A transformational journey through Italy, India, and Bali searching for pleasure and devotion—the massive bestseller from the author of The Signature of All Things
This beautifully written, heartfelt memoir touched a nerve among both readers and reviewers. Elizabeth Gilbert tells how she made the difficult choice to leave behind all the trappings of modern American success (marriage, house in the country, career) and find, instead, what she truly wanted from life. Setting out for a year to study three different aspects of her nature amid three different cultures, Gilbert explored the art of pleasure in Italy and the art of devotion in India, and then a balance between the two on the Indonesian island of Bali. By turns rapturous and rueful, this wise and funny author (whom Booklist calls “Anne Lamott’s hip, yoga- practicing, footloose younger sister”) is poised to garner yet more adoring fans.
|Publisher:||Penguin Random House Audio Publishing Group|
|Product dimensions:||5.36(w) x 5.84(h) x 1.53(d)|
|Age Range:||18 Years|
About the Author
Elizabeth Gilbert is the #1 New York Times bestselling author of Big Magic, Eat Pray Love, and The Signature of All Things, as well as several other internationally bestselling books. She has been a finalist for the National Book Award, the National Book Critics Circle Award, and the PEN/Hemingway Award. Her latest novel, City of Girls, comes out in June, 2019.
Hometown:Hudson Valley, New York
Date of Birth:July 18, 1969
Place of Birth:Waterbury, Connecticut
Education:BA, New York University, 1991 (Political Science)
Read an Excerpt
I wish Giovanni would kiss me.
Oh, but there are so many reasons why this would be a terrible idea. To begin with, Giovanni is ten years younger than I am, and, like most Italian guys in their twenties, he still lives with his mother. These facts alone make him an unlikely romantic partner for me, given that I am a professional American woman in my mid-thirties, who has just come through a failed marriage and a devastating, interminable divorce, followed immediately by a passionate love affair that ended in sickening heartbreak. This loss upon loss has left me feeling sad and brittle and about seven thousand years old. Purely as a matter of principle I wouldn't inflict my sorry, busted-up old self on the lovely, unsullied Giovanni. Not to mention that I have finally arrived at that age where a woman starts to question whether the wisest way to get over the loss of one beautiful brown-eyed young man is indeed to promptly invite another one into her bed. This is why I have been alone for many months now. This is why, in fact, I have decided to spend this entire year in celibacy.
To which the savvy observer might inquire: 'Then why did you come to Italy?'
To which I can only reply—especially when looking across the table at handsome Giovanni— 'Excellent question.'
Giovanni is my Tandem Exchange Partner. That sounds like an innuendo, but unfortunately it's not. All it really means is that we meet a few evenings a week here in Rome to practice each other's languages. We speak first in Italian, and he is patient with me; then we speak in English, and I am patient with him. I discovered Giovanni a few weeks after I'd arrived in Rome, thanks to that big Internet cafÈ at the Piazza Barbarini, across the street from that fountain with the sculpture of that sexy merman blowing into his conch shell. He (Giovanni, that is—not the merman) had posted a flier on the bulletin board explaining that a native Italian speaker was seeking a native English speaker for conversational language practice. Right beside his appeal was another flier with the same request, word-for-word identical in every way, right down to the typeface. The only difference was the contact information. One flier listed an e-mail address for somebody named Giovanni; the other introduced somebody named Dario. But even the home phone number was the same.
Using my keen intuitive powers, I e-mailed both men at the same time, asking in Italian, "Are you perhaps brothers?"
It was Giovanni who wrote back this very provocativo message: "Even better. Twins!"
Yes—much better. Tall, dark and handsome identical twenty-five-year-old twins, as it turned out, with those giant brown liquid-center Italian eyes that just unstitch me. After meeting the boys in person, I began to wonder if perhaps I should adjust my rule somewhat about remaining celibate this year. For instance, perhaps I could remain totally celibate except for keeping a pair of handsome twenty-five-year-old Italian twin brothers as lovers. Which was slightly reminiscent of a friend of mine who is vegetarian except for bacon, but nonetheless ... I was already composing my letter to Penthouse:
In the flickering, candlelit shadows of the Roman café, it was impossible to tell whose hands were caress—
No and no.
I chopped tvhe fantasy off in mid-word. This was not my moment to be seeking romance and (as day follows night) to further complicate my already knotty life. This was my moment to look for the kind of healing and peace that can only come from solitude.
Anyway, by now, by the middle of November, the shy, studious Giovanni and I have become dear buddies. As for Dario—the more razzle-dazzle swinger brother of the two—I have introduced him to my adorable little Swedish friend Sofie, and how they've been sharing their evenings in Rome is another kind of Tandem Exchange altogether. But Giovanni and I, we only talk. Well, we eat and we talk. We have been eating and talking for many pleasant weeks now, sharing pizzas and gentle grammatical corrections, and tonight has been no exception. A lovely evening of new idioms and fresh mozzarella.
