To the End of the Land [NOOK Book]


From one of Israel’s most acclaimed writers comes a novel of extraordinary power about family life—the greatest human drama—and the cost of war.

Ora, a middle-aged Israeli mother, is on the verge of celebrating her son Ofer’s release from army service when he returns to the front for a major offensive. In a fit of preemptive grief and magical thinking, she sets out for a hike in the Galilee, leaving no forwarding information for the ...
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To the End of the Land

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From one of Israel’s most acclaimed writers comes a novel of extraordinary power about family life—the greatest human drama—and the cost of war.

Ora, a middle-aged Israeli mother, is on the verge of celebrating her son Ofer’s release from army service when he returns to the front for a major offensive. In a fit of preemptive grief and magical thinking, she sets out for a hike in the Galilee, leaving no forwarding information for the “notifiers” who might darken her door with the worst possible news. Recently estranged from her husband, Ilan, she drags along an unlikely companion: their former best friend and her former lover Avram, once a brilliant artistic spirit. Avram served in the army alongside Ilan when they were young, but their lives were forever changed one weekend when the two jokingly had Ora draw lots to see which of them would get the few days’ leave being offered by their commander—a chance act that sent Avram into Egpyt and the Yom Kippur War, where he was brutally tortured as POW. In the aftermath, a virtual hermit, he refused to keep in touch with the family and has never met the boy. Now, as Ora and Avram sleep out in the hills, ford rivers, and cross valleys, avoiding all news from the front, she gives him the gift of Ofer, word by word; she supplies the whole story of her motherhood, a retelling that keeps Ofer very much alive for Ora and for the reader, and opens Avram to human bonds undreamed of in his broken world. Their walk has a “war and peace” rhythm, as their conversation places the most hideous trials of war next to the joys and anguish of raising children. Never have we seen so clearly the reality and surreality of daily life in Israel, the currents of ambivalence about war within one household, and the burdens that fall on each generation anew.

Grossman’s rich imagining of a family in love and crisis makes for one of the great antiwar novels of our time.

From the Hardcover edition.
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Editorial Reviews

From the Publisher

“A masterpiece. . . . One of the few novels that feel as though they have made a difference to the world.”
—Colm Tóibín, The New York Times Book Review

“A boundary-pushing novel. . . . Like all great literature, it is an act of generosity, opening itself to every human possibility. . . . Grossman invites us to look beneath the shrill headlines, beyond the roadblocks, within the clenched fist—to see Israel’s predicament not as ‘the situation’ but as many situations, one for every person.”
The Washington Post

“Enthralling. . . . Unsparing yet compassionate . . . Grossman’s electrifying narrative seems excruciatingly timely. . . . Unforgettable. . . . The unstudied beauty and psychological complexity of Grossman’s language, his deft and lively dialogue, are utterly compelling. . . . Rendered in Jessica Cohen’s exquisite translation, Grossman’s symphonic novel straddles despair and hope, a journey into inner and outer landscapes, delivering stunning rewards.”
The Miami Herald
“Magnificent. . . . A powerful meditation. . . . Foremost among Grossman’s achievements is the creation of Ora, a modern-day Scheherazade and icon of the mourning mother.”
The Seattle Times

“Grossman’s greatest fictional creation [is] Ora: tender, passionate, angry, funny, self-doubting, intuitive, above all a woman of ‘abundance.’ . . . [Her story] encompasses both the complex fullness of one life and the broader history of Israel’s modern conflicts. . . . This most Israeli of Grossman’s novels is also his most universal.”
—George Packer, The New Yorker
“A tour de force. . . . Unforgettable. . . . [Grossman’s] best.”
The Star-Ledger
“Penetrating. . . . Grossman has produced a sprawling novel that stretches over nearly 35 years of Israeli history. Along with war and peace, life and death, Grossman reckons with the emotional and sexual geometry of Israelis, particularly the secular liberals now in middle age, much like their author.”

