Them (Modern Library Paperbacks Series)

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Overview

Joyce Carol Oates’s Wonderland Quartet comprises four remarkable novels that explore social class in America and the inner lives of young Americans. As powerful and relevant today as it on its initial publication, them chronicles the tumultuous lives of a family living on the edge of ruin in the Detroit slums, from the 1930s to the 1967 race riots. Praised by The Nation for her “potent, life-gripping imagination,” Oates traces the aspirations and struggles of Loretta Wendall, a dreamy young mother who is filled ...
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Them

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Overview

Joyce Carol Oates’s Wonderland Quartet comprises four remarkable novels that explore social class in America and the inner lives of young Americans. As powerful and relevant today as it on its initial publication, them chronicles the tumultuous lives of a family living on the edge of ruin in the Detroit slums, from the 1930s to the 1967 race riots. Praised by The Nation for her “potent, life-gripping imagination,” Oates traces the aspirations and struggles of Loretta Wendall, a dreamy young mother who is filled with regret by the age of sixteen, and the subsequent destinies of her children, Maureen and Jules, who must fight to survive in a world of violence and danger.

Winner of the National Book Award, them is an enthralling novel about love, class, race, and the inhumanity of urban life. It is, raves The New York Times, “a superbly accomplished vision.”

Them is the third novel in the Wonderland Quartet. The books that complete this acclaimed series, A Garden of Earthly Delights, Expensive People, and Wonderland, are also available from the Modern Library.

Winner of the 1970 National Book Award

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Editorial Reviews

From the Publisher
Praise for The Wonderland Quartet, four early novels by Joyce Carol Oates

A Garden of Earthly Delights
Expensive People them
Wonderland

"Protean and prodigious are surely the words that describe Ms. Oates. From the very beginning, as these impressive and diverse novels make clear, her talents and interests and strengths have never found comfort in restraint. She's sought, instead, to do it all -- to face and brilliantly, inventively transact and give shape to as much of experience as possible, as if by no other means is a useful and persuasive gesture of moral imagination even conceivable. For us readers these are valuable books." -- Richard Ford

"These four novels reveal Oates' powers of observation and invention, her meticulous social documentation joined to her genius for forging unforgettable myths. She is one of the handful of great American novelists of the last hundred years. " -- Edmund White
"This rich, kaleidoscopic suite of novels displays the young Joyce Carol Oates exercising her formidable artistic powers to portray a turbulent twentieth-century America. They offer the reader a singular opportunity to experience some of Oates's best writing and to witness her development, novel by novel, into one of our finest contemporary writers." --Greg Johnson, author of Invisible Writer: A Biography of Joyce Carol Oates
"As a young writer, Joyce Carol Oates published four remarkable novels, A Garden of Earthly Delights (1967), Expensive People (1968), them (1969), and Wonderland (1971). They were all nominated for the National Book Award, and Oates won the award for them in 1970....Reprinting the series in modern paperback editions nearly forty years after their composition allows us a new perspective on their collective meaning and illuminates their place in Oates's overall career...The Wonderland Quartet, written in the "white heat" of youthful imagination and fervor, remains not only relevant but prophetic about the widening social and economic gulf in American society, the self-destructive violence of political extremism, and the terrifying hubris of science and technology. Bringing to life an unforgettable range of men and women, the Wonderland Quartet offers a compelling introduction to a protean and prodigious contemporary artist." -- Elaine Showalter, from her introduction, which appears in all four of these new Modern Library editions

Praise for them
"A superbly accomplished vision."-John Leonard, The New York Times

"That rarity in American fiction, a writer who seems to grow with each new book."-Time Magazine

"A superb storyteller. For sheer readability, Them is unsurpassed."-Atlanta Journal-Constitution

"When Miss Oates' potent, life-gripping imagination and her skill at narrative are conjoined, as they are pre-eminently in Them, she is a prodigious writer."-The Nation

Praise for Joyce Carol Oates
"If the phrase 'woman of letters' existed, she would be, foremost in this country, entitled to it."
John Updike, The New Yorker

“Oates writes prose of striking directness and simplicity. . . . She invests everything she touches with the qualities of her own voice, which is nervous, fast, febrile and hot as an iron. I’d unhesitatingly say that she is one of the most important living American writers.” –Peter Straub, New Statesman

“Oates’s novels work best when the action is set off by one terrible mistake. . . . These novels are hypnotically propulsive, written in the key of What the Hell is Going to Happen Next? Oates pairs big ideas with small details in an ideal fictional balancing act, but the nice thing is that you don’t really notice. You’re too busy rushing on to the next page.”
Claire Dederer, The New York Times

