Ella awakens in the homestead of Willie Mae Cotton, a wise root doctor and former slave, and her partner, Mary-Mary Freeborn, tucked deep in the Takatoka Forest. As Ella heals, the secrets of her lineage are revealed.
Shot through with Cherokee lore and hoodoo conjuring, Glow transports us from Washington, D.C., on the brink of World War II to the Blue Ridge frontier of 1836, from the parlors of antebellum manses to the plantation kitchens where girls are raised by women who stand in as mothers. As the land with all its promise and turmoil passes from one generation to the next, Ella's ancestral home turns from safe haven to mayhem and back again.
Jessica Maria Tuccelli reveals deep insight into individual acts that can transform a community, and the ties that bind people together across immeasurable hardships and distances. Illuminating the tragedy of human frailty, the vitality of friendship and hope, and the fiercest of all bonds—mother love—the voices of Glow transcend their history with grace and splendor.
|Publisher:||Penguin Publishing Group|
|Sold by:||Penguin Group|
|File size:||967 KB|
|Age Range:||18 Years|
About the Author
What People are Saying About This
“Tuccelli is a lovely writer, and her almost magical ability to capture the voices and stories of the diverse characters in this novel is striking. She does not shy away from pain and suffering, but manages to find transcendence and hope for her characters against tremendous odds. The people in [Glow] are powerfully real, committed to family, to the land, and to the personal histories that make them who they are.” —David Wilk, The WritersCast
Reading Group Guide
We can often trace the gifts and burdens we inherit from our relatives back a couple of generations—a disposition toward healing others, a proclivity toward racial prejudice. Far more mysterious are the threads that run though hundreds of years of our ancestries and into the present, ghosts that set the stage for our own lives.
For Amelia J. “Mia” McGee, knowing her roots was as easy as looking above her childhood bed, where an embroidered family tree hung, showing her bloodlines reaching all the way back to the pioneer preacher Solomon Bounds. But a family is more than a list of names and dates woven into a piece of fabric. Her great-grandmother was a Cherokee war woman, an authority on who lived and who died. Her great-great-grandfather famously lost his inheritance to three former slave women. And her marriage to Obidiah Bounds—and the result of that union, their daughter, Ella—unifies two families split more than a century before.
When Mia leaves her native Georgia for Washington, D.C., she channels the strength she inherited from her ancestors into her work with W. E. B. Dubois and the NAACP. A champion of equality and justice, she becomes a target for those who oppose her ideals. With danger lurking in the shadows, Mia hastily sends Ella back to Georgia to keep her safe. But when the child does not arrive at her uncle’s home as planned, Mia must begin a desperate search to find her.
We are born into the memories and experiences of our ancestors. Long after their deaths, they live on in the unlikeliest of ways. They are why a tune can seem familiar when we hear it for the first time. Why a tract of land can feel like home the first time we set foot there. Why we can summon strength and bravery when fear consumes us. And why none of us—not even little Ella McGee, stranded and injured along an unfamiliar road—can ever truly lose our way.
ABOUT JESSICA MARIA TUCCELLI
Jessica Maria Tuccelli spent three summers trekking through northeastern Georgia, soaking up its ghost stories and folklore. A graduate of MIT with a degree in anthropology, she lives in New York City with her husband and daughter. Glow is her first novel.
A CONVERSATION WITH JESSICA MARIA TUCCELLI
Q. Glow is steeped in the geography and folklore of northeast Georgia and Southern Appalachia. Why did you decide to set your novel in this region, and how did you come to learn about this part of the world?
It was an adventure. I had written the first chapter, but I didn’t have a setting yet. In the world of Glow, ghosts inhabit the landscape just as easily as living beings, sometimes the two being interchangeable. I needed an environment that could support and evoke that. So my husband and I drove from Manhattan down the east coast, and when we arrived in Northeastern Georgia, I knew I had found the ideal surroundings for my story: The forest was wet and lush and fertile with spooky pockets of light and dark, and exotic flowers the likes of which I’d never seen before in the United States. There were mountains, hidden coves, cataracts, and cavernous gorges, the perfect playground for my characters, the perfect place to befriend a ghost. The confluence and clash of cultures lured me as well—Cherokee, African-American, Scotch-Irish—with such deep-rooted histories, yet still vibrantly alive.