“This is a story of love and friendship, family and society, parents and children, life and death. And war and peace. . . . Whether lushly descriptive, emotive or narrative, Grossman’s writing is both controlled and passionate. . . . Ora’s voice is authentic and true, honed to perfection.”
Chicago Jewish Star
“Profound. . . . A reminder of what Israel—what any country—is capable of doing to its sons.”
The Boston Globe
“There are some writers in whose words one recognizes the texture of life. David Grossman is such a writer. He is a master of the emotionally accurate and significant. His characters don’t so much lie on the page as rise before the reader’s eyes, in three dimensions, their skin covered in prose that both stabs with insight and shines with compassion.”
—Yann Martel, author of Life of Pi
“Moving. . . . A convincing portrait of maternal grit and ingenuity in a time and place of relentless challenge. . . . In this powerful book, there are surprising answers of a kind, but the ongoing strife goes on.”
The Washington Times
“Very rarely you open a book and when you close it again nothing can ever be the same. Walls have been pulled down, barriers broken, a dimension of feeling has opened in you that was not there before. David Grossman has the ability to look inside a person and discover the unique essence of her humanity; his novels are about what it means to defend this essence against a world designed to extinguish it. To the End of the Land is his most powerful, unflinching story of this defense.”
—Nicole Krauss, author of The History of Love

“A courageous and powerful antiwar novel.”
Kansas City Star

“Grossman’s most ambitious work to date. . . . His imagination is secular, worldly, self-questioning and ironic. The Israel he imagines, beautifully and sorrowfully, is not going to be saved by any divine intervention.”
The Economist
“Bold and uncompromising, this great emotional rush of a story sings and cries, exults and mourns.”
The Forward
“An extraordinary epic of love, war, and sorrow. . . . Stunning—brilliantly written and beautifully constructed.”
The Times (London)
“A deeply serious, utterly honest work about the state of Israel.”
Financial Times
“Flaubert created his Emma, Tolstoy made his Anna, and now we have Grossman’s Ora—as fully alive, as fully embodied, as any character in recent fiction. I devoured this long novel in a feverish trance.”
—Paul Auster, author of Invisible

Kirkus Reviews

A provocative antiwar novel by one of Israel's best-known writers (See Under: Love, 1989, etc.).

If Cormac McCarthy's The Road is a post-apocalyptic journey across a ruined landscape, Grossman's latest describes a walkabout across forbidding country that is ever in danger of being consumed by war. Ora and Avram meet in a hospital at the time of the Six-Day War, speaking back and forth across fever dreams: "We're the last ones left from the plague," says Ora, still not sure why sirens and artillery shells are the music of their night. Avram disappears into the maw of another war, when, captured and tortured, he returns unable to connect with the past and the people he has known and loved; Ora, for her part, marries a mutual friend and has a son, Ofer, who, decades later, is called up to serve in yet another war. Unable to bear the thought of losing her boy to the unending conflict—a loss that Grossman himself suffered as he was writing the book—Ora leaves home, locates Avram in his Galilean hermitage, and sets out on a journey ("which she was still calling a hike,"at least at the beginning) crisscrossing Israel with two purposes in mind: to weave a protective armor of words around Ofer, and to keep herself one step ahead of the soldiers who inevitably will come to her door to announce that he has died. Grossman's characters define the limits of human endurance and of language. Through conversation that takes them across generations and ethnicities, each discovers something about the other, and each, it seems, becomes less inclined to accept the old way of accomplishing aims through violence and terror, through "the many and varied dangers from which they could no longer protect their sons."

A classic, full of sharp descriptions of life in Palestine and Israel today, urgent in its insistence that peace can come through sharing stories and the time required to tell them.

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Product Details

  • ISBN-13: 9780307594341
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 9/21/2010
  • Series: Vintage International
  • Sold by: Random House
  • Format: eBook
  • Pages: 592
  • Sales rank: 146,408
  • File size: 3 MB

Meet the Author

David Grossman was born in Jerusalem. He is the author of numerous works of fiction, nonfiction, and children’s literature. His work has appeared in The New Yorker and has been translated into thirty languages around the world. He is the recipient of many prizes, including the French Chevalier de l’Ordre des Arts et des Lettres, the Buxtehuder Bulle in Germany, Rome’s Premio per la Pace e l’Azione Umitaria, the Premio Ischia— International Award for Journalism, Israel’s Emet Prize, and the Albatross Prize given by the Günter Grass Foundation.

