Lila: A Novel

Lila: A Novel

by Marilynne Robinson

Narrated by Maggie Hoffman

Unabridged — 8 hours, 57 minutes

Lila: A Novel

Lila: A Novel

by Marilynne Robinson

Narrated by Maggie Hoffman

Unabridged — 8 hours, 57 minutes

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Overview

A new American classic from the Pulitzer Prize-winning author of Gilead and Housekeeping

Marilynne Robinson, one of the greatest novelists of our time, returns to the town of Gilead in an unforgettable story of a girlhood lived on the fringes of society in fear, awe, and wonder.
Lila, homeless and alone after years of roaming the countryside, steps inside a small-town Iowa church-the only available shelter from the rain-and ignites a romance and a debate that will reshape her life. She becomes the wife of a minister, John Ames, and begins a new existence while trying to make sense of the life that preceded her newfound security.
Neglected as a toddler, Lila was rescued by Doll, a canny young drifter, and brought up by her in a hardscrabble childhood. Together they crafted a life on the run, living hand to mouth with nothing but their sisterly bond and a ragged blade to protect them. Despite bouts of petty violence and moments of desperation, their shared life was laced with moments of joy and love. When Lila arrives in Gilead, she struggles to reconcile the life of her makeshift family and their days of hardship with the gentle Christian worldview of her husband which paradoxically judges those she loves.
Revisiting the beloved characters and setting of Robinson's Pulitzer Prize-winning Gilead and Home, a National Book Award finalist, Lila is a moving expression of the mysteries of existence that is destined to become an American classic.


Editorial Reviews

OCTOBER 2014 - AudioFile

Lila is a complex character, a smart but essentially feral child-woman. It would take a wise and subtle actor to find the right audio voice for her jumpy, puzzled, contradictory inner life, and Maggie Hoffman is not that actor. She consistently misses where the emotional weight of a sentence lies, rushing through each one as if it contained mere data, not surprise, revelation, or narrative power. She swallows words and allows no breathing space around sentences or speeches that would pack a wallop on the page. Nor does she come anywhere close to a believable voice for Lila’s elderly preacher husband, John Ames, familiar to Robinson’s fans from two earlier novels. Those fans will be better served by reading the book with their eyes. B.G. © AudioFile 2014, Portland, Maine

Publishers Weekly

★ 05/12/2014
This third of three novels set in the fictional plains town of Gilead, Iowa, is a masterpiece of prose in the service of the moral seriousness that distinguishes Robinson’s work. This time the narrative focuses on Lila, the young bride of elderly Reverend Ames, first met in Gilead. Rescued as a toddler from abusive caretakers by a rough but kind drifter named Doll, raised with love but enduring the hard existence of a field worker, and later, in a St. Louis whorehouse, Lila is a superb creation. Largely uneducated, almost feral, Lila has a thirst for stability and knowledge. As she yearns to forget the terrible memories and shame of her past, Lila is hesitant to reveal them to her loving new husband. The courtship of the couple—John Ames: tentative, tender, shy, and awkward; Lila: naive, suspicious, wary, full of dread—will endure as a classic set piece of character revelation, during which two achingly lonely people discover the comfort of marital love. Threaded through the narrative are John Ames’s troubled reflections that the doctrines of his Calvinist theology, including the belief that those who are not saved are destined for hell, are too harsh. Though she reads the Bible to gain knowledge, Lila resists its message, because it teaches that her beloved Doll will never gain the peace of heaven. Her questions stir up doubt in Ames’s already conflicted mind, and Robinson carefully crafts this provocative and deeply meaningful spiritual search for the meaning of existence. What brings the couple together is a joyous appreciation of the beauty of the natural world and the possibility of grace. The novel ends with the birth of their son, to whom Ames will leave his diary in Gilead. (Oct.)