Q. How did you go about crafting such an intricate plot?
My background is in film and theatre, and my strength is improvisation. I basically arose every morning, allowed a voice to come into my head, and wrote down what it had to say. If nothing came, I would pose a question to one of my characters. The key was to leave my desk with the scene unfinished, so that I had something to come back to the next day. My first mentor gave this advice to me, and it fuels my writing engine. It does make for an unbridled first draft, but that kind of freedom is crucial to my process.
When I was a little girl, my grandmother took me to the Uffizi in Firenze. As we passed a series of four unfinished sculptures by Michelangelo, the guide told us that Michelangelo believed the sculptures existed within the marble and his job was to reveal them. I like to think of a first draft like that marble, where the narrative is within the draft, and one must actively, thoughtfully, chip away and reveal it.
Q. Of all the characters in your novel, who are your favorites?
I’m sure I would not be the first to say that picking favorites amongst my characters is like picking a favorite child. That being said, I wish I had a Willie Mae Cotton in my life.
Q. You’re a graduate of MIT. How did you make the leap from that sort of atmosphere to the world of literature?
Science is investigation, observation, creativity, and the use of imagination. For me, there is an easy logic in going from MIT to writing. The difference, of course, is that a scientist is working on a new theory of physics, and the writer is working on inventing the physicist who is working on the new theory of physics.
Q. Glow covers a large span of time—from Andrew Jackson’s expulsion of the Cherokee to the Japanese attack on Pearl Harbor. What kind of research did you do to get a detailed historical understanding of each period?
I listened to oral histories and the music of the period, and even took to the sky in 1929 biplane for the barnstormer scene. I also read material from those times: Life Magazine, Harper’s Weekly, cookbooks and newspapers, especially the obituaries. But what made it all come alive for me were the people I met in my travels through the Georgia mountains, in particular Robert Murray, Appalachian born and raised, a living encyclopedia and the former curator of the Foxfire Museum in Mountain City. He showed me how to hem a hog, gird a tree, and weave rope out of dog hobble, amongst many other skills of simple living. And Mary Mance, the oldest living descendant of the slaves of Rabun County, who invited me into her church and shared with me stories of her childhood. Understanding the recorded facts of a certain period is important, but even more vital is connecting to the experience, and then making it personal.Q. What was it like writing from not one, but several very unique perspectives?
Natural. Prior to writing Glow, I had been working for many years in film and theatre, most recently crafting one-woman shows; so multiple voices came naturally to me. Also, my ear is atuned to the nuances of language. The music, the beauty or ugliness of words, the cadences and tropes—these are my toys and my tools. The challenge for me learning to write beyond dialogue. Subtext is the lifeblood of a script, and the actress and her connection to her inner life feed those unsaid words.
Q. Who are some of your literary influences?
There are so many. Toni Morrison for her use of language, her themes of mother love and identity, and her daring with language and the narrative form, especially in The Bluest Eye. Alice Walker for her entire oeuvre. Edward P. Jones for The Known World, a masterpiece in storytelling. I especially enjoy experimental writing, including Finnegan’s Wake, Alice’s Adventures in Wonderland,; most of Gertrude Stein and all of William Faulkner. For magical realism, Gabriel García Márquez and Salman Rushdie. For the art of detail, Flaubert’s Madame Bovary. For her eloquent and powerful short stories, Flannery O’Conner. For economy and potent images, the poets Victoria Redel, Billy Collins, and T.S Eliot.Q. How did you get started writing? Do you have advice for aspiring novelists?
