World and Town

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"From the much-loved author of Who's Irish? and The Love Wife, a world-sized novel set in a small New England town." "Hattie Kong---the spirited offspring of a descendant of Confucius and an American missionary to China---has, in her fiftieth year of living in the United States, lost both her husband and her best friend to cancer. It is an utterly devastating loss, of course, and also heartbreakingly absurd: a little, she thinks, "like having twins. She got to book the same church with the same pianist for both funerals and did think she should

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"From the much-loved author of Who's Irish? and The Love Wife, a world-sized novel set in a small New England town." "Hattie Kong---the spirited offspring of a descendant of Confucius and an American missionary to China---has, in her fiftieth year of living in the United States, lost both her husband and her best friend to cancer. It is an utterly devastating loss, of course, and also heartbreakingly absurd: a little, she thinks, "like having twins. She got to book the same church with the same pianist for both funerals and did think she should have gotten some sort of twofer from the crematorium." "But now, two years later, it is time for Hattie to start over. She moves to the town of Riverlake, where she is soon joined by an from their inner-city troubles, as well as---quite unexpectedly---by a just-retired neuro-scientist ex-lover nammed Carter Hatch. All of them are, like Hattie, looking for a new start in a town that might once have represented the rock-solid base of American life but that is itself challenged, in 2001, by cell-phone towers and chain Stores, struggling family farms and fundamentalist Christians." "What Hattie makes of this situation is at the center of a novel that asks deep and absorbing questions about religion, home, America, What neighbors are, what love is, and, in the largest sense, what "Worlds" we make of the world." Moving, humorous, compassionate, and expansive, World and Town is as rich in character as it is brilliantly evocative of its time and place. This is a truly masterful novel--- enthralling, essential, and satisfying.

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Editorial Reviews

Publishers Weekly
Jen (The Love Wife) unwinds another expansive story of identity and acceptance, deploying voices that are as haunting and revealing as they are original. Hattie Kong, 68 and full of unresolved longing for her dead husband, her best friend, and an old lover, finds a sort of purpose in the new neighbors, an immigrant Cambodian family. As she nurtures a friendship with the family’s teenage daughter, Sophy, Hattie learns the family’s secrets. Sophy’s father, Chhung, has survived the horrors of Pol Pot, marrying Sophy’s mother in a refugee camp and adopting her brother, Sarun. Sarun and Sophy founder in America; Sarun has gang ties, and Sophy becomes involved with manipulative evangelicals. Chhung, isolated and unable to cope with his children, spends his days digging a pit behind their cramped trailer until one day he implodes in an act of horrifying violence. While pondering how to help the family, Hattie discovers much about her own motivations and her place in the world as the daughter of an American missionary and a descendant of Confucius. Jen’s prose is unique, dense, and enthralling, and her characters are marvels of authenticity. (Oct.)
Library Journal
Hattie Kong, a 68-year-old high school teacher, seeks solace both from 9/11 and her own personal tragedies in Riverlake, a small New England town. It's been two years since she buried her husband and best friend within a wrenchingly short time, leaving Hattie with her dogs and a crushing loneliness. The daughter of an American missionary and a Chinese father, Hattie befriends the Chhungs, her Cambodian-refugee neighbors, offering tutoring and advice as they struggle with post-traumatic stress disorder, teens in trouble (one is in a gang, two are in foster care, and 15-year-old Sophy is drawn into a Christian fundamentalist church with cascading devastating consequences). Carter, Hattie's long-ago lover, has also settled in Riverlake. A former neuroscientist, he is now teaching yoga and trying to resolve old business with Hattie. The ripple effects of 9/11 on Hattie and company are compounded by the insularity of their community. VERDICT Riverlake serves as a road map through the minefields of prejudice and fear planted in post-9/11 America. Jen's (The Love Wife) sensitivity and charming humor should vault this to the top of book groups' must-reads.—Beth E. Andersen, Ann Arbor Dist. Lib., MI
Kirkus Reviews

In Jen's latest (The Love Wife, 2004, etc.) a retired teacher—the daughter of an American missionary who abandoned organized Christianity and a Chinese father descended from Confucius—struggles to put her life back together after the deaths of her husband and best friend.