“Joyce Carol Oates is a superb writer with a perfect eye and ear. She has the uncanny ability to give us a cinemascopic vision of her America.”
Charles Shapiro, National Review

“Oates is unlike many women writers in her feeling for the pressure, mass, density of violent American experience not known to the professional middle class. . . . [Her] characters seem to move through a world wholly physical in its detail, yet they touch us and frighten us like disembodied souls calling to us from another world.”
Alfred Kazin, Harper’s

“To read Oates is to cross an emotional minefield, to be stunned to the soul by multiple explosions, but to emerge to safety again with the skull ringing with shocked revelation and clarity. . . . [Oates’s] lack of presumption, her superlative middle-American scope and focus (like a Dos Passos, a Zola or a Dostoevski), and her unerring dedication to curing the absence of empathy that pervades so much of our contemporary writing all combine to make her one of the top writers truly puzzling out the complexity of the American experience today.”
S. K. Oberbeck, – The Washington Post Book World

“Perhaps the most significant novelist to have emerged in the United States in the last decade
. . . Like the most important modern writers–Joyce, Proust, Mann–she has an absolute identification with her material: the spirit of a society at a crucial point in its history.”
Newsweek

John Leonard
A superbly accomplished vision. -- The New York Times
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Product Details

  • ISBN-13: 9780345484406
  • Publisher: Random House Publishing Group
  • Publication date: 9/12/2006
  • Series: Modern Library Paperbacks Series
  • Edition description: Revised Edition
  • Pages: 576
  • Sales rank: 327,808
  • Product dimensions: 5.19 (w) x 8.00 (h) x 1.24 (d)

Meet the Author

One of the most versatile and accomplished writers of our time, Oates has influenced the American literary landscape perhaps even more than we realize. The New York Times Book Review suggests, "With occasional exceptions (Joyce, Flaubert), we finally care most about novelists like Dickens, George Eliot, Balzac, Tolstoy, Hardy, James, Conrad, Lawrence or Faulkner whose work is copious enough to constitute a 'world,' and though no guarantees can be offered, energy like Joyce Carol Oates' may find an eventual reward."
        

From the Hardcover edition.

Biography

Joyce Carol Oates is one of the most influential and important storytellers in the literary world. She has often used her supreme narrative skills to examine the dark side of middle-class Americana, and her oeuvre includes some of the finest examples of modern essays, plays, criticism, and fiction from a vast array of genres. She is still publishing with a speed and consistency of quality nearly unheard of in contemporary literature.

A born storyteller, Oates has been spinning yarns since she was a little girl too young to even write. Instead, she would communicate her stories through drawings and paintings. When she received her very first typewriter at the age of 14, her creative floodgates opened with a torrent. She says she wrote "novel after novel" throughout high school and college -- a prolificacy that has continued unabated throughout a professional career that began in 1963 with her first short story collection, By the North Gate.

Oates's breakthrough occurred in 1969 with the publication of them, a National Book Award winner that established her as a force to be reckoned with. Since that auspicious beginning, she has been nominated for nearly every major literary honor -- from the PEN/Faulkner Award to the Pulitzer Prize -- and her fiction turns up with regularity on The New York Times annual list of Notable Books.

On average Oates publishes at least one novel, essay anthology, or story collection a year (during the 1970s, she produced at the astonishing rate of two or three books a year!). And although her fiction often exposes the darker side of America's brightest facades – familial unrest, sexual violence, the death of innocence – she has also made successful forays into Gothic novels, suspense, fantasy, and children's literature. As novelist John Barth once remarked, "Joyce Carol Oates writes all over the aesthetical map."

Where she finds the time for it no one knows, but Oates manages to combine her ambitious, prolific writing career with teaching: first at the University of Windsor in Canada, then (from 1978 on), at Princeton University in New Jersey. For all her success and fame, her daily routine of teaching and writing has changed very little, and her commitment to literature as a transcendent human activity remains steadfast.

Good To Know

When not writing, Oates likes to take in a fight. "Boxing is a celebration of the lost religion of masculinity all the more trenchant for its being lost," she says in highbrow fashion of the lowbrow sport.

Oates's Black Water, which is a thinly veiled account of Ted Kennedy's car crash in Chappaquiddick, was produced as an opera in the 1990s.

In 2001, Oprah Winfrey selected Oates's novel We Were the Mulvaneys for her Book Club.

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    1. Also Known As:
      Rosamond Smith
    2. Hometown:
      Princeton, New Jersey
    1. Date of Birth:
      June 16, 1938
    2. Place of Birth:
      Lockport, New York
    1. Education:
      B.A., Syracuse University, 1960; M.A., University of Wisconsin, 1961

Read an Excerpt

Children of Silence

One warm evening in August 1937 a girl in love stood before a mirror.

