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In this stunning tale, Shalev masterfully interweaves two remarkable personal stories. Yair Mendelsohn, a middle-aged Israeli tour guide favored with bird watchers, learns that one of his new American clients fought in the Palmach, a clandestine military force in Israel's 1948 war of independence. The American recounts a day when a homing pigeon handler, nicknamed "the Baby" for his childlike features, was killed in that war and, in his final moments, sent off one last pigeon. Yair is familiar with the American's story and listens with wistfulness. As Yair slowly tells of his present and his past, Shalev patiently builds tension around the Baby's final dispatch, giving vivid detail on homing pigeons and conveying the unique relationship between the birds and their keepers-which echoes the touching care with which the Baby and his true love, "the Girl," treat one another. The dark, stocky Yair, whose marriage is threatened by his burgeoning relationship with childhood friend Tirzah, makes a sympathetic protagonist. This gem of a story about the power of love, which won Israel's Brenner Prize, brims with luminous originality. (Oct.)
Copyright 2007 Reed Business InformationImages of home in its many guises permeate Israeli novelist Shalev's latest work to be translated into English, following Blue Mountain, The Loves of Judith, and Esau. With the land of Israel in the background and frequently the foreground, the intertwined stories introduce two teenage handlers of messenger homing pigeons whose love blooms in the 1940s through the War of Independence and the battle for Jerusalem, as well as narrator Yair Mendelson, his unusual conception, his unhappy marriage, and his longing for a home of his own. Yair achieves his wish: he builds his new home with the help of his female contractor, with whom he falls in love. All the characters and their families are linked, homing pigeons make their nests, and the characters whose lives come together all have "homing" stories as well. Magical realism works beautifully in this powerfully suffused novel of love, loss, and the need for home. Highly recommended.
—Molly Abramowitz
1. We enter A Pigeon and a Boy in the middle of a story. First we hear the words of the old Palmach fighter, who speaks as a witness to a historical moment, and then Yair, the narrator, adds to the story the emotional experience of the pigeon. Did you find this an effective opening? How did it draw you into the story, or keep you distanced from it?
2. What is the importance of occupations in the novel: Liora's business, Tirzah's contractor work, Yordad's doctoring, Yair's role as a tour guide and driver? What does their work say about how each character approaches his or her life?
3. The act of naming is essential to how we see one another and to the relationships we claim for ourselves. Yair's family calls Yaacov "Yordad"; Yordad calls Yair "Yairi," meaning "my Yair"; Tirzah calls her father "Meshulam"; Meshulam calls Yair and Tirzah "Iraleh and Tiraleh." How do you think these choices affect both those who are named and those who are naming?
4. What do you make of Meshulam's role in the novel? How is his presence like and unlike that of Dr. Laufer, whose actions help direct the fate of the Girl and the Baby—as Meshulam attempts to encourage Tirzah and Yair to have a life together?
5. The necessity of a house that responds and belongs to the person inside it is essential to Raya and, in turn, to Yair. How important is the idea of home to the other character—to Benjamin, Yordad, Tirzah, Meshulam, Dr. Laufer? What is your own definition of home?
6. There are elements of magical realism in the novel, specifically when the pigeons speak—once to Raya and once to Yair. What is theeffect of these conversations? What is the significance of the pigeons' words? Why do you think Raya and Yair react in such dramatically different ways? Yair's experiences of the world are so tied to his mother's—when she is pregnant, he gets sick as well—yet he cannot bear to have pigeons in his house or to deal with them in any way. What does his violence against the pigeon in the end suggest about his connection to his mother?
7. The presence of cranes creates a contrast to the homing pigeons. For Yair, cranes mark the beginning and the return of Liora to his life; while for Raya, pigeons define the beginning and the end of the Baby's life. What do you make of the role of the different birds in the novel, and what do they symbolize?
8. To make decisions, Raya and Yair both compile lists FOR and AGAINST. Yordad classifies the world, dividing it up into parts and working to fix what is broken. What does this difference suggest about the divide between Raya and Yordad? Do you recognize your own way of making decisions in either approach?