Hattie Kong, 65, has lived as an outsider in America since she was sent here from China after the Communist takeover in that country. After being widowed she moves to Riverlake, the New England vacation town where she spent summers as a girl. Two years later she is embedded in the community but remains deeply lonely, turning mainly to her dogs for companionship. So when a family of Cambodian refugees moves in next door, she can't help involving herself in their troubled lives, giving them a wheelbarrow for their garden and befriending the teenage daughter, Sophy. But Hattie's understanding of the family's complex history is dangerously limited, and when Sophy becomes "born again" under the influence of a local woman whose brand of fundamental Christianity Hattie distrusts, the girl turns against not only Hattie but her troubled older brother with near tragic results. At the same time, retired biology professor Carter Hatch, the love of Hattie's life, turns up in town to waken long-dormant and confusing emotions. Newly arrived in America from China, Hattie lived with the Hatches, a prominent family of intellectuals. Although she and Carter had only one sexual encounter before they married other people, they shared an unspoken bond as young biologists until he let her down professionally. Now they play a painful game of approach-avoidance. Meanwhile, Hattie's Chinese relatives besiege her with requests that she re-bury her parents' remains in the family's Confucian cemetery for reasons she dismisses as superstitious.

With prickly yet endearing Hattie, readers ponder the meaning of faith, commitment, love and loyalty without being fed easy answers (except against the stereotypically villainous fundamentalist Christians). But the usually deft Jen has thrown too many characters into the stew, serving up a novel of ideas more easily admired than enjoyed.

Ron Charles
What a pleasure to read this smart, warm novel from Gish Jen…If you've already enjoyed Anne Tyler's Digging to America and Helen Simonson's Major Pettigrew's Last Stand, you have some idea of the tenor of World and Town. Jen's fourth novel manages, in its amiable, unhurried way, to consider the challenges of immigration, the limits of scientific rationalism and the sins of fundamentalism. Yes, it's a heavy load for such a buoyant story to carry, but, like Allegra Goodman, Jen knows how to create thoughtful characters who can talk and think about complex issues without making us take notes.
—The Washington Post
Donna Rifkind
One of Jen's greatest strengths is her fluid point of view, which she employs beautifully here, alternating perspectives among Hattie, Sophy and a local man named Everett, whose wife is Sophy's sponsor at the Heritage Bible Church. Nothing is fixed for these unsettled characters, who keep trying to build new lives in a bewildering world, and whose victories, when they come, bring not rapture but "a defining grace, bittersweet and hard-won."
—The New York Times
From the Publisher

“[A] triumph of a novel. . . . Jen reflects America, at its best, its worst, its most vulnerable. World and Town is her richest, warmest work yet.” —The Miami Herald 
“What a pleasure to read this smart, warm novel from Gish Jen. . . . As this humane novel shows . . . only active compassion will build a better world and town.” —The Washington Post 
“Remarkable. . . . World and Town practically sings.” —Entertainment Weekly
“An imaginatively questioning and shrewdly written novel of our times.” —The Boston Globe
“I love the voices in this book—each compelling, each contributing to the layered story. . . . You will find yourself swept up and completely absorbed by this polyphonic and immensely moving novel.” —Allegra Goodman, author of The Cookbook Collector