Now it is midnight and foggy, and Giovanni is walking me home to my apartment through these back streets of Rome, which meander organically around the ancient buildings like bayou streams snaking around shadowy clumps of cypress groves. Now we are at my door. We face each other. He gives me a warm hug. This is an improvement; for the first few weeks, he would only shake my hand. I think if I were to stay in Italy for another three years, he might actually get up the juice to kiss me. On the other hand, he might just kiss me right now, tonight, right here by my door ... there's still a chance ... I mean we're pressed up against each other's bodies beneath this moonlight ... and of course it would be a terrible mistake ... but it's still such a wonderful possibility that he might actually do it right now ... that he might just bend down ... and ... and ... Nope.
He separates himself from the embrace.
"Good night, my dear Liz," he says.
"Buona notte, caro mio," I reply.
I walk up the stairs to my fourth-floor apartment, all alone. I let myself into my tiny little studio, all alone. I shut the door behind me. Another solitary bedtime in Rome. Another long night's sleep ahead of me, with nobody and nothing in my bed except a pile of Italian phrasebooks and dictionaries.
I am alone, I am all alone, I am completely alone.
Grasping this reality, I let go of my bag, drop to my knees and press my forehead against the floor. There, I offer up to the universe a fervent prayer of thanks.
First in English.
Then in Italian.
And then—just to get the point across—in Sanskrit.
And since I am already down there in supplication on the floor, let me hold that position as I reach back in time three years earlier to the moment when this entire story began—a moment which also found me in this exact same posture: on my knees, on a floor, praying.
Everything else about the three-years-ago scene was different, though. That time, I was not in Rome but in the upstairs bathroom of the big house in the suburbs of New York which I'd recently purchased with my husband. It was a cold November, around three o'clock in the morning. My husband was sleeping in our bed. I was hiding in the bathroom for something like the forty-seventh consecutive night, and—just as during all those nights before—I was sobbing. Sobbing so hard, in fact, that a great lake of tears and snot was spreading before me on the bathroom tiles, a veritable Lake Inferior (if you will) of all my shame and fear and confusion and grief.
I don't want to be married anymore.
I was trying so hard not to know this, but the truth kept insisting itself to me.
I don't want to be married anymore. I don't want to live in this big house. I don't want to have a baby.
But I was supposed to want to have a baby. I was thirty-one years old. My husband and I—who had been together for eight years, married for six—had built our entire life around the common expectation that, after passing the doddering old age of thirty, I would want to settle down and have children. By then, we mutually anticipated, I would have grown weary of traveling and would be happy to live in a big, busy household full of children and homemade quilts, with a garden in the backyard and a cozy stew bubbling on the stovetop. (The fact that this was a fairly accurate portrait of my own mother is a quick indicator of how difficult it once was for me to tell the difference between myself and the powerful woman who had raised me.) But I didn't—as I was appalled to be finding out—want any of these things. Instead, as my twenties had come to a close, that deadline of THIRTY had loomed over me like a death sentence, and I discovered that I did not want to be pregnant. I kept waiting to want to have a baby, but it didnt happen. And I know what it feels like to want something, believe me. I well know what desire feels like. But it wasn't there. Moreover, I couldn't stop thinking about what my sister had said to me once, as she was breast-feeding her firstborn: 'Having a baby is like getting a tattoo on your face. You really need to be certain it's what you want before you commit.'
How could I turn back now, though? Everything was in place. This was supposed to be the year. In fact, we'd been trying to get pregnant for a few months already. But nothing had happened (aside from the fact that—in an almost sarcastic mockery of pregnancy—I was experiencing psychosomatic morning sickness, nervously throwing up my breakfast every day). And every month when I got my period I would find myself whispering furtively in the bathroom: Thank you, thank you, thank you, thank you for giving me one more month to live ...
What People are Saying About This
This is a wonderful book, brilliant and personal, rich in spiritual insight.—Anne Lamott
Gilbert’s prose is fueled by a mix of intelligence, wit and colloquial exuberance that is close to irresistible.—The New York Times Book Review
An engaging, intelligent, and highly entertaining memoir.—Time
A meditation on love in its many forms—love of food, language, humanity, God, and most meaningful for Gilbert, love of self.—Los Angeles Times
This insightful, funny account of her travels reads like a mix of Susan Orlean and Frances Mayes.—Entertainment Weekly
Reading Group Guide
From the way Elizabeth Gilbert’s tale begins—with our heroine in Rome, fawning over a sexy, young Italian—one could be forgiven for thinking that Eat, Pray, Love might just belong on the chick-lit shelf next to Amy Sohn’s Run, Catch, Kiss. But first blushes can be deceiving, and from the book’s introductory quote—“Tell the truth, tell the truth, tell the truth”—we know Gilbert’s not out to deceive. Not her readers and, most important, not herself.