From the Publisher

Writing in lovely, angular prose that has the high loneliness of an old bluegrass tune, Ms. Robinson has created a balladlike story . . . The novel is powerful and deeply affecting . . . Ms. Robinson renders [Lila's] tale with the stark poetry of Edward Hopper or Andrew Wyeth.” —Michiko Kakutani, The New York Times

Lila is a book whose grandeur is found in its humility. That's what makes Gilead among the most memorable settings in American fiction . . . Gilead [is] a kind of mythic everyplace, a quintessential national setting where our country's complicated union with faith, in all its degrees of constancy and skepticism, is enacted.” —Sam Sacks, The Wall Street Journal

“My message is simple. Even if you haven't found the two previous books to your taste, give Lila a try . . . what we get . . . is the highest fictional magic: a character who seems so real, it's hard to remember that she exists only in the page of this book.” —John Wilson, Chicago Tribune

Lila, Marilynne Robinson's remarkable new novel, stands alone as a book to read and even read again. It's both a multilayered love story and a perceptive look at how early deprivation causes lasting damage . . . Robinson is a novelist of the first order.” —Ellen Heltzel, The Seattle Times

Grade: A Emotionally and intellectually challenging, it's an exploration of faith in God, love, and whatever else it takes to survive.” —Entertainment Weekly

“Gorgeous writing, an absolutely beautiful book . . . This should come as no surprise to anyone familiar with Robinson, a novelist who can make the most quotidian moments epic because of her ability to peel back the surfaces of ordinary lives . . . [a] profound and deeply rendered novel.” —David L. Ulin, Los Angeles Times

“Ever since the publication of Robinson's thrilling first novel, Housekeeping, reviewers have been pointing out that, for an analyst of modern alienation, she is an unusual specimen: a devout Protestant, reared in Idaho. She now lives in Iowa City, where she teaches at the Iowa Writers' Workshop and where, for years, she has been accustomed to interrupting her career as a novelist to produce essays on such matters as the truth of John Calvin's writings. But Robinson's Low Church allegiance has hugely benefited her fiction . . . This is an unflinching book.” —Joan Acocella, The New Yorker

“Marilynne Robinson tracks the movements of grace as if it were a wild animal, appearing for fleeting intervals and then disappearing past the range of vision, emerging again where we least expect to find it. Her novels are interested in what makes grace necessary at all—shame and its afterlife, loss and its residue, the limits and betrayals of intimacy. In Lila, her brilliant and deeply affecting new novel, even her description of sunlight in a St. Louis bordello holds a kind of heartbreak.” —Leslie Jamison, The Atlantic

“Radiant . . . As in Gilead and Home, Robinson steps away from the conventions of the realistic novel to deal with metaphysical abstractions, signaling by the formality of her language her adoption of another convention, by which characters inhabiting an almost Norman Rockwell-ish world . . . live and think on a spiritual plane . . . [Lila is] a mediation on morality and psychology, compelling in its frankness about its truly shocking subject: the damage to the human personality done by poverty, neglect and abandonment.” —Diane Johnson, The New York Times Book Review

“In her new novel, Lila, Marilynne Robinson has written a deeply romantic love story embodied in the language and ideas of Calvinist doctrine. She really is not like any other writer. She really isn't . . . Robinson has created a small, rich and fearless body of work in which religion exists unashamedly, as does doubt, unashamedly.” —Cathleen Schine, The New York Review of Books

“Robinson's genius is for making indistinguishable the highest ends of faith and fiction . . . The beauty of Robinson's prose suggests an author continually threading with spun platinum the world's finest needle.” —Michelle Orange, Bookforum

“The protagonist of the stunning Lila is as lost a character as can be found in literature . . . Don't hesitate to read Lila . . . It's a novel that stands on its own and is surely one of the best of the year.” —Holly Silva, St Louis Post-Dispatch

“Existence and 'all the great storms that rise in it' are at the heart of Marilynne Robinson's glorious new novel, Lila . . . Lila isat oncepowerful, profound, and positively radiant in its depiction of its namesake, a child reared by drifters who finds a kindred soul in 'a big, silvery old man,' the Rev. John Ames . . . Life, death, joy, fear, doubt, love, violence, kindnessall of this, and more, dwells in Lila, a book, I will venture, already for the ages, its protagonist engraved upon our souls.” —Karen Brady, The Buffalo News

Lila is a dark, powerful, uplifting, unforgettable novel. And Robinson's Gilead trilogyGilead, Home, and Lilais a great achievement in American fiction.” —Bryan Wooley, Dallas Morning News