From the Hardcover edition.
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Read an Excerpt

The Walk, 2000

The convoy twists along, a stammering band of civilian cars, jeeps, military ambulances, tanks, and huge bulldozers on the backs of transporters. Her taxi driver is quiet and gloomy. His hand rests on the Mercedes’s gear shift and his thick neck does not move. For several long minutes he has looked neither at her nor at Ofer.

As soon as Ofer sat down in the cab, he let out an angry breath and flashed a look that said: Not the smartest idea, Mom, asking this particular driver to come along on a trip like this. Only then did she realize what she’d done. At seven that morning she had called Sami and asked him to come pick her up for a long drive to the Gilboa region. Now she remembers that for some reason she hadn’t given him any details or explained the purpose of the trip, the way she usually did. Sami had asked when she wanted him, and she’d hesitated and then said, “Come at three.” “Ora,” he’d said, “maybe we should leave earlier, ’cause traffic will be a mess.” That was his only acknowledgment of the day’s madness, but even then she didn’t get it and just said there was no way she could leave before three. She wanted to spend these hours with Ofer, and although Ofer agreed, she could tell how much effort his concession took. Seven or eight hours were all that was left of the weeklong trip she’d planned for the two of them, and now she realizes she hadn’t even told Sami on the phone that Ofer was part of the ride. Had she told him, he might have asked her to let him off today, just this one time, or he might have sent one of the Jewish drivers who worked for him—“my Jewish sector,” he called them. But when she’d called him she’d been in a state of complete frenzy, and it simply had not occurred to her—the unease slowly rises in her chest—that for this sort of drive, on a day like this, it was better not to call an Arab driver.

Even if he is an Arab from here, one of ours, Ilan prods at her brain as she tries to justify her own behavior. Even if it’s Sami, who’s almost one of the family, who’s been driving everyone—the people who work for Ilan, her estranged husband, and the whole family—for more than twenty years. They are his main livelihood, his regular monthly income, and he, in return, is obliged to be at their service around the clock, whenever they need him. They have been to his home in Abu Ghosh for family celebrations, they know his wife, Inaam, and they helped out with connections and money when his two older sons wanted to emigrate to Argentina. They’ve racked up hundreds of driving hours together, and she cannot recall his ever being this silent. With him, every drive is a stand-up show. He’s witty and sly, a political dodger who shoots in all directions with decoys and double-edged swords, and besides, she cannot imagine calling another driver. Driving herself is out of the question for the next year: she’s had three accidents and six moving violations in the past twelve months, an excessive crop even by her standards, and the loathsome judge who revoked her license had hissed that he was doing her a favor and that she really owed him her life. It would have all been so easy if she herself were driving Ofer. At least she’d have had another ninety minutes alone with him, and maybe she’d even have tempted him to stop on the way—there are some good restaurants in Wadi Ara. After all, one hour more, one hour less, what’s the rush? Why are you in such a hurry? Tell me, what is it that’s waiting for you there?

A trip alone with him will not happen anytime soon, nor alone with herself, and she has to get used to this constraint. She has to let it go, stop grieving every day for her robbed independence. She should be happy that at least she has Sami, who kept driving her even after the separation from Ilan. She hadn’t been capable of thinking about those kinds of details at the time, but Ilan had put his foot down. Sami was an explicit clause in their separation agreement, and he himself said he was divvied up between them like the furniture and the rugs and the silverware. “Us Arabs,” he would laugh, revealing a mouth full of huge teeth, “ever since the partition plan we’re used to you dividing us up.” The memory of his joke makes her cringe with the shame of what has happened today, of having somehow, in the general commotion, completely erased that part of him, his Arabness.

