The National Book Award finalist, Oprah Book Club pick, #1 New York Times bestseller and basis for the Oscar-nominated motion picture.
About the Author
Date of Birth:1959
Place of Birth:California
Education:University of Texas at Austin
Read an Excerpt
The fat one, the radish Torez, he calls me camel because I am Persian and because I can bear this August sun longer than the Chinese and the Panamanians and even the little Vietnamese Tran. He works very quickly without rest, but when Torez stops the orange highway truck in front of the crew, Tran hurries for his paper cup of water with the rest of them. This heat is no good for work. All morning we have walked this highway between Sausalito and the Golden Gate Park. We carry our small trash harpoons and we drag our burlap bags and we are dressed in vests the same color as the highway truck. Some of the Panamanians remove their shirts and leave them hanging from their back pockets like oil rags, but Torez says something to them in their mother language and he makes them wear the vests over their bare backs. We are upon a small hill. Between the trees I can see out over Sausalito to the bay where there are clouds so thick I cannot see the other side where I live with my family in Berkeley, my wife and son. But here there is no fog, only sun on your head and back, and the smell of everything under the nose: the dry grass and dirt; the cigarette smoke of the Chinese; the hot metal and exhaust of the passing automobiles. I am sweating under my shirt and vest. I have fifty-six years and no hair. I must buy a hat.
When I reach the truck, the crew has finished their water and the two Chinese light new cigarettes as they go back to the grass. The Panamanians have dropped their cups upon the ground around their feet and Tran is shaking his head, and saying something in his language as he stoops to pick them up with his hands. Mendez laughs. He is almost as big as the radish and there is along burn scar the color of sand upon one of his fat arms. He sees me looking at it as I drink my ice water and he stops his laughing, no longer does he even smile, and he to me says: "What you looking at, viejo?"
I drink from my cup and let him look at my eyes. His brothers have started to go back to work but now they stop to watch.
"Old maricon," says Mendez. He takes up his trash spear from the orange tailgate, but my eyes look at the burn again long enough for him to see. His face becomes more ugly than it already is and he yells something at me in his language and his teeth are very bad, like an old dog's. I don't give him rest from my eyes and so now he steps to me, yelling more, and I smell him, last night's wine and today's sweating of it, and now Torez is yelling louder than Mendez. Again it is in their mother tongue and it is over quickly because Mendez knows this crew can manage very fine without him, and he needs money for his sharob, his wine. He is goh, the shit of life. They are all goh.
"Vamonos, Camello." Torez moves by me and closes the tailgate. Tran is already working ahead of the truck while the smoking Chinese and the lazy Panamanians walk to the shade of the trees, pretending there is trash there.
I pull my sack over my shoulder and to Mr. Torez I say: "In my country I could have ordered him beaten."
"Si, Camello? In Mendez's country he would have beaten you himself."
"I was colonel, Mr. Torez. I was colonel in the Imperial Air Force. Do you know this, Mr. Torez? I was a colonel."
He hands to me my garbage spear and looks me in my eyes. His are gavehee, brown as coffee, like all his people, like my people also. But I see he has made up his mind about me.
He says to me, to Genob Sarhang Massoud Amir Behrani: "Okay, Colonel, but today I'm Senor General. Comprende?"
At the lunch hour, Torez drives the highway truck down to the trees and we all remove our paper sacks from where we left them in the tool chest this morning. We eat in the shade. Many times Tran eats with me and I do not mind this because the little Vietnamese speaks no English and I am able to do my work in the classified pages of the newspaper. In my country, I was not only a desk officer; I bought F-16 jets from Israel and the United States, and when I was a captain in Tehran, a genob sarvan, I worked on the engines with my own hands. Of course, all the best aerocompanies are here in California but in four years I have spent hundreds of dollars copying my credentials; I have worn my French suits and my Italian shoes to hand-deliver my qualifications; I have waited and then called back after the correct waiting time; but there is nothing. I have had only one interview and that was with a young girl in college who I believe the company was simply giving personnel experience. That was over two years past.