Starred Review This third of three novels set in the fictional plains town of Gilead, Iowa, is a masterpiece of prose in the service of the moral seriousness that distinguishes Robinson's work . . . Lila is a superb creation. Largely uneducated, almost feral, Lila has a thirst for stability and knowledge." —Publishers Weekly

Starred Review Robinson has created a tour de force, an unforgettably dynamic odyssey, a passionate and learned moral and spiritual inquiry, a paean to the earth, and a witty and transcendent love story—all within a refulgent and resounding novel so beautifully precise and cadenced it wholly tranfixes and transforms us.” —Donna Seaman, Booklist

Starred Review This is a lovely and touching story that grapples with the universal question of how God can allow his children to suffer. Recommended for fans of Robinson as well as those who enjoyed Elizabeth Strout's Olive Kitteridge, another exploration of pain and loneliness set against the backdrop of a small town.” —Evelyn Beck, Library Journal

“Literary lioness Robinson—she's won a Pulitzer Prize for fiction, a Hemingway Foundation/PEN Award, and a National Book Critics Circle Award, among other laurels—continues the soaring run of novels with loosely connected story lines and deep religious currents that she launched a decade ago, almost a quarter century after her acclaimed fiction debut, Housekeeping . . . Lila's journey—its darker passages illuminated by Robinson's ability to write about love and the natural world with grit and graceful reverence—will mesmerize both longtime Robinson devotees and those coming to her work for the first time.” —Elle

OCTOBER 2014 - AudioFile

Lila is a complex character, a smart but essentially feral child-woman. It would take a wise and subtle actor to find the right audio voice for her jumpy, puzzled, contradictory inner life, and Maggie Hoffman is not that actor. She consistently misses where the emotional weight of a sentence lies, rushing through each one as if it contained mere data, not surprise, revelation, or narrative power. She swallows words and allows no breathing space around sentences or speeches that would pack a wallop on the page. Nor does she come anywhere close to a believable voice for Lila’s elderly preacher husband, John Ames, familiar to Robinson’s fans from two earlier novels. Those fans will be better served by reading the book with their eyes. B.G. © AudioFile 2014, Portland, Maine

Kirkus Reviews

2014-08-07
More balm in Gilead as Robinson (When I Was a Child I Read Books, 2012, etc.) returns to familiar ground to continue the saga of John Ames and his neighbors. Ames, Robinson's readers will know, is a minister in the hamlet of Gilead, a quiet place in a quiet corner of a quiet Midwestern state. Deceptively quiet, we should say, for Robinson, ever the Calvinist (albeit a gentle and compassionate one), is a master at plumbing the roiling depths below calm surfaces. In this installment, she turns to the title character, Ames' wife, who has figured mostly just in passing in Gilead (2004) and Home (2008). How, after all, did this young outsider wind up in a place so far away from the orbits of most people? What secrets does she bear? It turns out that Lila has quite a story to tell, one of abandonment, want, struggle and redemption—classic Robinson territory, in other words. Robinson provides Lila with enough back story to fuel several other books, her prose richly suggestive and poetic as she evokes a bygone time before "everyone…started getting poorer and the wind turned dirty" that merges into a more recent past that seems no less bleak, when Lila, having subsisted on cattails and pine sap, wanders into Gilead just to look at the houses and gardens: "The loneliness was bad, but it was better than anything else she could think of." She never leaves, of course, becoming part of the landscape—and, as readers will learn, essential to the gradually unfolding story of Gilead. And in Robinson's hands, that small town, with its heat and cicadas, its tree toads and morning dew, becomes as real as Faulkner's Yoknapatawpha County, just as charged with meaning if a touch less ominous, Lila's talismanic knife notwithstanding. Fans of Robinson will wish the book were longer—and will surely look forward to the next.