Her name was Loretta. It was her reflection in the mirror she loved, and out of this dreamy, pleasing love there arose a sense of excitement that was restless and blind--which way would it move, what would happen? Her name was Loretta; she was pleased with that name too, though Loretta Botsford pleased her less. Her last name dragged down on her, it had no melody. She stood squinting into the plastic-rimmed mirror on her bureau, trying to get the best of the light, seeing inside her high-colored, healthy, ordinary prettiness a hint of something daring and dangerous. Looking into the mirror was like looking into the future; everything was there, waiting. It was not just that face she loved. She loved other things. During the week she worked at Ajax Laundry and Dry Cleaners, and she was very lucky to have that job, and during the week the steamy, rushed languor of her work built up in her a sense of excitement. What was going to happen? Today was Saturday.

Her face was full, and there was a slight mischievous puffiness about her cheeks that made her look younger than she was--she was sixteen--and her eyes were blue, a mindless, bland blue, not very sharp. Her lips were painted a deep scarlet, exactly the style of the day. Her eyebrows were plucked in exactly the style of the day. Did she not dream over the Sunday supplement features, and did she not linger on her way to work before the Trinity Theater in order to stare at the pictures? She wore a navy-blue dress pulled in tight at the waist. Her waist was surprisingly narrow, her shoulders a little broad, almost masculine; she was a strong girl. Upon her competent shoulders sat this fluttery, dreamy head, blond hair puffed out and falling down in coquettish curls past her ears, past her collar, down onto her back, so that when she ran along the sidewalk it blew out behind her and men stopped to stare at her; never did she bother to glance back at these men--they were like men in movies who do not appear in the foreground but only focus interest, show which way interest should be directed. She was in love with the thought of this. Behind her good clear skin was a universe of skin, all of it healthy. She loved this, she was in love with the fact of girls like her having come into existence, though she could not have expressed her feelings exactly. She said to her friend Rita, "Sometimes I feel so happy over nothing I must be crazy." Dragging around in the morning, trying to get her father up and trying to get her brother Brock fed and out before somebody started a fight, still she felt a peculiar sense of joy, of prickly excitement, that nothing could beat down. What was going to happen? "Oh, you're not crazy," Rita said thoughtfully, "you just haven't been through it yet."

She combed her hair with a heavy pink brush. It worried her to see her curls so listless--that was because of the heat. From the apartment across the way, through the open window, she could hear a radio playing music that meant Saturday night, and her heart began to pound with anticipation of the long hours ahead during which anything might happen. Her father, who had been out of work for almost ten years, liked to lie in bed and drink and smoke, not caring that so many hours rushed by he'd never be able to get back--but Loretta felt that time was passing too quickly. It made her nervous. She scratched at her bare arm with the brush in a gentle, unconscious, caressing gesture, and felt the dreaminess of the late summer afternoon rise in her. In the kitchen someone sat down heavily, as if answering her, in response to her wondering.

"Hey, Loretta!" Brock called.
"Yeah, I'm coming." Her voice came out harsh and sounded of the dry cleaners and the street, but it was not her true voice; her true voice was husky and feminine.

She prepared supper for Brock. The kitchen was narrow, and he had to sit right in her way, so that she made a face and said, "Excuse me," ironically, squeezing past. Brock was dressed for Saturday night too. He wore a blue serge coat over gray trousers and a queer metallic bronze necktie. A necktie! It was part of Brock's batty style. He had turned twenty a few weeks before, which seemed to Loretta almost old; and on his pinched face an expression of premature cunning seemed to have frozen, as in a movie still. Like Loretta, he had blond hair, but it seemed to be darkening; he rarely washed it, maybe once a month--it was stiff with grease. He had a strong, angular face with prominent cheekbones. This had been their mother's face. Strange how, since their mother's death some years before, Loretta had begun to notice her sometimes in Brock's face. And in his sudden, impulsive bursts of rage--Brock was always incensed by the old man and certain noisy neighbors--she could see her mother's restless agitation; it was disturbing.

"Jesus Christ, is that perfume you're wearing?" Brock screwed up his face like a clown.
"Go to hell. You're not funny."
Brock laughed, meanly.

Loretta took a bowl of potatoes out of the icebox and put them into a frying pan; she had peeled them earlier. The grease sizzled and spat up at her. She resented cooking for her brother yet there was a strange pleasure in it. I do this. This is what I do. Brock liked her waiting on him, she knew. Sitting there at the end of the table so self-importantly, like the malicious spitting of grease: she had only to glance at his amused eyes to see how hateful he was.