But today and all week, I do not even attempt to look for a position. My daughter Soraya was married on Saturday and I feel already there is a hole in my chest with her gone. There is also a hole in our home, but now we are free to leave that place that has cost me three thousand dollars per month for four years. And I turn straight to this area called Legal NoticesAuctions. This is a part of the paper I have never before investigated. I have been speaking and reading English for over twenty-five years but the language of law in both our countries seems designed to confuse. Of course I know what is an auction, and this morning, when the air was still cool and we garbage soldiers sat upon the metal floor of the highway truck as it drove under the tall span of the golden bridge, the smell of the ocean behind us, I held the newspaper tight in my lap so no wind would touch it and that is when I saw the short notice of Seized Property for Sale, a three-bedroom home. Though of course this has not been my plan. My plan has been highly simple: stop spending money from home so we may use it to start some sort of business. I have been looking into many possibilities; a small restaurant, or a laundry, a video store perhaps. Though I know these American papers, I know what they say of this economy, still I see small shops going out of business on both sides of the bay. And of course we have no money for to buy a house as well, but there are many auctions in my country. There it is known as the legal way to rob.
Tran is eating rice and vegetables with a large plastic spoon from waxy paper in his lap. He is very small and yellow-brown. There are deep lines around his mouth and between his eyes upon his forehead. He smiles and nods at my own food. I eat rice also. Soraya used to save the tadiq for me, the hard cake of rice at the bottom of the pot Americans throw away, but for us, for Persians, it is the jewel. We cook it with very much butter so when the pot is turned upside down all the rice comes out onto the plate, even the brown and burned part we call tadiq. Now, each night, my wife, Nadereh, saves half for my lunch. She also packs for me radishes, bread, one apple, and a small thermos of hot tea. The Panamanians watch me pour the steaming tea into my cup and they shake their heads as if I am a stupid child. They do not know what I know of the heat, that there must be a fire inside you to match the one outdoors. At Mehrabad, my base near Tehran, sometimes the tarmac would become so bright off the sands even we officers, with our European sunglasses, would close our eyes. Of course we spent most of the days inside our air-conditioned offices. Many times there, between appointments or briefings, I would have my attendant phone Nadi at our home in the capital city. She and I would speak of the small events of the day, then she would let the children to the telephone. One morning, when my son Esmail was one and a half years, he said his first word to me, then, over the wire: "Bawbaw-joon," father most dear.
With my fingers I tear out the small notice of the home to be auctioned and place the paper in my front shirt pocket beneath my vest. Today is Wednesday, the only day I do not work my night position at a small convenience store in El Cerrito, a neighborhood where I am not likely to see any Persian people, not the rich ones, the pooldar, those who live alongside us in that high-rise of overpriced apartments on its hill overlooking the bay and San Francisco and the Golden Gate Bridge. In four years, this two-bedroom flat has cost me over one hundred forty thousand dollars in rent. But I will not let myself think of that now. I cannot.
Tran finishes his lunch. With his fingers he brushes off the wax paper and folds it neatly before putting it back into the bag with the plastic spoon. He pulls out a chocolate bar and offers to me a portion, but I shake my head as I sip my tea. I know that he will use that tired paper for his lunch tomorrow, and the spoon will probably last him half the year. I know, like me, he is a father, perhaps even a grandfather.And perhaps I will be a grandfather soon as well.
Of course I argued many times for a more reasonable place to live, but Nadi fought me; we must keep up our appearance. We must act as if we can live as we are accustomed. All because it was the time of hastegar for our Soraya, when young men from good families send roses to her and our family, when their fathers call me to talk, and their mothers call Nadi to introduce. If there is no family match, there can be no match. And naturally, because our daughter is very beautiful, with long straight black hair, a small face, and the eyes of a queen, she had many offers and of course could not make up her mind. Meanwhile, Nadi had to make certain our daughter did not attract any common Persians; she ordered all the best furniture and lamps and carpets. On the walls she has hung French paintings, and the mosaic-frame portrait of the battle of martyrdom in the Karbala. On the silver coffee table are crystal bowls filled with pistachios, dates, and fine chocolates. And near the sliding glass doors to the terrace are fresh green plants as large as small trees.