“A book of immense riches. . . . Rich with ideas about the ways people adapt or fail to, about how lives are built and what can tear them apart, about what people believe and whether their beliefs undermine them or enable them to prosper. . . . Gish Jen’s novels do not come along often, so this is not one to miss.” —The Washington Times
“One of Jen’s greatest strengths is her fluid point of view, which she employs beautifully here. . . . Nothing is fixed for these unsettled characters, who keep trying to build new lives in a bewildering world, and whose victories, when they come, bring not rapture but ‘a defining grace, bittersweet and hard won.’” —The New York Times Book Review
“For nearly two decades, Gish Jen has been chronicling the experience of immigrants in America with a sure hand and an amused, affectionate eye. Her ability to inhabit varied minds and hearts without drawing attention to her efforts evokes the passionate omniscience of George Eliot.” —Whole Living
“Jen has a sharp eye and gives Hattie a quirky, comic sensibility. . . . Her bighearted, rumpled novel gives [her characters] room to change directions and find new ways to live together.” —The Columbus Dispatch
 “Profoundly moving. . . . World and Town is a novel that unfolds with a great deal of grace.” —
“Jen is masterful at mixing keen observation with wit and wisdom, and she is in top form here . . . diving into the pain and promise of coming to America.” —BookPage
“Jen beautifully captures the pain of feeling invisible in a place where your every move is being watched, a place ‘where you can talk and talk and still have nobody hear.’” —The New Yorker
“[Sophy] is a marvelous study in contradictions, with the voice, pop cultural references and cheap yearnings of an American teenager, but a spirit scarred by secondhand trauma. . . . Powerful.” —San Francisco Chronicle
“It’s a big subject, America, but Gish Jen once again proves an exemplary national pulse-taker. . . . Jen’s narrative sparkles.” —The Toronto Star
“Jen’s sensitivity and charming humor should vault this to the top of book groups’ must-reads.” —Library Journal
“Jen’s richly stippled novel slyly questions every assumption about existence and meaning even as it celebrates generosity, friendship, and love.” —Booklist

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Product Details

  • ISBN-13: 9780307272195
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 10/5/2010
  • Pages: 400
  • Product dimensions: 5.90 (w) x 9.30 (h) x 1.40 (d)

Meet the Author

Gish Jen
Gish Jen is the author of three previous novels and a book of stories. Her honors include the Lannan Literary Award for fiction and the Mildred and Harold Strauss Living Award from the American Academy of Arts and Letters. She lives with her husband and two children in Cambridge, Massachusetts.

From the Hardcover edition.


As a child, Chinese-American author Gish Jen read constantly, though she did not dream of becoming a writer. From pre-med at Harvard to finally finding an academic "home" in an MFA program, the author of The Love Wife, Typical American, Who's Irish?, and Mona in the Promised Land, is known for her tragi-comic sensibility and transcending stereotypes in her characters' search for identity.

Typical American, Jen's first novel, was nominated for a National Book Critics Circle Award and launched Jen into the literary limelight. The story follows three Chinese immigrants, Ralph Chang, his wife, Helen, and his sister, Theresa, as they pursue the American Dream and do battle with the pressures of greed, assimilation, and self-interest. Brilliantly funny and sad, the story takes some surprising turns in the quest to become American.

Gish Jen, whose characters undergo profound changes in the quest for identity, is herself no stranger to identity issues. After publishing two short stories with her given name, Lillian Jen, in the early eighties, she began using the name she acquired in high school, Gish Jen, after the silent film star, Lillian Gish.

Born in 1955 in New York, Jen grew up Chinese and Catholic in Queens, Yonkers and in the large Jewish community of Scarsdale. She never dreamed of being a writer. Instead she dutifully pleased her parents by first going to Harvard with plans to become a lawyer or doctor. That changed when a poetry professor suggested she at least work in publishing if she wasn't going to be a full-time writer. She took a job at Doubleday Books, but was not quite satisfied. From here, she enrolled in an M.B.A. at Stanford University, only to drop out and follow the urge to write. Finally, in the M.F.A. program at the Iowa Writers' Workshop, she found her academic and creative home.

After Jen graduated from Iowa in 1983, she married David O'Connor and lived in California until 1985, when they moved to Cambridge, Massachusetts, where they now live with their two children. During this period, she was so discouraged about a literary career that she took a typing test at Harvard. Although she passed it with flying colors, she was able to triumphantly turn down the clerical job offered because she had been accepted as a fellow at Radcliffe's Bunting Institute. It was here that Jen began writing her first novel, Typical American, which was eventually published in 1991.

Typical American was a finalist for the National Book Critics Circle Award and gave Jen literary clout and exposure. The book follows the lives of three foreign students -- Ralph Chang, older sister Teresa, and Ralph's future wife Helen. When the Communists assume control of China in 1948, the three become trapped in the United States and band together, planning to achieve the American dream while keeping their Chinese values intact. However, as they encounter their own foibles and the challenges of America, the ride in this tragi-comic story is by no means smooth.

Rave reviews followed the publication of Typical American. The New York Times Book Review said, "No paraphrase could capture the intelligence of Gish Jen's prose, its epigrammatic sweep and swiftness. The author just keeps coming at you, line after stunning line. Even her incidental description seems new-minted -- purely functional, bone clean yet lustrous."