"Look, what the hell is eating you?" Loretta cried.
Brock smiled innocently. "Is the old man back yet?"
"You know he isn't."
"How do I know? I've got X-ray eyes?"
"He went out this morning with that Cole to look at some vacant lot. Oh, I know it's crazy--don't look at me."
"What vacant lot? He's going to buy a vacant lot?"
"Ask him."
"With what? Where's the money? What's he going to buy it with?"
Brock was getting excited. Saliva shone on his lips.
"Brock, forget it! Pa isn't hurting anyone."
"He's sick. He should be carted away."
"Carted away where?"
"Should be locked up."

Brock leaned forward on his elbows and spoke in his rapid, insinuating voice, as if he meant something other than his words, and you were a fool not to catch on. Oh, he was hateful! He was Loretta's brother and in the years of their childhood he had done well by her--he'd fought with older kids who teased her, following the rule of the street, but that was maybe for his own honor, not her. At one time no one could have guessed that Brock Botsford, the long-limbed stooping kid with the blue-eyed stare and quick fists, would grow so much apart from the other boys, precocious, yet in a way stunted, into this strange, mock-serious old-young man. Beneath his sly words and his facial mannerisms, a perverse and malicious will. Loretta dreaded her girl friends talking with Brock, attracted by his cheap flashy clothes and movie-style, then edging away, nervously giggling, "Isn't that guy queer?" In that way that girls do, with absolute accuracy.

"Oh, you talk too much sometimes! Get a job yourself, a good job, if you think you're superior to him," Loretta said, incensed.

From the Hardcover edition.

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Reading Group Guide

1. In his Introduction, Greg Johnson describes Joyce Carol Oates’s focus on “the inner lives of her three protagonists and the manifold ways in which their innocence and humanity are slowly eroded by the soul-destroying forces of Detroit” (p. xii). What are these “soul destroying sources”? What strengths do each of these characters–Loretta, and her children Maureen and Jules–draw on, in order to survive their challenging circumstances

2. According to Oates, the original title of them was “Love and Money.” What does love mean to the central characters of the novel? Do the women view it differently from the men? Do any characters exhibit sexual behavior that you would expect to find in someone of the opposite gender?

3. What part does money play in the novel? What does it represent to Maureen?

4. Describe the roles that Maureen, Jules, and Betty play in the Wendall family. Is Maureen a typical middle child? How much influence do Loretta and Howard have in reinforcing each sibling’s position? As the children grow up, do their traditional roles change at all?

5. Author and literary critic Alfred Kazin wrote, “Oates is unlike many women writers in her feeling for the pressure, mass, density of violent American experience not known to the professional middle class.” Do you agree? What motivates characters such as Brock, Nadine, and Furlong to commit violent acts?

6. Maureen struggles to further her education despite her poor grades, and Jules fantasizes about going to college. Why is education so important to them?

7. “[Jules] was immensely grateful for being white,” writes Oates. “In Detroit, being white struck him as a special gift . . . Only in a nightmare might he bring his hands up to his face and see colored skin. Negro skin, a hopeless brown nothing could get off, not even a razor” (p. 360). Using examples from the novel, describe how Oates portrays the racial mix in Detroit and the growing tensions leading up to the 1967 riot. Which characters in the novel clearly come from a particular social class, and where do the Wendalls fit on the social ladder?

8. After the Detroit riot, a television camera captures Jules saying, “Fire burns and does its duty” (pp. 532—33). What do you think he means?

9. Why do you think Oates put a somewhat autobiographical character named Joyce Carol Oates into her novel, and what do you make of this innovative choice? Can you think of other contemporary examples of writers putting themselves into their novels, in a fictionalized form? Discuss.

10. In her 1969 Author’s Note, a section she would later characterize (in her 2000 Afterword) as a playful piece of fiction, Oates wrote, “Nothing in the novel has been exaggerated in order to increase the possibility of drama–indeed, the various sordid and shocking events of slum life, detailed in other naturalistic works, have been understated here, mainly because of my fear that too much reality would become unbearable” (p. xxiv) What was your reaction to this powerfully graphic narrative? Did you find it realistic? Understated? Sensational

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  • Anonymous

    Posted March 28, 2004

    A special insight into broken American worlds

    The rushed frantic power of observation in this work opened up worlds of American life to me I over twenty years ago did not know how to see. Oates writes with special psychological insight but also with a special feeling for American social realities, especially of those lower down on the social - economic scale. A good book by a very good writer. Her great intensity and energy , a troubling nervousness of her spirit is present in this work also .

    1 out of 1 people found this review helpful.

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