In what could be construed as a coming-of-age story for thirtysomethings, Gilbert leaves behind an excruciating divorce, tumultuous affair, and debilitating depression as she sets off on a yearlong quest to bridge the gulf between body, mind, and spirit. Part self-deprecating tour guide, part wry, witty chronicler, Gilbert relates this chapter of her life with a compelling, richly detailed narrative that eschews the easy answers of New Age rhetoric. In the book’s early pages, a flashback finds the smart, savvy, successful Gilbert on her knees on the bathroom floor of the Westchester house she inhabits with her husband, wailing and wallowing in sorrow, snot, and tears (“a veritable Lake Inferior”), awkwardly embarking on her first conversation with God.
During the interminable wait for her divorce, Gilbert accepts a magazine assignment in Bali, where she meets a ninth-generation medicine man “whose resemblance to the Star Wars character Yoda cannot be exaggerated.” He evaluates her palm, forecasting her return to Bali—a prediction that resurfaces when she hatches an escape plan from pain: “to explore the art of pleasure in Italy, the art of devotion in India, and, in Indonesia, the art of balancing the two.”
Drawn by the beauty of its mother tongue, Gilbert arrives in Rome dead set on a self-restoration remedy rooted in pleasure and chastity, a peculiar pairing she describes as the antidote for decades spent sublimating herself to lovers with the dedication of “a golden retriever and a barnacle.” For Gilbert, luxuriating in simple pleasures means sounding the curtain call on personal demons—in this case a good-cop, bad-cop routine starring loneliness and depression—and allowing her own desires (gelato for breakfast!) to take center stage.
Pleasure triumphs, and our protagonist is prepared for the next leg of her journey: an ashram in India, where racing thoughts eventually yield to successful meditation and a cast of supportive characters, including a plumber-poet from New Zealand, an ever-amiable, sage Texan, and the Indian tomboy she scrubs the temple floors with as part of her devotional duty.
By the time Gilbert arrives in Indonesia, she has shed her grief, realizing her own ability to control her reaction to life’s events. She is strong, enjoying a succession of simple days spent with the medicine man, a Javanese surfer dude, and a woman healer. Bicycling around Bali, she finds balance and, as the title suggests, love. Happiness, Gilbert comes to realize, “is the consequence of personal effort. You fight for it, strive for it, insist upon it, and sometimes even travel around the world looking for it.”
ABOUT ELIZABETH GILBERT
Elizabeth Gilbert is the author of a short story collection, Pilgrims, a finalist for the PEN/Hemingway Award, and winner of the 1999 John C. Zacharis First Book Award from Ploughshares-and a novel, Stern Men. A Pushcart Prize winner and National Magazine Award-nominated journalist, she works as writer-at-large forGQ. Her journalism has been published in Harper's Bazaar, Spin, and The New York Times Magazine, and her stories have appeared in Esquire, Story, and the Paris Review.
A CONVERSATION WITH ELIZABETH GILBERT
Q. The realization that you did not want to have children serves as a turning point in the reevaluation of your life that led to divorce. Later you quote Virginia Woolf—“Across the broad continent of a woman’s life falls the shadow of a sword”—writing about a woman’s choice between convention and tradition versus “a far more interesting” yet “perilous” life. Do you think this is as true today for the modern, urban American woman?
When modern American women make the deliberate choice not to have children they are still called upon to defend that choice, in a culture where motherhood is still regarded as the natural evolution of a woman’s life. But I remember my own mother musing once that she thought women had been “sold a bill of goods” during the 1970s, in terms of being promised that they could have everything simultaneously—family, career, marriage, privacy, equality, femininity, and autonomy. Reality has taught us that no woman can build an honest life without sacrificing something along the way. Deciding what will be sacrificed is not easy. But the good news is this: increasingly, that decision is ours.
Q. Joseph Campbell spent a lifetime studying myths from around the world, ultimately sketching the archetype of the hero as a protagonist who sets out on a journey that ends in personal—and spiritual—transformation. Do you see echoes of the hero’s tale (well, heroine’s) in your own story?