Although Typical American was successful, Jen resented being labeled as just an AsianAmerican writer. As a reaction, she decided to complicate what that meant with her second novel, Mona in the Promised Land (1996).

The story centers on the middle-class owners of a pancake house, Helen and Ralph Chang, who have moved on up to a house in wealthy, suburban Scarshill, NY. In 1968, with Vietnam and the civil rights movement in full swing, their younger daughter Mona enters high school, joins a youth group at a synagogue, converts to Judaism, fights against other "isms" and becomes known as Mona "Changowitz." Eventually, her mother turns her back on Mona, and Mona learns that her rabbi is right in telling her, "The more Jewish you become, the more Chinese you'll be."

Jen told the journal, Ploughshares, in 2000 that Mona in the Promised Land grew out of a short story, What Means Switch?, that she had written while trying to finish Typical American. She had lost her first pregnancy, and didn't know if she'd be able to finish the novel. After running into an old high-school acquaintance, she was inspired to revisit her teen years in Scarsdale in a short story.

In the eight short stories of Who's Irish? (2000), Jen chronicles Chinese and other Americans as they take on America with sometimes comic and heart-breaking outcomes. The stories originally appeared in such publications as The New Yorker and Ploughshares. Two stories were selected for the anthology Best American Short Stories, and one that was originally published in Ploughshares, "Birthmates," was chosen by John Updike for The Best American Short Stories of the Century.

The title story of Who's Irish? is one of the best. The story's narrator is a Chinese-born grandmother, who clashes with her liberal-minded, Westernized daughter in matters of childrearing. When she tries to discipline her misbehaving granddaughter in her firm Chinese way, the child's mother, who has married an Irish-American, decides her own mother should move out. Ultimately she moves in with her Irish-American son-in-law's mother, who is just as confused as she is about their offspring's modern ways. It seems the generational clash has superceded ethnic differences.

Throughout her writing career, Jen, has chosen to take advantage of what freedom she could find rather than play such roles as expert on China, or of professional victim. In the Ploughshares interview, she said, "I have hoped to define myself as an American writer."

In her third novel, The Love Wife (2004), readers are introduced to another of Jen's "typical American families." The family is made up of a second-generation Chinese American husband named Carnegie, a blue-eyed wife named Blondie, adopted Asian daughters Wendy and Lizzie and a blond biological son, Bailey. Then from mainland China, along comes Lan, a nanny and relative who is "bequeathed" by Carnegie's mother.

The mother of two biracial children, Jen told Dale Raben in a 2004 interview for the Library Journal that their appearances helped shape one of her themes in The Love Wife.

"My children look exactly alike except that my son has straight black hair and my daughter has fine, light hair. And for whatever reason, that has caused them to be seen very, very differently by the world.

In the novel, Blondie is already worried that their family looks strange, as if she and Bailey don't belong. Lan's arrival only intensifies this pre-existing tension.

Writing from a Chinese American standpoint, Jen argues that grouping people by ethnicity is almost meaningless. Continuing her interview in the Library Journal, she said, "You have to ask, ‘Are they immigrants or are they non-immigrants?' For the people in this book, to be first- and second-generation immigrants from a non-Western culture is very germane. How germane it will be to their children, who can say?"

In her novels and short stories, Jen liberates her characters from stereotypes by making them profoundly human and complex. In an interview published in 1993 in the journal MELUS (The Society for the Study of the Multi-Ethnic Literature) Jen said she views her work as indeterminate in its final message: "I think it has to do with the fact that I come from a culture where things can have opposite attributes at the same time, like in food, sweet and sour. The world is at once yin and yang."

Good To Know

Some outtakes from our interview with Jen:

"I am a more or less normal person."

"I have two happy, healthy children. They are far funnier than I am."

"I love nothing more than a long swim in a pond."