There are many other Persians living in the building, all rich, all pooldar. Many of them are lawyers and surgeons. One was a judge in Qom, our holy city before it became the headquarters for the mad imam, but the mullah is dead now and we still are on the list of those who will be hanged or shot if we are to return home. He left behind many such lists as that.
I think of these things as I look over at Mendez, sleeping in the shade, his brown stomach visible beneath his peerhan. When we flew from France—Nadi, Esmail, and I—I carried bank checks worth two hundred eighty thousand dollars. A man like Mendez would drink that money, of this I am quite certain. But many nights my sleep does not come when I think of how unwisely I let that sum be burned up, burned because my dear Nadereh could not and cannot bear to let other families know we have next to nothing left from the manner in which we used to live. If I had been stronger with her, if I had not been so sure I would have work soon with Boeing or Lockheed, making a respectable salary, then I most for certain would have invested in real estate. I would have told Soraya her hastegar must wait for a year or two, I would have rented us a modest apartment under one thousand dollars per month, and I would have purchased a partnership in an office building or perhaps even a residential property in a growing neighborhood of new homes. I would have watched the market like a wolf, then, in short order, I would have sold for an honest profit only to do it again.
We have forty-eight thousand dollars remaining, this is all, an amount my fourteen-year-old son will need for the first two years of university alone. It has been my hope to begin a business with this, but I fear now to lose it all, to become bankrupt like so many Americans. Of course, I have always seen the samovar as half full, and Nadi may have been right; Soraya has married a quiet young engineer from Tabriz. He holds two Ph.D.s in engineering and we can rest to know she will be taken care of and I thank our God for that. The young man's father is dead and that is a pity because he is supposed to have been a fine businessman, a possible partner for myself. Perhaps it is the seized property I must begin to view, the used, the broken, the stolen. Perhaps there is where we can get our start.
Because our work is finished at half past three, the sun is still high as Torez drives us through San Francisco down Van Ness Street. I sit with Tran and the Chinese opposite the Panamanians, and I look over the pig's head of Mendez—he stares at me with the tanbal eyes, the lazy eyes of a man who wants sleep then more wine—and I regard all the mansions of Pacific Heights, the high walls covered with white and yellow flowers, the iron gates that allow in only fine European automobiles: Porsches, Jaguars, even Lamborghinis, the cars of the old Tehran. My driver in the capital city, Bahman, he drove for me a gray Mercedes-Benz limousine. Inside was a television, a telephone, and a bar. Under Shah Pahlavi, we all had them. All the high officers of the Imperial Air Force had them.
The skin of my head is burning. Each morning, Nadi gives to me a sun-blocking lotion I rub there, but now, even with the warm wind in the open truck, my scalp burns and I promise to myself again I will purchase a hat. We continue south through the city past Japantown and its five-acre Japan Center, where one can buy electronics, porcelain, and pearls. Many Persian wives from our building shop there, and so I must sit low in the bed of the truck and stay in this manner until Torez turns onto Market Street, then down to Mission Street, where is the Highway Department's depot. He drives us under a freeway, past a movie theater which shows films only in the Spanish language. On both sidewalks are no pooldar people, only workers, cargars, brown-skinned men and women carrying bags for their shopping. And there are many small food stores, restaurants, laundries, and clothing shops, and they are owned by the Nicaraguan people, the Italians, and Arabs, and Chinese. Last spring, after our thirty-day fast of Ramadan, I from an Arab purchased a shirt in his shop near the overpass bridge. He was an Iraqi, an enemy of my people, and the Americans had recently killed thousands of them in the desert. He was a short man, but he had large arms and legs beneath his clothes. Of course he began speaking to me right away in his mother tongue, in Arabic, and when I to him apologized and said I did not speak his language, he knew I was Persian, and he offered to me tea from his samovar, and we sat on two low wooden stools near his display window and talked of America and how long it had been since we'd last been home. He poured for me more tea, and we played backgammon and did not speak at all.