Since seeing Ofer this morning with the phone in his hand and the guilty look on his face, someone had come along and gently but firmly taken the management of her own affairs out of her hands. She had been dismissed, relegated to observer status, a gawking witness. Her thoughts were no more than flashes of emotion. She hovered through the rooms of the house with angular, truncated motions. Later they went to the mall to buy clothes and candy and CDs—there was a new Johnny Cash collection out—and all morning she walked beside him in a daze and giggled like a girl at everything he said. She devoured him with gaping wide looks, stocking up unabashedly for the endless years of hunger to come—of course they would come. From the moment he told her he was going, she had no doubt. Three times that morning she excused herself and went to the public restrooms, where she had diarrhea. Ofer laughed: “What’s up with you? What did you eat?” She stared at him and smiled feebly, engraving in her mind the sound of his laughter, the slight tilt of his head when he laughed.

The young cashier at the clothing store blushed as she watched him try on a shirt, and Ora thought proudly, My beloved is like a young hart. The girl working at the music store was one year behind him at school, and when she heard where he was going in three hours, she went over and hugged him, held him close with her tall, ample body, and insisted that he call her as soon as he got back. Seeing how blind her son was to these displays of emotion, it occurred to Ora that his heart was still bound to Talia. It had been a year since she’d left him, and she was still all he could see. She thought sadly that he was a loyal person, like her, and far more monogamous than she, and who knew how many years would pass before he got over Talia—if he even had any years left, she thought. She quickly erased the notion, scrubbing it furiously from her brain with both hands, but still a picture slipped through: Talia coming to visit them, to condole, perhaps to seek a sort of retroactive forgiveness from Ora, and she felt her face strain with anger. How could you hurt him like that? she thought, and she must have mumbled something out loud, because Ofer leaned down and asked softly, “What is it, Mom?” For a moment she did not see his face before her eyes—he had no face, her eyes stared into a void, pure terror. “Nothing. I was thinking about Talia. Have you talked to her recently?” Ofer waved his hand and said, “Forget that, it’s over.”

She kept checking the time. On her watch, on his, on the big clocks in the mall, on the television screens in appliance stores. Time was behaving strangely, sometimes flying, at other times crawling or coming to a complete standstill. It seemed to her that it might not even require much effort to roll it back, not too far, just thirty minutes or an hour at a time would be fine. The big things—time, destiny, God—could sometimes be worn down by petty haggling. They drove downtown to have lunch at a restaurant in the shuk, where they ordered lots of dishes although neither of them had an appetite. He tried to amuse her with stories from the checkpoint near Tapuach, where he’d served for seven months, and it was the first time she discovered that he would scan the thousands of Palestinians who passed through the checkpoint with a simple metal detector, like the one they used when you walked into the mall. “That’s all you had?” she whispered. He laughed: “What did you think I had?” “I didn’t think,” she said. He asked, “But didn’t you wonder how it’s done there?” There was a note of childish disappointment in his voice. She said, “But you never told me about it.” He presented a profile that said, You know exactly why, but before she could say anything he reached out and covered her hand with his—his broad, tanned, rough hand—and that simple rare touch almost stunned her and she fell silent. Ofer seemed to want, at the very last minute, to fill in what he had left out, and he told her hurriedly about the pillbox he’d lived in for four months, facing the northern neighborhood of Jenin, and how every morning at five he used to open the gate in the fence around the pillbox and make sure the Palestinians hadn’t booby-trapped it overnight. “You just walked over there like that, alone?” she asked. “Usually someone from the pillbox would cover me—I mean, if anyone was awake.” She wanted to ask more but her throat was dry, and Ofer shrugged and said in an elderly Palestinian man’s voice, “Kulo min Allah”—it’s all from God. She whispered, “I didn’t know,” and he laughed without any bitterness, as if he had understood that she could not be expected to know, and he told her about the kasbah in Nablus, which he said was the most interesting of all the kasbahs, the most ancient. “There are houses there from the Roman era and houses built like bridges over alleyways, and underneath the whole city there’s an aqueduct that goes from east to west, with canals and tunnels running in all directions, and the fugitives live there because they know we’ll never dare follow them down.” He spoke enthusiastically, as if he were telling her about a new video game, and she kept fighting the urge to grasp his head with both hands and look into his eyes so that she could see his soul, which had been slipping away from her for years—although with warmth, with a grin and a wink, as if they were playing a casual game of tag to amuse themselves—but she did not have the courage to do it. Nor could she say to him simply, in a voice that was not drenched in complaint or accusation, “Hey, Ofer, why aren’t we friends like we used to be? So what if I’m your mom?”