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    1. Hometown:
      Cambridge, Massachusetts
    1. Date of Birth:
      August 12, 1955
    2. Place of Birth:
      New York, New York
    1. Education:
      B.A. Harvard University, M.F.A., Iowa Writers’ Workshop

Read an Excerpt

Hattie I: I'll But Lie and Bleed Awhile

Last week, a family moved in down the hill-Cambodian. They plan to build themselves a little house, people say. Hoping that that house will-ta daah!-become a home. Well, that's not so simple, Hattie happens to know. But never mind; this is an age of flux. She, Hattie Kong, came from China; her neighbors from Cambodia; is there anyone not coming from somewhere? And not necessarily to a city with a cozy unhygienic ghetto, but sometimes-if not immediately, then eventually- to a fresh-aired town like Riverlake. A town that would have pink cheeks, if a town had cheeks. Riverlake being a good town, an independent town-a town that dates to before the Revolution. A town that was American before America was American, people claim-though, well, it's facing change now, and not just from the Cambodian family. Of course, there's always been change. In fact, if you want to talk about change, the old-timers will tell you how Riverlake wasn't Riverlake to begin with-how Brick Lake overflowed its banks a hundred years ago and came pouring down in a flood to here, and how the resulting body of water had to be renamed to avoid confusion. Riverlake, they dubbed it then-a lake born of a river. And the town that went with the lake was called that, too. Riverlake-a town born of change.

One thing will become another; and Hattie's neighbors are at least living for now in a double-wide trailer such as many around here would not sniff at. For some flatlanders bought property on the lake with this trailer on it; and seeing as they were going to build themselves a vacation place with radiant heat and a standing-seam roof, they gave the thing to the Cambodian family for free. Worked with the powers- that-be on the Internet, it seems. Had an interest in that part of the world, having marched-and marched and marched-against this and that in their youth. (As did Hattie, too, by the way, it wasn't such a big distinction.) The powers-that-be contacted a church, which in turn had the trailer moved to that triangle field at the bottom of the cliff behind Hattie. An odd lot the church was left in an odd will, and which odd lot the church has been trying to sell off for way longer than Hattie's been living in Riverlake, anyway. Which would be-what?- some two years now. Ever since Joe died and then Lee, in a kind of one- two Hattie still can't quite believe. It was like having twins; at one point they were even both in the recovery room together. She got to book the same church with the same pianist for both funerals, and did think she should have gotten some sort of twofer from the crematorium. And now, well, Come back, come back, she still begs them, in her half- sleep, sometimes. Come back. Come back. Though sometimes she's as mad at them as if they'd gone and had an affair on her.

How could you? How could you?

As if they could explain it.

And, What now? What now?

There being whole days, still, when she more or less lives to feed the dogs. Hers is a loneliness almost beyond words.

What now.

As dear Lee, that fountain of pith, used to say, The unlived life isn't worth living.

Her new neighbors.

And that lot, which was still the Lord's free and clear, awkwardly placed as it was-right in the crotch of a three-hill scrunch-up. It wasn't like Hattie's place, open and cleared and up on a granite knoll, with a little lake view. There was some clearing, but mostly the place was woods, and not the picturesque kind. These were real woods, impassable woods, with trees leaning and lying all over. A lot of sodden logs and lichen and toadstools, and even on the live trees, dead branches that stuck out all around the trunks like thorns. There was no view, and no light. And being sunk in a pocket like that, most of the clearing, aside from the trailer site proper, was wet. What the place really needed was divine intervention in the form of an in- ground dehumidifier. That did not, unfortunately, seem forthcoming. The good Lord did appear to be providing, though, if not for deliverance exactly, then a use for the place-about which, living as close as she did, Hattie was not thrilled. But, well, who could stop Him?