Torez drives into the dark building that smells of motor oil and dust. It is so large it reminds me of an airplane hangar, which I appreciate. He parks the truck beside the gas pumps opposite the office and we crew of garbage soldiers walk to punch our time cards. But Mendez and one of his friends stay behind. Each day it is different who Torez will choose for tool and truck cleaning duty, and I am certain the pig Mendez holds me responsible for today. I walk through the bright truck yard surrounded by a tall chain fence and I carry nothing but my newspaper and bag and thermos. Every day at this time it is the same; my back and legs are stiff, my head and face are burned by the sun, and I must walk four city blocks to Market Street to the Concourse Hotel where I pay to keep my white Buick Regal in their underground parking facility. Of course it is an added expense, but there is no secure location for my auto so close to the Highway Department. Also, it gives to me opportunity to clean myself and change clothes before returning home.
In the beginning I would enter the hotel through the carpeted lobby. At this time of day there is only one employee at the desk, a man of forty years with very short black hair and a large black mustache. He is dressed in a fine suit, but pinned in one of his ears is a tiny bright diamond. Each day he would regard me in my work clothes dirty from road dust, wet with my sweat, and each time he would ask, "May I help you, sir?" Soon enough I stopped explaining and simply pointed to the elevator I would take to the garage. But one afternoon, when there was a well-dressed lady and gentleman settling their account at the desk, the diamond man, the kunee, the one who gives ass, who in my country would be hanged, he looked over their shoulders and asked very loud of me: "May I help you, sir?" The lady and gentleman turned around, and I could see they were tourists, perhaps Germans, but they viewed me no longer than a man would take for a dead insect upon his windshield while driving. And for the thousandth time in this terrible country I wished to be wearing my uniform, the perfectly tailored uniform of an honorable colonel, a genob sarhang in the King's Air Force, the King of Kings, Shahanshah Reza Pahlavi, who three times in my career his hand I kissed, twice at formal gatherings at Sadabaad Palace, once at the grand home of my dear friend General Pourat. But of course my uniform then, in the lobby of the Concourse Hotel, was damp work clothes with blades of grass on my lower pants, dust on my back. So I did nothing but move quickly away, once again the hot blood of a killer dropping from my heart to my hands.
Now I simply eliminate the lobby and every day walk down the concrete auto ramp into the shadowed belly of the building, where I unlock my automobile and retrieve the clothes I wore early this morning. I am never certain if there will be Persians in the elevator of our apartment building or not. In the cooler months I wear a suit, but now, in summer, I wear a short-sleeve dress shirt and tie, dress pants, and polished shoes with socks and belt. I leave these in a zipped garment bag laid out quite neatly in the trunk. The hotel elevator is carpeted and air-conditioned. I breathe the cool air into my lungs and soon I am in the second-floor lavatory opposite the ice machine, where I remove the auction notice from my front pocket, pull off my shirt, and wash my hands and bare arms and face. I shave for the second time today. I dry myself with the hotel's clean paper towels, and I use cologne on my cheeks and deodorant under my arms. Today I change into brown slacks, a white pressed shirt, and a tan silk tie. I fold the auction notice into my wallet, wrap my work clothes and shoes in paper, then put them in the garment bag. When I step into the hallway and walk to the elevator, my covered clothes over my arm, my tie knotted correctly and straight, and my face shaved clean, I pass a Filipino maid pushing her cart and I take notice that she smiles. And even bows her head.