9. Why do you think Raya chose to marry Yordad, and why do you think she chose to leave him when she did?
10. The novel explores in intricate and moving passages the ways in which faith and destiny determine our lives—from the pigeon landing on the Girl's balcony to Meshulam bringing his sick son to Yordad's offices. Yair speaks often about fate and how others predict his story, and also speaks of his own passive character traits: "I am a kite whose string has severed. . . . I settle for hopes and wishes, in the manner of the devout in prayer; like a hammer that pounds again and again on the same spot." What do you think the novel suggests about the role of destiny, and about the importance of our own choices to determine our fate?
11. Speaking to Yordad after he returns from medical school, and after the Baby's death, Raya says to him: "Funny, how Dr. Laufer determined all of our fates. Yours, mine, my baby that lives, and my Baby who died." Dr. Laufer, like Meshulam, is a figure of utmost importance, yet one who remains in the background of the story. What do you make of his character, and of his role in the fate of Raya, her love, and her family?
12. Yair often remarks on how different he is from his brother, though both were raised by Yordad as his sons. What does the novel suggest about what is inherited and what can be given?
13. How does the novel explore the ways in which we mourn our dead? Is Yair's narration a way of mourning his mother? What do you make of Meshulam sleeping in his son, Gershon's, bed after his death?
14. When Yordad returns to Raya, he states that he believes souls can be fixed. What does the novel suggest about the ability of people to fix their souls and their lives? Do you think Raya is ever able to love Yordad?
15. At the heart of the novel is the idea of story: that we exist as part of a story, both our own and that of others. Raya asks her son, "Do you understand what every person needs?" and Yair replies, "A story." What do you think the novel says about why stories are essential to our existence and about what it means to claim a story as your own—and, additionally, that every story we tell is more about us than it can be about any other person figuring in the story?
16. This question of story relates very intimately to the act of writing and reading. In creating this novel, the author had an array of narrative choices. What do you think of Shalev's choice of a first-person narrator who speaks to "you" (his mother), as well as to us, the readers? Is Yair a trustworthy narrator? And how do our own personal experiences—of love, family, loss—affect our reaction to the novel?
17. Yair remarks frequently how his mother greets houses: "Hello, house." Liora, lying with Yair at his house, says, "Hello, you," and Yair's "body breathes and responds." What do you think is similar and different about Yair's love and connection to the women and houses in his life: his mother and their home; Tirzah and the house she builds for him; and Liora and the apartment they own? Why do you think Yair chooses to go back to Liora in the end, to show her the house that has been created wholly without her?
18. Only the last chapter in the novel is named, instead of numbered. Why do you think the author chose to name it, and to include a summary of what happens to the characters after Yair's narration ends? How does the inclusion of this final chapter relate to your experience of the novel as a whole? Do you appreciate hearing what happens to the characters, or is it disruptive to the narrative voice?
1. We enter A Pigeon and a Boy in the middle of a story. First we hear the words of the old Palmach fighter, who speaks as a witness to a historical moment, and then Yair, the narrator, adds to the story the emotional experience of the pigeon. Did you find this an effective opening? How did it draw you into the story, or keep you distanced from it?
2. What is the importance of occupations in the novel: Liora's business, Tirzah's contractor work, Yordad's doctoring, Yair's role as a tour guide and driver? What does their work say about how each character approaches his or her life?
3. The act of naming is essential to how we see one another and to the relationships we claim for ourselves. Yair's family calls Yaacov "Yordad"; Yordad calls Yair "Yairi," meaning "my Yair"; Tirzah calls her father "Meshulam"; Meshulam calls Yair and Tirzah "Iraleh and Tiraleh." How do you think these choices affect both those who are named and those who are naming?
4. What do you make of Meshulam's role in the novel? How is his presence like and unlike that of Dr. Laufer, whose actions help direct the fate of the Girl and the Baby—as Meshulam attempts to encourage Tirzah and Yair to have a life together?