Hattie having heard that the church was going to do something someday, but having somehow envisioned that someday to be like the Rapture-a day that might or might not be on the immediate horizon. One week, though, the trailer sat as normal in its old site near town. The next its yard looked like a truck trade show. Hattie, out walking the dogs, stopped more or less dead as a churchload of folks jacked up the trailer and split it right down the middle, then with considerable adjusting and cranking and readjusting, opened it up like a child's pack-'n'-go dollhouse. Things snapped and sank; things leaned and bowed and split. This was not the growth of a crystal or a protein- some natural process bordering on dance. No, this was manmade inelegance itself. Still, only one worker swore (cussed to make the heavens blush, Hattie's mother would have said), namely baby-faced Everett, husband of Hattie's walking-group friend, Ginny. Whom someone had up and volunteered, unchurched though he was, on account of his size; never mind that the poor man was bound to incur more ambivalence than gratitude for his pain. Hattie knew him as a guy who would shovel her out in a storm-a man who'd show up without her asking and refuse to be paid, and a regular snow mason to boot, who over the course of the winter would produce path walls so plumb, you could have checked a spirit level against them. He was a kind man, an obliging man. And yet said kind and obliging man would not leave off cussing when people gave him the eye, quite the contrary. Said kind and obliging man seemed, if anything, to cuss all the louder for the looks-a man after Hattie's own heart in that way, but less dear to his coworkers, she could imagine, as the day wore on. For hear tell a jack gave, a hitch snapped. The coffee ran out. The cold got colder. One man just about took his thumb off, and had to go to Emergency with his hand in a bandanna tourniquet. So who knows but that Everett's mouth might have proved contagious-who knows but that he might have led others into Error-had the Lord not eventually gotten those trailer halves up on wheels.

There they were, though, finally, up up-at last-hallelu-jah! The group disbanded; heathen Everett disappeared. Then down the road the trailer halves rolled, one after the other, their private parts all in public. Did not a body have to wonder how intelligently designed we can be when none of us has so much as a wheel-like option? Well, never mind. The most intriguing part of all this, to Hattie's mind, had nothing to do with the brute grunting and heaving-ho-or even the dawning realization that the halves were headed toward her house. (Which was not intriguing, by the way-which was a shock!) It was rather when one of the trailer halves passed her on the road. For in the kitchen, as it rumbled by, was a blink of a girl, holding up the cabinets. Young- fourteen or fifteen, Hattie guessed-a tea-skinned pipsqueak of a thing with a swingy black ponytail and a shocking-pink jacket. Some cabinets had gotten knocked loose when the work was being done; the girl was put in there, it seemed, to keep them from coming down completely. Never mind that her spindly legs were wholly inadequate for the job- there she was all the same, gamely holding them up. Having taught high school for the better part of her life, Hattie waved at the poor thing; this being one of the things teaching's made of her, besides a habitual hoarder of chalk: a compulsive supporter of gumption. True, she'd retired right after Joe and Lee died. (As she had had to, being unable to bear the campus at which they'd all taught-being unable to climb the hill with the crocuses, or to set foot in the teachers' lounge, anything.) But never mind. That the girl did not wave back is the thing-that she could not begin to think about waving back, probably. Still, Hattie waved anyway-as the girl might never have even noticed, had the trailer not happened to hit a pothole.

A well-known pothole, this was, more famous in these parts than any movie star. It was top of the summer list for the road repair crew-a gap big enough to make you fear for your car axle. If locals had drawn up the map, this thing would have been on it in red. But that driver hailing from parts unknown, he failed to slow down-making for a jolt. The top of the trailer tilted like a fair ride; the girl was slammed askew. She lost her footing; a door sprang open; some cabinets tore off and a drawer shot out, sailing with surprising aplomb out onto the road, where it landed, spinning.

"Help!" the girl shouted.

"I've got it!" Hattie called back.

Did the girl hear? In any case, as the trailer pulled back level, the dogs and Hattie went and rescued the drawer-a wood-veneer affair, with a pitted, copper-tone, Mediterranean-look pull. Empty. The sort of thing you don't even see as a thing unless it's lying in the road and about to get run over. The dogs sniffed it immediately, of course. Wise Cato dropping his tail even as Annie the puppy attacked it; Reveille the glutton nosed an inside corner. For the thing did smell of cinnamon-someone's ex-spice drawer, guessed Hattie, as she picked it up. A thing worth something on its own, but a thing you'd have to say had suffered a loss, too. Its fellow drawers, after all-not to say all the cabinetry it had ever known.

Ah, but what has happened to her that she can find herself feeling sorry for a kitchen drawer?

Hattie gone batty!

Anyway, there the thing was, still in one piece.

She would have brought it back the very next day, except for the rain attack-these huge drops leaving the sky with murderous intent. Anyone foolish enough to pit an umbrella against them would only meet defeat even before the onslaught turned, like this one, into something resembling concrete aggregate. Of course, it will let up soon enough. Soon enough, Hattie's friend Greta will be whizzing by again, her white braid flying and her back baskets full-honking Hi! at Hattie's house, midwestern-style, as if to remind her of the music series, the dam project, the water quality patrol! So many ways to Get Involved, so many ways to Prove an Exemplary Citizen!