Back when Campbell (whom I love, by the way) was teaching at Sarah Lawrence College, his female students would sometimes ask, “But what about the heroine’s journey? Don’t women get to participate in this universal questing epic?” Traditional world mythology, however, frankly replies: “Nope.” Women (as life bearers) have always been seen by mythmakers (men) as being automatically perfect for their task; they don’t need to transform. Well, I was never going to be a life bearer and was painfully yearning for the classically soul-changing quest. So throughout my journey, I definitely identified much more closely with the struggling hero archetype than with the self-possessed goddess archetype.
Q. Do you think travel necessitates personal growth because one is forced to respond to and accept the unfamiliar? In your opinion, how much does it depend on an individual’s willingness to embrace opportunity?
No experience in this world has ever been cathartic without the willing participation of the individual. Life does not automatically bestow wisdom or growth upon anyone just for showing up. You have to work ceaselessly on your end to digest and imbibe your opportunities or, I have come to believe, they will gradually slip away and knock on someone else’s more receptive door.
Q. You have a strong distrust of antidepressants, portraying them as Western medicine’s easy answer to despair. In light of the experiences related in the book, do you now believe that seeking help when one needs it is a sign of courage and the first step on the road to healing?
I actually have a great deal of respect for antidepressants; I think they can be enormously mighty tools toward recovery. What I question is the current notion that a little vitamin P is the only thing needed to restore a torn life. We are multifaceted beings, and if we are to heal our suffering we must address our wounds on every imaginable level, seeking help from as many sources as possible, not just from pharmaceutical companies. And, yes, that all begins with the brave admission that one is lost and wants to be recovered.
Q. You ended up structuring your book conceptually using japa mala—the beads used as an aid in many strands of Eastern meditation—as your model. This allowed you to tell your tale using 108 sections, divided into three groups of 36, your age at the time, with each group representing a different leg of your travels. How did you decide to use this device, and how difficult was it to remain faithful to this format?
Brace yourself for the world’s hokiest answer: the idea came to me in meditation in India. The idea arrived fully formed. In one glorious instant I was shown a complete vision of how the book would be organized. This idea was a massive gift to me; the structure kept my storytelling in order, preventing me from rambling digressions. And the idea of the prayer beads kept me on topic emotionally, too, reminding me at every moment that this book was ultimately a spiritual exercise, an offering.
Q. How did you come to the decision to have your sister and, to a lesser extent, your mother serve as points of comparison for your own life?
How could they not be comparisons? I think we all compare ourselves to our mothers and sisters, and, in my case, these are the two most influential women in my life—powerful and inspiring. And yet they’ve made markedly different choices than I have. But I witnessed this truth in them, too—that it was not without a certain level of sacrifice and struggle that they embraced motherhood and marriage. I learned a lot about my own ambivalence by studying theirs from every visible angle, using their experiences to teach me about myself.
Q. The personal encounters you have in Italy, India, and Indonesia seem to affect you deeply, and your guru’s philosophy clearly informs your own. Do you think that self-discovery requires the insights of others? What do you make of this paradox?
I don’t see the paradox; I think sincere self-exploration requires the insight of everyone. One of my guru’s most helpful instructions is to “become a scientist of your own experience,” which I take as an invitation to explore every possible line of human spiritual thinking. The world has been blessed with some extraordinary teachers over history—use them! That said, studying can only take you so far. At some point you have to lay aside the books, hope that your mind has actually absorbed some wisdom, and just sit there in silence, letting your soul ascend to its own leadership. And that’s something nobody can do for you.
Q. Before you leave India, your poet-plumber friend from the ashram writes a few lines of verse as a good-bye. In his poem, he describes you as “betwixt and between.” Do you think one can remain continually betwixt and between or is there a point at which this approach to life would become a burden?
Well, you don’t want to become a hunk of driftwood. When I was in India I ran into some travelers who’d never settled down, and they all had that look of tight madness around the eyes. What you do want to remain, though, whether you are traveling or not, is alert. Pay attention to the signals—is it time to lay down roots? Or time to go exploring again? As for me, I’ve come to trust the power of a lifelong quest; if you keep asking honest questions and keep giving honest answers, you will always be instructed clearly on what to do next, and when and with whom. (In other words: I’m happily and quietly living with my sweetheart, for the time being, in Philadelphia.)
Q. Eat, Pray, Love marks a point of departure from your previous work by focusing on your own life. Was it difficult for you to turn your talents to your own experience, revealing so much to readers about your internal life and personal journey?
Oddly, I never thought of it as a particularly personal story. To me, the arc of the narrative felt completely universal—doesn’t everyone struggle with these same questions, doubts, and longings? So, no, it wasn’t difficult to write this. Though I do feel it would have been impossible not to write it. I was so consumed by questions that I needed the ordering process of writing to help me sort through them. As Joan Didion once said, “I write so I can learn what I think.”
Q. How important does that year in your life seem to you now?
How important was the first breath you ever took the day you were born?