At three o’clock, Sami would come to take her and Ofer to the meeting point. Three o’clock was the farthest point in her thoughts. She did not have the strength to imagine what would occur after that, and this was further proof of her frequent claim that she had no imagination. But that was no longer true, either. That, too, had changed. Recently she’d been flooded by imaginings—she had imagination-poisoning. Sami would make the drive easier for her, especially the way back, which would undoubtedly be far more difficult than the way there. They had a domestic routine, she and Sami. She liked to listen to him talk about his family, about the complex relationships between the different clans in Abu Ghosh, about the intrigues in the town council, and about the woman he had loved when he was fifteen, and perhaps had never stopped loving even after he was married off to Inaam, his cousin. At least once a week, by total coincidence, he claimed, he would see her in the village. She was a teacher, and there were years when she taught his daughters, and then she became a superintendent. She must have been a strong, opinionated woman, judging by his stories, and he always drew the conversation out so that Ora would ask about her. Then he would report her news with a sort of reverence: another child, her first grandson, a prize from the Ministry of Education, her husband’s death in a work accident. With touching detail he quoted their chance conversations in the mini-market, the bakery, or on the rare occasions when he drove her in his cab. Ora guessed that she was the only person he allowed himself to talk to about this woman, perhaps because he trusted her never to ask him the one question whose answer was obvious.

Sami was a seasoned man, a quick thinker, and his life wisdom was augmented by his business acumen, which had produced, among other things, his own small fleet of taxis. When he was twelve he had a goat, and every year she birthed two kids. And a year-old kid in good health, he once explained to Ora, can sell for a thousand shekels. “When the kid would get to a thousand shekels, I would sell it and put the money away. I put away, and I put away, until I had eight thousand shekels. At seventeen I got my license and bought a Fiat 127, an old model but it worked. I bought it from my teacher, and I was the one boy in the village who came to school with wheels. Afternoons, I did private drives, errands, take this, bring that, go, fetch, and that way, slowly-slowly . . .”