Product Details

BN ID: 2940172183546
Publisher: Macmillan Audio
Publication date: 10/07/2014
Series: Gilead , #3
Edition description: Unabridged
Sales rank: 1,084,212

Read an Excerpt

The child was just there on the stoop in the dark, hugging herself against the cold, all cried out and nearly sleeping. She couldn’t holler anymore and they didn’t hear her anyway, or they might and that would make things worse. Somebody had shouted, Shut that thing up or I’ll do it! and then a woman grabbed her out from under the table by her arm and pushed her out onto the stoop and shut the door and the cats went under the house. They wouldn’t let her near them anymore because she picked them up by their tails sometimes. Her arms were all over scratches, and the scratches stung. She had crawled under the house to find the cats, but even when she did catch one in her hands it struggled harder the harder she held on to it and it bit her, so she let it go. Why you keep pounding at the screen door? Nobody gonna want you around if you act like that. And then the door closed again, and after a while night came. The people inside fought themselves quiet, and it was night for a long time. She was afraid to be under the house, and afraid to be up on the stoop, but if she stayed by the door it might open. There was a moon staring straight at her, and there were sounds in the woods, but she was nearly sleeping when Doll came up the path and found her there like that, miserable as could be, and took her up in her arms and wrapped her into her shawl, and said, “Well, we got no place to go. Where we gonna go?”

If there was anyone in the world the child hated worst, it was Doll. She’d go scrubbing at her face with a wet rag, or she’d be after her hair with a busted comb, trying to get the snarls out. Doll slept at the house most nights, and maybe she paid for it by sweeping up a little. She was the only one who did any sweeping, and she’d be cussing while she did it, Don’t do one damn bit of good, and someone would say, Then leave it be, dammit. There’d be people sleeping right on the floor, in some old mess of quilts and gunnysacks. You wouldn’t know from one day to the next.

When the child stayed under the table they would forget her most of the time. The table was shoved into a corner and they wouldn’t go to the trouble of reaching under to pull her out of there if she kept quiet enough. When Doll came in at night she would kneel down and spread that shawl over her, but then she left again so early in the morning that the child would feel the shawl slip off and she’d feel colder for the lost warmth of it, and stir, and cuss a little. But there would be hardtack, an apple, something, and a cup of water left there for her when she woke up. Once, there was a kind of toy. It was just a horse chestnut with a bit of cloth over it, tied with a string, and two knots at the sides and two at the bottom, like hands and feet. The child whispered to it and slept with it under her shirt.

Lila would never tell anyone about that time. She knew it would sound very sad, and it wasn’t, really. Doll had taken her up in her arms and wrapped her shawl around her. “You just hush now,” she said. “Don’t go waking folks up.” She settled the child on her hip and carried her into the dark house, stepping as carefully and quietly as she could, and found the bundle she kept in her corner, and then they went out into the chilly dark again, down the steps. The house was rank with sleep and the night was windy, full of tree sounds. The moon was gone and there was rain, so fine then it was only a tingle on the skin. The child was four or five, long-legged, and Doll couldn’t keep her covered up, but she chafed at her calves with her big, rough hand and brushed the damp from her cheek and her hair. She whispered, “Don’t know what I think I’m doing. Never figured on it. Well, maybe I did. I don’t know. I guess I probly did. This sure ain’t the night for it.” She hitched up her apron to cover the child’s legs and carried her out past the clearing. The door might have opened, and a woman might have called after them, Where you going with that child? and then, after a minute, closed the door again, as if she had done all decency required. “Well,” Doll whispered, “we’ll just have to see.”

The road wasn’t really much more than a path, but Doll had walked it so often in the dark that she stepped over the roots and around the potholes and never paused or stumbled. She could walk quickly when there was no light at all. And she was strong enough that even an awkward burden like a leggy child could rest in her arms almost asleep. Lila knew it couldn’t have been the way she remembered it, as if she were carried along in the wind, and there were arms around her to let her know she was safe, and there was a whisper at her ear to let her know that she shouldn’t be lonely. The whisper said, “I got to find a place to put you down. I got to find a dry place.” And then they sat on the ground, on pine needles, Doll with her back against a tree and the child curled into her lap, against her breast, hearing the beat of her heart, feeling it. Rain fell heavily. Big drops spattered them sometimes. Doll said, “I should have knowed it was coming on rain. And now you got the fever.” But the child just lay against her, hoping to stay where she was, hoping the rain wouldn’t end. Doll may have been the loneliest woman in the world, and she was the loneliest child, and there they were, the two of them together, keeping each other warm in the rain.

When the rain ended, Doll got to her feet, awkwardly with the child in her arms, and tucked the shawl around her as well as she could. She said, “I know a place.” The child’s head would drop back, and Doll would heft her up again, trying to keep her covered. “We’re almost there.”

