Cash grandparents in their sedate old Chrysler that sunny afternoon; I felt as if sunlight and laughter and gentleness and childhood itself were rolling away with them. But the new flatland fear was stronger. When I turned my face into the sagging lap of my grandmother Cash, she thought I wept in sorrow for my parents and said for the first of a thousand times, "That's all right. You done right. You stay here with your own kind. Your mama wouldn't be lyin' there in her grave if she'd of stayed with her own kind."

But I'm not your kind, I remember thinking as clearly as spring water. I don't need you. It's your house I need. It's this mountain.

It was, I realize, an extraordinary insight for a small child. And it did not surface again for more than thirty years. Still, the power of it served. It held me on the Mountain through everything that came afterward, all those years that seem in retrospect to have been lived in a kind of green darkness, until I met Joe Gaillard in my senior year at Trinity College and the last lingering darkness took fire into light.

When I told him about my parents' death — and I remember it was long after I met him, only days before he proposed to me — he cried. I stared at him doubtfully; no one had ever cried upon hearing the manner of their deaths, and some few laughed outright, nervous, swiftly stifled laughter. Even I had not cried after that first obliterating grief. I was not too young to perceive that they had somehow simply died of ludicrousness. I learned early to parrot laughter along with the children at Montview Day School, where my Compton grandparents' absentee largesse sent me, when they taunted me with it: "Cat's mama and daddy fucked themselves to death!" "Hey, Cat! Wanna go out and hump on the bridge?"

Later, when I began to perceive the dim shape of their meaning, I stopped laughing and began fighting. By the time I was ten, I was on the brink of being expelled for aggression. Time and Cora Pierce's influence put a stop to that, but I still hear the laughter sometimes, in the long nights on the Mountain.

"I'm lucky you weren't a serial murderer or a Republican," I told Joe later. "I'd have married you anyway. It's pretty obvious I would have married the first man who didn't wince and grin a shit-faced grin and say, 'Well, at least they died happy.'"

"I wasn't crying for them; they probably did die happy, at that," he said. "I was crying for you. Nobody should laugh at a child's grief. Nobody. Ever."

"Well, it wasn't at my grief, exactly," I said. "It's just — you can see why it's funny, in an awful sort of way, can't you? I mean, there they were out on that bridge, just going to town, and here comes this chicken truck —"

"Nobody," Joe said fiercely. "Never. Not under any circumstance. Jesus Christ, when I think what that laughter must have taught you about the world —"

"It taught me never to screw on bridges," I said, and he did laugh then, the exuberant, froggy laugh that always made people's lips tug up involuntarily at the corners. I knew he was laughing largely because I wanted him to. Joe was a lovely man then, in the supple greenness of his twenties.

My father was a tall fair boy who came to Trinity College because his father and grandfather had come before him; and before them his great-grandfather Cornelius Compton, an Episcopal bishop of modest fame in the South, had helped to found the university. There had been Comptons at Trinity since the beginning.

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Reading Group Guide

"Sometimes, I can feel in my bones a woman who's been dead 100 years wagging her finger at me, telling me that a lady doesn't make waves, a lady doesn't confront. Sometimes I find myself deferring to some old gentleman with no sense at all. It's not easy to escape . . . I think the South can be just a killer for its gifted women. My mother still says, once a year, 'It's not too late to get a teaching certificate.' . . . She just wants to make sure I'm not going to end up sleeping on a grate."
Plot Summary
As a small girl, Catherine Gaillard witnesses an event which irrevocably alters the rest of life: her parents, lying naked and in the throes of ecstasy atop a bridge, are accidentally run over and killed. The experience leaves young Cat traumatized, and renders her incapable of leaving her cloistered mountaintop town in Tennessee. Once she escapes to the lofty heights of Trinity College, atop Morgan's Mountain, Cat simply refuses to ever come back down, in the fear that she would be sacrificing her ability to "see danger coming." Over the years, Cat constructs a perfect, self-contained world first for herself and then for her husband, Joe, a Yankee professor at Trinity. She manages to become the hub of social activity at Trinity, as well as raise her blind daughter, Lacey, all without ever leaving the safety of her mountain. But now, thirty years later, Cat realizes her need to confront her childhood fears and venture out into the world. When Joe's star pupils, Colin and Maria, invite the Gaillards to their wedding in Rome and then to accompany them on their honeymoon through Venice, Florence, and the surrounding Tuscany, Cat decides to take them upon their offer. Armed with the wise words of her psychiatrist and friend, Corinne, as well as a healthy quantity of Valium, Cat and Joe arrive in Rome, both exhilarated and apprehensive. They immediately find themselves swept up in the high society world of Maria's aunt Ada, and her husband, Sam Forrest, the internationally renowned charismatic painter. They are joined by the libidinous television personality, Yolanda Whitney, and soon all seven are traveling together throughout Italy. But as Italy releases in Cat a feeling of strength and confidence, her newfound freedom threatens to disrupt the comfortable patterns of her marriage. When Sam, who is currently experiencing a crippling dry spell in his painting, asks if he can paint Cat's portrait as they travel, the sexual tensions mount. The once-carefree trip turns into a journey to the very heart of their relationship and identities, as Cat and Joe find themselves in the midst of the ultimate test of their love.Topics for Discussion
1. Three troubled marriages are portrayed in Hill Towns: Colin and Maria's, Sam and Ada's, and Cat and Joe's. How are their struggles and coping methods unique? What are the strengths and weaknesses of each couple? How would you characterize each couple? What aspects of each relationship do you find healthy? Unhealthy?