Last year, amid the great upheavals in her life, a friend of Ora’s found her a part-time temporary job working for a new museum being built in Nevada, which for some reason was interested in the material culture of Israel. Ora liked the unusual work that had fallen into her lap to distract her from herself a little, and she preferred not to delve too deeply into the museum’s ulterior motives or what had led its planners to invest a fortune in the construction of a model of Israel in, of all places, the Nevada desert. She was on the team in charge of the fifties and knew there were another few “gatherers” like her on various other teams. She never met any of them. Every two or three weeks she set off with Sami on delightful buying trips around the country, and out of some vague intuition she avoided discussing the museum and its intentions with him. Sami never asked, and she wondered what he imagined and how he described these trips to Inaam. The two of them spent days roaming the country together. They bought a collection of stainless-steel basins from a kibbutz in the Jordan Valley, an antique milking machine from a moshav in the north, a shiny like-new icebox in a Jerusalem neighborhood, and of course the trivial, forgotten items whose discovery gave her an almost physical joy: an eighth of a bar of Tasbin soap, a tube of Velveta hand cream, a package of sanitary napkins, textured rubber “thimbles” that Egged bus drivers once used, a collection of wildflowers dried between the pages of a notebook, and vast quantities of textbooks and popular books—one of her tasks was to reconstruct a typical kibbutz household library from the fifties. Time after time she watched as Sami Jubran’s warm, earthy charm encircled everyone he met. The elderly kibbutzniks were positive that he was a former kibbutz member (which was true, he told her jokingly: “Half of Kiryat Anavim’s lands belong to my family”). In Jerusalem, at a local backgammon club, a few men pounced on him, convinced he had grown up with them in the Nachlaot neighborhood and even claimed to remember him climbing pine trees to watch Hapoel soccer games in the old stadium. And a vibrant Tel Aviv widow with bronzed skin and jangling bracelets determined that he was without a doubt from the Kerem: even though he a was little fat for a Yemenite, it was obvious that he was “with roots,” she said when she called Ora the next day for no reason. “And very charmant,” she added, “the kind of guy who definitely fought in the Etzel. And by the way, do you think he’s available for a moving job?” Ora saw the way people agreed, for Sami, to part with beloved possessions, because they felt that these objects, which their children belittled and would undoubtedly get rid of as soon as the old people passed on, if given to him, would in some sense stay in the family. And on every trip, even a ten-minute drive, they always got into politics, keenly confabbing over the latest developments. And even though years ago, after the devastation with Avram, Ora had completely cut herself off from the “situation”—I’ve paid my price, she asserted with a narrow, distancing smile—she found herself drawn into these talks with Sami over and over again. It was not his arguments or his reasonings that pulled her in, because she’d heard them all before, from him and from others, and she didn’t believe anyone had a single unused claim left in this eternal debate. “Who could possibly come up with a new, decisive argument that hasn’t yet been heard?” she asked with a sigh when anyone else tried to take it up with her. But when she and Sami discussed the situation, when they argued with little jabs and cautious smiles—and with him, curiously, she frequently veered much further to the right than she intended, further than her real opinions, while with Ilan and the boys she was always, as they said, on the delusional left, and she herself couldn’t say exactly what she was and where she stood, “and anyway,” she would say with a charming shrug, “only when it’s all over, the whole story, will we really know who was right and who was wrong, isn’t that so?” Yet still, when Sami used his Arabesque Hebrew to undermine the long-winded, indignant, greedy pretenses of both Jews and Arabs, when he skewered the leaders of both peoples on a sharp Arab saying that often aroused from the depths of her memory the equivalent idiom in her father’s Yiddish, she sometimes experienced a subtle latency, as if in the course of talking with him she suddenly discovered that the end, the end of the whole big story, must be good, and good it would be, if only because the clumsy, round-faced man sitting beside her was able to preserve within his fleshy thickness a flame of delicate irony, and mainly because he still managed to be himself within all this. There were also times when it occurred to her that she was learning from him what she would need to know, one day, if—or when—the situation in Israel was reversed, God forbid, and she found herself in his position, and he in hers. That was possible, after all. It was always lurking behind the door. And perhaps, she realized, he thought about that too—perhaps she was teaching him something by still being herself in all this.

From the Hardcover edition.
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Reading Group Guide

The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of To the End of the Land, David Grossman’s powerful, deeply moving novel about life during endless wartime.

1. What one word would you use to describe the central theme of this novel? Is it a political novel?

2. In an interview, Grossman said about grief, “The first feeling you have is one of exile. You are being exiled from everything you know.” How do both grief and exile figure into this story?

3. Throughout the novel is the notion of tapestry, of threads being woven. What does that tapestry signify?

4. What do you think was Grossman’s intent with the prologue? What did this opening lead you to expect from the rest of the novel? Was it significant to you as a reader, later in the story, to have known these characters as teenagers?

5. On page 22, Ora says, “I’m no good at saving people.” Why does she say this? Is it true?

6. What function does Sami serve in the novel? What do we learn about Ora through her interactions with him?

7. Why does Ora consider Ofer’s reenlistment to be a betrayal? Why do his whispered, on-camera instructions affect her so strongly?

8. Discuss Adam’s assertion that Ora is “an unnatural mother” (page 109). What do you think he means by that? What does Ora take it to mean?

9. On page 149, Ora tells Sami to drive “to where the country ends.” His reply: “For me it ended a long time ago.” What does he mean by that? How does this change your interpretation of the novel’s title?

10. What is the significance of Ofer’s film, in which there are no physical beings, only their shadows?

11. In both Adam and Ofer, the influence of nature vs. nurture seems quite fluid. How is each like his biological father, and how does each resemble the man to whom he is not related by blood?