For a blessed few days, though, Hattie the Less Exemplary sits painting bamboo. One stalk, two.

Wind. Sleet. Hail.

She dips her máobi in the ink.


Until finally comes a big blue sky, solid as wallboard.

Hattie admires the mountains as she crosses her side yard-the mountains in Riverlake being neither the highest hills around, nor the most dramatic, but quite possibly the most beguiling. Folding into one another like dunes, if you can imagine dunes dark with trees and sprinkled with farms. The west side of the lake, where Hattie lives, tends to the plunging and irregular-irrepressible granite heaves with drifts of unidentified other matter in between. (Including, this time of year, a few last gray amoebae of snow.) The east side, though-which she can see from her side yard and back porch-is rolling and dotted with some of the big old farms that used to be everywhere around here. They're squares of spring green today, like handkerchiefs dropped down from someplace they use green handkerchiefs; Hattie likes the barns, especially. It's hard to say why plain nature would be improved by a red barn or two, but she does feel it so. Maybe it is just the Chinese in her, always partial to the civilized, but she likes silver-capped silos, too, and farmhouses.


Though look what's floating from the crest of the hill today: the trial balloon for the proposed cell phone tower. A long long string with a white balloon bobbing at its top-the whole deal a-waft like a ghost in a kids' play now, but just wait until it's a lunky metal affair with trusses and uprights and baubled appendages. There's a family hoping to make a killing on the thing, people say, as well as a big select board meeting on the subject coming up, to which-meeting-ed out as she was by her fervent youth-even Hattie will go.

But first, her neighbors.

The land is a swamp, but the trailer site itself isn't bad. As nobody has built steps up to the front door yet, though, she has to step up onto a milk crate to knock, and even so finds herself knocking at the door's knees. An awkward thing to do while holding a drawer, especially if you have a bag of cookies set in the drawer, as she does- butterscotch chip, nothing too extraordinary, though Hattie did use turbinado sugar in them instead of regular, seeing as how it was on special one week. Whatever turbinado even is or means. Anyway, the sugar gave the cookies a chew; and now here the door is opening, with a scrape-a half-gone hinge. The air has the mushroomy smell of rot.

"Hello," she says from her pedestal. She hoists the drawer before her like a popcorn vendor at a baseball game. "I've come to welcome you to the neighborhood."

Her audience being a half-stick of a man-looming over her at the moment, but not actually much taller than she is, which last she dared measure was all of five foot two. He has on a blue buttoned-up polo shirt, a black leather belt, and blue denim pants that look as though they are meant to be jeans but somehow look like slacks. His hair is white and thin, his skin pale and loose, and his face the fine result, she guesses, of a Pol Pot facial: One of his cheekbones sits a half- step high. She shivers. The man's nose is likewise misaligned; his pupils are tiny; and his gaze has a wander, as if possessed of a curiosity independent of its owner. Nystagmus, she thinks-damage to the abducens nerve. (Recalling old science terms more easily than she recalls her grocery list, naturally.) His gaze lists left, like a car out of alignment, then jerks back-left left left again, and back. It is strange to think him around her age-younger than her, even. Mid- sixties, people have said. He looks, she thinks, to belong to his own reality; and who knows but that he thinks something similar of her, for he beholds her with a blankness so adamant that the closed door he's replaced does seem, in retrospect, to have been friendlier.

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Table of Contents

Prologue: A Lost World 3

Hattie I I'll But Lie and Bleed Awhile 9

Sophy: How They Even Got Here 109

Hattie II Rising to Fight Again 163

Everett: What Went Wrong, Now 271

Hattie III The Pride of Riverlake 309

Acknowledgments 387

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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 World and Town, acclaimed author Gish Jen’s brilliantly rendered new novel about a newly widowed Chinese American woman, a retired neuroscientist, and a Cambodian refugee family all starting over, they hope, in a small New England town.