When I was a child, my best friend, Darice, lived miles away. So we wrote each other letters. We pretended we were twins and that our parents had sent Darice on holiday to visit a quirky old aunt in Paris. Neither of us had ever been to Paris, but Darice gleaned what she could from the encyclopedia, while I filled my letters with the antics of our fictitious brother who was busy blowing up things with his new chemistry set. In this way, Darice and I would be a little less lonely. It was my first foray into storytelling. For me, it is a most intimate of experiences, sharing my imaginary world with someone. It’s a way of connecting to my fellow human being.
The best advice I ever received was “get a voice in your head, and let it do the writing.”
Most Helpful Customer Reviews
This story spans the years 1836 to 1941 following the female descendants of Solomon Bounds. Amelia McGee, a young woman of Cherokee and Scotch-Irish descent, is an outspoken pamphleteer for the NAACP and when her home was vandalized in the middle of the night she decides to put her eleven year old daughter, Ella, alone on a bus home to Georgia from Washington, D.C. But when the local bus is out of commission Ella is left walking the last part of her journey. She is preyed on by two drifters and is left for dead on the side of the road with just her dog. Ella is found by Willa Mae Cotton, a former slave and Mary-Mary Freeborn. They take her back to their cabin to nurse her back to health. While there she learns the secrets of her lineage, she is the youngest of Solomon Bounds kin. Dollycas’s Thoughts This is a poignant narrative of an important time in history. In 2012 we are still talking about race, it is still a hot button issue even as we have the first president of mixed race. The author takes us on a journey through Solomon Bounds family tree and each branch and leaf gets to tell us their part of the story. White, African-American, Native American, even mixed together, they all have their own voice in this family. Their words have a lyrical quality that makes the story real and engaging. It is a story full of history and local customs of the Northeast Georgia. The settings of the mountains and forests surrounding the story are described lovingly, as is the weather endured, the heat, the winds, and the rain. The theme throughout is love, a mother’s love for her child, the lengths we go to to maintain that relationship as well the other relationships in our lives, even relationships that society would deem forbidden. The women in this adventure are very strong and continue to grow throughout their story. Again, I am amazed that this is a debut novel for this author. She is definitely an author to watch. This is a beautifully composed novel spanning over 100 years, the readers will definitely see and feel the “Glow”.
I thought the writing was excellent and the author was adept at putting me in the scenes, though I did get confused when jumping into different heads and time periods, and some names seemed similar to others. Fortunately, I was able to continually refer to the family tree at the beginning of the book to see who and how the characters were related. This will most likely make the rounds of the book clubs as it deals with racial issues. I found the stories rather depressing, but realistic in showing the struggles of the characters through difficult times, and the fortitude that some of the characters showed in surviving obstacles was inspiring.
I am not going to lie, this book took some getting used to. What it reminded me of is a great bit ball of string, all knotted up, and trying to get it all into one smooth string, you have to follow the knots and work them slowly, one by one. Glow begins with the story of Mia and Ella - Mia being the teenage mother of Ella, but Ella believing her grandmother is really her mother. There is racial tensions, being as this is set in Georgia in the mid-40's, and the switching back and forth between perspectives makes things a bit tiring.But then something happens around mid-way through the book. The knots begin to take on lives of their own, and the characters meander through each others lives making the transition between characters and times a bit more easy to stand. Glow is a fascinating look at not only the lives of characters of mixed race (Native American and African American feature prominently in this book), but also a very interesting look at the publications of the Census Bureau during the various times in the novel. Glow is a tearjerker - I was weeping and angry at the injustice that was oh so real and happening to people within its pages, and by the time I had closed the book, I knew I'd experienced something that will haunt me into the future.
This book is BRILLIANT! Clever, sensitive overview of race and family relations in one small county in the American South over 150 years. A personal story which nevertheless paints a wide picture and creates a vivid atmosphere. I hope to read more by this author.
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Hi erin!" She smiled
Be descriptive and active. Read her post first.