5. The necessity of a house that responds and belongs to the person inside it is essential to Raya and, in turn, to Yair. How important is the idea of home to the other character—to Benjamin, Yordad, Tirzah, Meshulam, Dr. Laufer? What is your own definition of home?
6. There are elements of magical realism in the novel, specifically when the pigeons speak—once to Raya and once to Yair. What is the effect of these conversations? What is the significance of the pigeons' words? Why do you think Raya and Yair react in such dramatically different ways? Yair's experiences of the world are so tied to his mother's—when she is pregnant, he gets sick as well—yet he cannot bear to have pigeons in his house or to deal with them in any way. What does his violence against the pigeon in the end suggest about his connection to his mother?
7. The presence of cranes creates a contrast to the homing pigeons. For Yair, cranes mark the beginning and the return of Liora to his life; while for Raya, pigeons define the beginning and the end of the Baby's life. What do you make of the role of the different birds in the novel, and what do they symbolize?
8. To make decisions, Raya and Yair both compile lists FOR and AGAINST. Yordad classifies the world, dividing it up into parts and working to fix what is broken. What does this difference suggest about the divide between Raya and Yordad? Do you recognize your own way of making decisions in either approach?
9. Why do you think Raya chose to marry Yordad, and why do you think she chose to leave him when she did?
10. The novel explores in intricate and moving passages the ways in which faith and destiny determine our lives—from the pigeon landing on the Girl's balcony to Meshulam bringing his sick son to Yordad's offices. Yair speaks often about fate and how others predict his story, and also speaks of his own passive character traits: "I am a kite whose string has severed. . . . I settle for hopes and wishes, in the manner of the devout in prayer; like a hammer that pounds again and again on the same spot." What do you think the novel suggests about the role of destiny, and about the importance of our own choices to determine our fate?
11. Speaking to Yordad after he returns from medical school, and after the Baby's death, Raya says to him: "Funny, how Dr. Laufer determined all of our fates. Yours, mine, my baby that lives, and my Baby who died." Dr. Laufer, like Meshulam, is a figure of utmost importance, yet one who remains in the background of the story. What do you make of his character, and of his role in the fate of Raya, her love, and her family?
12. Yair often remarks on how different he is from his brother, though both were raised by Yordad as his sons. What does the novel suggest about what is inherited and what can be given?
13. How does the novel explore the ways in which we mourn our dead? Is Yair's narration a way of mourning his mother? What do you make of Meshulam sleeping in his son, Gershon's, bed after his death?
14. When Yordad returns to Raya, he states that he believes souls can be fixed. What does the novel suggest about the ability of people to fix their souls and their lives? Do you think Raya is ever able to love Yordad?
15. At the heart of the novel is the idea of story: that we exist as part of a story, both our own and that of others. Raya asks her son, "Do you understand what every person needs?" and Yair replies, "A story." What do you think the novel says about why stories are essential to our existence and about what it means to claim a story as your own—and, additionally, that every story we tell is more about us than it can be about any other person figuring in the story?
16. This question of story relates very intimately to the act of writing and reading. In creating this novel, the author had an array of narrative choices. What do you think of Shalev's choice of a first-person narrator who speaks to "you" (his mother), as well as to us, the readers? Is Yair a trustworthy narrator? And how do our own personal experiences—of love, family, loss—affect our reaction to the novel?
17. Yair remarks frequently how his mother greets houses: "Hello, house." Liora, lying with Yair at his house, says, "Hello, you," and Yair's "body breathes and responds." What do you think is similar and different about Yair's love and connection to the women and houses in his life: his mother and their home; Tirzah and the house she builds for him; and Liora and the apartment they own? Why do you think Yair chooses to go back to Liora in the end, to show her the house that has been created wholly without her?
18. Only the last chapter in the novel is named, instead of numbered. Why do you think the author chose to name it, and to include a summary of what happens to the characters after Yair's narration ends? How does the inclusion of this final chapter relate to your experience of the novel as a whole? Do you appreciate hearing what happens to the characters, or is it disruptive to the narrative voice?