It was another cabin with a stoop, and a dooryard beaten bare. An old black dog got up on his forelegs, then his hind legs, and barked, and an old woman opened the door. She said, “No work for you here, Doll. Nothing to spare.”

Doll sat down on the stoop. “Just thought I’d rest a little.”

“What you got there? Where’d you get that child?”

“Never mind.”

“Well, you better put her back.”

“Maybe. Don’t think I will, though.”

“Better feed her something, at least.”

Doll said nothing.

The old woman went into the house and brought out a scrap of corn bread. She said, “I was about to do the milking. You might as well go inside, get her in out of the cold.”

Doll stood with her by the stove, where there was just the little warmth of the banked embers. She whispered, “You hush. I got something for you here. You got to eat it.” But the child couldn’t rouse herself, couldn’t keep her head from lolling back. So Doll knelt with her on the floor to free her hands, and pinched off little pills of corn bread and put them in the child’s mouth, one after another. “You got to swallow.”

The old woman came back with a pail of milk. “Warm from the cow,” she said. “Best thing for a child.” That strong, grassy smell, raw milk in a tin cup. Doll gave it to her in sips, holding her head in the crook of her arm.

“Well, she got something in her, if she keeps it down. Now I’ll put some wood on the fire and we can clean her up some.”

When the room was warmer and the water in the kettle was warm, the old woman held her standing in a white basin on the floor by the stove and Doll washed her down with a rag and a bit of soap, scrubbing a little where the cats had scratched her, and on the chigger bites and mosquito bites where she had scratched herself, and where there were slivers in her knees, and where she had a habit of biting her hand. The water in the basin got so dirty they threw it out the door and started over. Her whole body shivered with the cold and the sting. “Nits,” the old woman said. “We got to cut her hair.” She fetched a razor and began shearing off the tangles as close to the child’s scalp as she dared—“I got a blade here. She better hold still.” Then they soaped and scrubbed her head, and water and suds ran into her eyes, and she struggled and yelled with all the strength she had and told them both they could rot in hell. The old woman said, “You’ll want to talk to her about that.”

Doll touched the soap and tears off the child’s face with the hem of her apron. “Never had the heart to scold her. Them’s about the only words I ever heard her say.” They made her a couple of dresses out of flour sacks with holes cut in them for her head and arms. They were stiff at first and smelled of being saved in a chest or a cupboard, and they had little flowers all over them, like Doll’s apron.

*   *   *

It seemed like one long night, but it must have been a week, two weeks, rocking on Doll’s lap while the old woman fussed around them.

“You don’t have enough trouble, I guess. Carrying off a child that’s just going to die on you anyway.”

“Ain’t going to let her die.”

“Oh? When’s the last time you got to decide about something?”

“If I left her be where she was, she’da died for sure.”

“Well, maybe her folks won’t see it that way. They know you took her? What you going to say when they come looking for her? She’s buried in the woods somewhere? Out by the potato patch? I don’t have troubles enough of my own?”

Doll said, “Nobody going to come looking.”

“You probly right about that. That’s the spindliest damn child I ever saw.”

But the whole time she talked she’d be stirring a pot of grits and blackstrap molasses. Doll would give the child a spoonful or two, then rock her a little while, then give her another spoonful. She rocked her and fed her all night long, and dozed off with her cheek against the child’s hot forehead.

The old woman got up now and then to put more wood in the stove. “She keeping it down?”

“Mostly.”

“She taking any water?”

“Some.”

When the old woman went away again Doll would whisper to her, “Now, don’t you go dying on me. Put me to all this bother for nothing. Don’t you go dying.” And then, so the child could barely hear, “You going to die if you have to. I know. But I got you out of the rain, didn’t I? We’re warm here, ain’t we?”

After a while the old woman again. “Put her in my bed if you want. I guess I won’t be sleeping tonight, either.”

“I got to make sure she can breathe all right.”

“Let me set with her then.”

“She’s clinging on to me.”

“Well.” The old woman brought the quilt from her bed and spread it over them.

The child could hear Doll’s heart beating and she could feel the rise and fall of her breath. It was too warm and she felt herself struggling against the quilt and against Doll’s arms and clinging to her at the same time with her arms around her neck.

Copyright © 2014 by Marilynne Robinson

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