2. Cat remarks that in Venice, "we began to change in earnest, Joe and I, on that first slow ride down the Canal Grande. Or perhaps it was simply that we began to become . . . us." What does she mean? How were they not themselves while still living at Trinity? What does it mean to 'become yourself?' What role did Venice and Italy play in their changes? Do you think they would have changed had they gone somewhere else in Europe? Or if they had merely gone somewhere else in America?

3. How does Catherine's pathology of needing to always be "able to see what was coming" manifest itself in her behavior? How has it shaped her identity? What is it that enabled her to break free from her fears?

4. How have Cat and Joe coped with their daughter's blindness? Has Lacey's disability served to bring them closer together, or has it planted the seeds of disunion?

5. Compare Joe and Sam. What qualities does Italy draw out of each? What about each of them attracts Catherine? Why are Sam and Joe drawn to Catherine? Which one best understands Cat's needs and desires?

6. Why do you think Sam wants to paint Cat's portrait? What is it he is trying to capture on canvas? Why does Sam show Cat Bernini's "Saint Teresa in Ecstasy?" What is the relationship between Sam's art and his sexuality?

7. Cat and Joe's relationship undergoes a profound change as a result of their visit to Italy. By the end of the novel, what is the state of their marriage? Has Cat betrayed Joe? Has Joe betrayed Cat? How do you define betrayal? What do you think is the next step?

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Customer Reviews

Average Rating 3.5
( 9 )
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Sort by: Showing all of 9 Customer Reviews
  • Posted October 23, 2013

    Could have been better

    Ms. Siddons is a gifted writer, and I was excited to find one of her books, that I hadn't yet read. It's too bad she felt it necessary to pepper crude language throughout the book. As with other reviewers, I found this distracting, and it took away from the enjoyment of the book. In the end, my high hopes were dashed. I can only give this two stars, that being for her ablities and the hard work i'm sure she put into the book.

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  • Anonymous

    Posted September 8, 2012

    Wonderfully Fun Read

    I think Anne Siddons writes with great sophistication and has a wonderful way with vocabulary. Her descriptive material is absoltely beautiful. She chooses areas of the country; The deep South, the popular vacation seaside of the North in Maine, the poor mountains of Virginia, etc., and introduces you to the specific groups of people that will carry the story line through the book. You get insight into a culture that you might not otherwise have had an opportunity to get to know.
    I enjoyed this book especially in my personal ability to relive the travels thru Italy. Again, I mostly enjoyed the wonderful descriptions of the cities, the countryside, the museums, her impressions of the culture, food and art, as visitor to all the places I was familiar with. It brought back wonder memories.
    I read her COLONY and found the same use of language that I very much enjoyed. I also enjoyed meeting this cast as it was so different from the group in Hill Town. I find her books a relaxing and fun read. I have just started Fox's Earth. This book seems a little bit heavier. But again, the language is wonderfully flowing.

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  • Anonymous

    Posted August 5, 2008

    Hill Towns Review

    I am about 3/4 of the way through this book and have greatly enjoyed it. It is one of Ms Siddons best yet. Hill Towns has been the only one so far that has been out of print so had to order through Barnes&Noble 'used' section. Her writing makes you feel like you are in Italy with the characters.

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  • Anonymous

    Posted May 9, 2004

    Real

    Not only was this book a realistic story of how personal growth can upset a relationship's applecart, it made me want to go to Italy!

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  • Anonymous

    Posted June 16, 2003

    The Author Tries Too Hard

    This was a book that tried way too hard to shock people. In fact, the author took so many cheap shots that it was kind of pathetic. The main character, Catherine, is afraid of bridges because her parents used to put her in the back seat of their car and have sex on bridges. Wow, am I supposed to be shocked? Her shrink is a lesbian. Am I supposed to be shocked again? I came away just feeling rather cheated.

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    Posted November 29, 2009

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    Posted August 24, 2011

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    Posted May 4, 2011

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    Posted November 21, 2011

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