A Pigeon and a Boy is a fine illustration of newly created parallel worlds which flow along unerringly, develop a rhythm by their own uniqueness and individuality and finally intersect with an ardency and impact that leaves the reader startled. Throughout the narrative, the reader experiences shifts in moods. The tone of the story begins quietly, almost reluctantly. Building on this, the drama offers brief glimpses of unresolved sorrows and temporary rays of sunshine and then further storms follow until the tension builds to an almost unbearable point. The ability of a story to put a finger on a sensitive part of somebody's soul is the true test of artistic commission. The soldier, Baby, as he lay dying, "Cold gushed from his bones and inundated his flesh. His heart grew tranquil... with open eyes, watched the pigeon fly, at first light-colored as she distanced herself, then darker as she ascended, with soft, puffed breast and strong wings, so beautiful that he craved nothing more than to rise toward her, to hold and kiss her before he died."
The novel is comprised of two separate stories conjoined by an unlikely device: a letter transported by carrier pigeon. The first story takes place around the 1940s before and during the Six-Day War when homing pigeons were used for military purposes. Shalev's characters in the first story are two pigeon handlers, Baby and Raya, whose love affair is kept alive via letters carried by the pigeons.
The second story is set in the present, centering around an Israeli man, Yair Mendelsohn, who wants to escape his current life in Jerusalem for a new home on the coast. The stories are intertwined by the motif of "home," symbolized by the pigeon's constant flight back. The building of a home is a creation of comfort. Shalev's rich sensory details allow the reader not only to see, but to touch, taste and hear and fully enter the scene. Meriam is defined by the incessant jiggling of her knees and the smoke curling from her evening cigarette; Raya's voice resounds in our ears saying, "I can't take it anymore"; Meshulam's blue handkerchief that appears from his breast pocket to dab the corner of his eye dabs our tears as well.
Shalev paints Yair as a flawed character, one who is easily flustered, hampered throughout life by his short stature, dark, closely spaced eyes, steel-wool hair, the face of a thug and his thick skull. Benjamin, Yair's brother, was the charmer, an angelic child with soft, fair colored curls and precocious, cunning intellect. Yair believes him to be more loved by his mother, a resentment that percolates their lives. His reluctance to leave his loveless marriage is disturbing.
Baby possessed the qualities of goodness, virtue, tenderness, passion and loyalty rarely seen. Whatever handicaps he had by way of birth, he remained true to his love of pigeons and to the ten characteristics of a good pigeon handler. Examined carefully, they mimic the Ten Commandments. Baby was a man of God. In a mystical way, this part seemed written by the female Belgian homing pigeon that Raya gave to Baby. As the pigeon soared and took flight, Baby ascended; his heart beat in synchrony with the heart of the pigeon. She flew fearlessly, determinedly and came home bringing Baby with her. She also reached out to us through storm clouds, treacherous winds, thunder, past hawk-eyed interceptors and deadly bullets and taught us that love and coming home to rest are what makes us whole.
Luciaparla
Posted November 21, 2009
Thought provoking. Lends itself to a very interesting discussion.
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Posted February 19, 2008
A compeling tale of love and life. I couldn't put it down.
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Posted April 3, 2008
While on vacation, I saw this book on the library shelf. I was caught up in the story, the characters, and especially how they all came together at the beautiful finale. The author was not familiar to me but I found him to possess skills as a masterful writer and storyteller! A great way to spend a rainy day.
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Overview
From the internationally acclaimed Israeli writer Meir Shalev comes a mesmerizing novel of two love stories, separated by half a century but connected by one enchanting act of devotion.During the 1948 War of Independence--a time when pigeons are still used to deliver battlefield messages--a gifted young pigeon handler is mortally wounded. In the moments before his death, he dispatches one last pigeon. The bird is carrying his extraordinary gift to the girl he has loved since adolescence. Intertwined with this story is the contemporary tale of Yair Mendelsohn, who has his own legacy from the 1948 war. Yair is a tour guide specializing in ...