12. What role does food play in the novel? What does vegetarianism, especially, signify?

13. On pages 319-320, Ora says to Avram, “Just remember that sometimes bad news is actually good news that you didn’t understand. Remember that what might have been bad news can turn into good news over time, perhaps the best news you need.” What is she hoping for here? Does her advice turn out to be accurate?

14. Why does Ora refuse to go back for her notebook? As a reader, could you identify with Ora’s actions? What about elsewhere in the novel?

15. What do we learn about Ora, Ilan, and Ofer through the story of Adam’s compulsive behavior? What is “the force of no” (page 450)?

16. Discuss the significance of whose name Ora draws from the hat. Did she choose that person intentionally? How might the lives of Ora, Ilan, and Avram have been different if the other name were drawn?

17. Why does Ora react so strongly to what happened with Ofer in Hebron? How does it relate to what happened to Avram as a POW? Why does her reaction lead to the implosion of her family?

18. When Ora says to Avram, “Maybe you’ll even have a girl” (page 647), what is she really saying?

19. Discuss the final scene of the novel. What does Avram’s vision signify? Was Ora’s motivation for the hike wrong, as she fears?

20. How did Grossman’s personal note at the end change your experience of the novel? What seems possible for Ora and Avram, and the other characters in the book, at the end of the story?

(For a complete list of available reading group guides, and to sign up for the Reading Group Center enewsletter, visit

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See All Sort by: Showing 1 – 20 of 113 Customer Reviews
  • Posted December 21, 2010

    I Also Recommend:

    Long but cleverly done.

    Ora is having a mid-life crisis. Her husband has left her and her oldest son has called her an "unnatural mother" and her youngest son has chosen to return to military duty. She runs away from it all. She leaves her home to hike the Galilee. With her she takes an old family friend and former lover, Avram, who is traumatized from his time as a POW to the Egyptians where he was tortured. His once brilliant mind is no more. Other important characters are Ora's estranged husband Ilan, with whom she had a child named Adam. Ora and Ilan and Avram were childhood friends. There is clever and witty dialogue that makes us smile, even in the midst of tragedy. There is a peek into what life is like in modern-day Israel, the strife and tension, suspicion and hatred. Cleverly done!

    2 out of 2 people found this review helpful.

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  • Anonymous

    Posted July 7, 2012

    To the End of the Book

    This book is very well written, but reading it is a SLOG! I can't remember when such a good story --itself a major downer-- has seemed like such a chore. I think it's too long by at least half. And now I feel guilty for saying so. -- catwak

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  • Anonymous

    Posted May 18, 2012

    Highly Recommended for serious readers.

    David Grossman is a great writer. His work is moving and dramatic.
    You have to be willing to stay with him and let the mood, time, and place get to you.

    The translation is also wonderful.

    Through his fiction you learn about the people, the history, and the emotions of Israel. It isn't an easy place, and so it isn't an easy read. It is complex, riveting, and sometimes, painful, to read.

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  • Posted January 16, 2012

    Most compelling writing in a long time

    This is an excellent, thought-provoking book. I read it last year and bought a copy for a family member. Have recommended it to any thoughtful reading friends I have.

    The story is compelling, and the subtext remains with you for a long time.

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  • Posted March 14, 2011

    SAVE YOUR MONEY!!!!!!!!!!!!!!!!!!!!!!!!!!


    0 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 28, 2011

    Recommended only if you like an ending that is quite ambiquous.

    An interesting story of three individuals and how their lives intercepted, but very disappointing in there was no resolution as to how the outcome was resolved.

    0 out of 1 people found this review helpful.

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  • Posted January 22, 2011

    family drama to the max

    I got this book from my local library for my NookColor. It is truly a story of lifelong friendships and relationships and tangled and messed up they can get.

    I dont particularly care for the lack of chapters and jumping so much from present to past situations, but the story had me so hooked I couldn't stop reading it. There were times that I was really lost as to whether the it was present or past the characters were depicting.

    The story however was top notch, and very invigorating. If you dont mind long books, this is a great read

    0 out of 1 people found this review helpful.

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See All Sort by: Showing 1 – 20 of 113 Customer Reviews

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