1. The prologue is set in a beautiful and ancient Chinese graveyard in which Hattie Kong’s relatives—descendants of Confucius—are buried, a provocative opening for a book about small-town America. What does this suggest about America today? The section ends with Hattie Kong—Chinese and American, Christian and Confucian—lamenting the passing of an older, simpler order and wondering what she has to replace it. To what degree are her questions uniquely her own?

2. Hattie is the center of this novel, the person through whom all the others connect, but she has her own story as well. Why does she move to Riverlake? What do Lee and Joe represent to her? Why does Sophy mean so much to her? When Neddy Needham, in the first Town Hall scene, asks, “Whose town is this?” she wonders, on the side, if it is hers. It is by the end, but how has this change come about?

3. There is a lot of doubling in this book. Chhung feels himself to have been reborn into his brother’s life; Carter Hatch seems scripted to become his father; Hattie is able to leave China thanks to her serendipitous resemblance to a girl who died. Do you see other doublings of characters or situations? What does this suggest about the nature of the self and reality?

4. Vision is a major theme in the book. Hattie’s mother has always told her, “We must see that we don’t see,” and Carter spent most of his career working on the process by which information from the outside world is filtered and made coherent. Vision, as Carter’s father says, goes with blindness, even depends on it. Do you find other forms of seeing that involve blindness in the book? And if what we see might be thought of as a “world,” does this shed light on the title of the book?

5. Hattie, by the end of the book, has embraced a new life, but she has also rejected several modes of being. Though displaced, like her fellow teacher Ginny, and betrayed, she has chosen a different road for herself. Do other characters offer reflections of what Hattie might have become, had she chosen differently? In her youth, Hattie rejects superstition and embraces science; by the end, she has modified her view somewhat. Why?

6. One of the ways in which people in this book try on new selves is by changing their hair. What are some of the things people do to their hair?

7. This book has a main narrative in three parts, with two related narratives inserted into it. What does this suggest about the nature of the main narrative and storytelling generally? Is it definitive? How might it be related to the themes of “world”-making and blindness?

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Customer Reviews

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Sort by: Showing all of 8 Customer Reviews
  • Posted October 6, 2010

    Funny, Moving, and Relevant Too

    I've read many of Jen's books and this does not disappoint -- it is her best yet. Faced-paced with great 3D characters (no lazy dialogue here), living in a real world -- this time a small town in northern New England. Farmers, elderly townfolks, scientists, and shell-shocked refugees from Cambodia make for a wonderful, fascinating, moving, and yet all too volatile mix. And it was great having a spunky and short 68 year old woman as the heroine!

    1 out of 1 people found this review helpful.

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  • Posted October 3, 2010

    more from this reviewer

    The strong cast makes for a profound look at Asian immigrants at a time when Americans turn xenophobic

    In her late sixties and on the anniversary of five decades in the United States, Widow Hattie Kong misses her late husband and her best friend who both died from cancer. A descendent of Confucius and a missionary, Hattie muses that since she used the same church, the same organist and the same crematory, she should have received a group rate discount; an American buy one get one free.

    Two years since the dual burial, Hattie lives in Riverlake. There she meets an immigrant Cambodian family who live in an overly crowded trailer; patriarch Chhung survived Pol Pot though his first wife could not cope with a burial atrocity by the Khmer Rouge. Also in their neighbored is retired neuroscientist Dr. Carter Hatch. Hattie and Chhung's teenage daughter Sophy becomes friends. Apparently Chhung, who met Sophy's mother in a Cambodian concentration camp, relocated from the inner city to keep his adopted son Saran away from the gangs. Feeling all alone in American and unable to connect with his children as his son resents the abode in the burbs and his daughter becomes an evangelical Christian, a frustrated Chhung explodes while on the East Coast terror has come to America in the skies. Hattie feels a need to help Sophy and her family, but is unsure what to do.

    The strong cast makes for a profound look at Asian immigrants at a time when Americans turn xenophobic. Hattie holds the character driven story line together as she finds a reason to live; she goes from "I'll but lie and bleed awhile" to "Rising to Fight Again". Gish Jen makes a strong case that in an ideal world, we would go way beyond just religious and racial tolerance to include harmoniously welcoming other beliefs, but this is not an ideal world as The Killing Fields, 9/11 and post 9/11 prove.

    Harriet Klausner

    1 out of 2 people found this review helpful.

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