The gentleman from the San Mateo County Tax Office gave to me a map for finding this home to be auctioned. He informed me to arrive by nine o'clock in the morning and be prepared to offer a ten-thousand-dollar deposit should I have a wish to purchase the property. He also to me said it was located upon a hill in Corona and if there were a widow's walk on the roof, you would see over the neighbors' homes to the Pacific Ocean below. I had not heard before this term "widow's walk," and so after traveling to the bank for a certified check of ten thousand dollars, I drove home to the high-rise and eventually last evening, after a dinner with Esmail and Nadereh where I revealed nothing, a dinner of obgoosht and rice and yogurt with cucumber followed by tea, I dismissed my son from the sofreh upon the floor where we eat barefoot and I searched for "widow's walk" in our Persian-English dictionary. I found only "widow," a word in Farsi I know quite well enough, and I felt a sadness come to me because this did not seem a good sign for the purchase of a home.
But this morning, that feeling had every bit disappeared from my body. Many summer evenings, instead of sleeping upon the sofa in my office, I rest on the carpet near the sliding door of the terrace with my head on a pillow beneath the leaves of the tree plants my Nadi cares for like her own children. Last evening the sky was clear, and sleep came for me as I watched the stars through the screen.
I rise with the first light from the east, and, after a shower and shave and a breakfast of toast and tea, I wake Esmail for his newspaper route. Then I dial the Highway depot and inform them of the summer flu I am suffering. I prepare tea for Nadi and bring it to the bedroom on a tray. The room is of course dark, with the shades drawn and the drapes closed, and I know she is awake because a cassette tape of Daryoosh's sentimental music is playing softly beside her bed. I rest the tray on the bureau and open the drapes and both shades.
"Eh, Behrani. Nakon. Chee kar mekonee?"
My wife's voice is still hoarse from sleep, and I know she again has not slept well. She says to me, "Don't." And, "What are you doing?" But this morning, for the first time since perhaps France, I know what I am doing; Colonel Massoud Amir Behrani knows what he is doing.
She sits up and I put carefully the tray upon her legs. I bend to kiss her cheek, but she turns her face from me and I sit down in the chair near her bed. My wife's hair is thick and short, an area of gray near her face that she dyes black. Sometimes she applies too much and that part of her hair appears the color of a plum. Nadi has always worried about all that is not as it should be, and the overthrow of our society has aged her more than myself. But even still, her face is small and beautiful and many times when I am allowed to stand or sit in this shadowed room where she spends so much of her days, I hear the domback drum behind Daryoosh's singing, and I see her and she has no longer fifty years, but twenty-five, and again, I desire to be with her in the fashion a man is supposed to be with his wife.
"What do you think you are looking at, Behrani?" she says in our mother language as she reaches for another sugar cube. She does not take her eyes from me. Her hair is tousled in the rear. I think of our children, and I smile at her and the cassette tape ends and the machine clicks off at once.
"Nadi-joon, today there may be a big opportunity for us." I of course say this in English, but it is never any use for if she answers at all it is only in Farsi.
She says nothing. She turns over the Daryoosh cassette and she does not wait for me to proceed about this opportunity. She reaches to turn up the volume, and I rise and leave the room and dress into a summer's weight gray suit.
It is not one of my finer sets of clothes, for I do not wish to appear pooldar, nor however do I wish to seem like a beggar in the marketplace. Before leaving, I kiss my son on the top of his head as he eats his cold cereal at the small breakfast table in the kitchen. His hair smells of sleep and needs washing. He is dressed in a loose T-shirt and shorts, and beside him on the floor is his skateboard and bag of newspapers. He has only fourteen years, but he is already my height—175 centimeters—and he has his mother's face. Both my children have Nadi's small, beautiful face.
The house is one-story but in a good state of repair. It is painted white and appears quite bright in this early sun that is already hot on my head that still carries no hat. There are hedge bushes beneath the windows and a small lawn of grasses in front that is in need of trimming. The street is called Bisgrove, and it is on a hill with houses built closely together on one side, a woodland on the other. But the county tax gentleman was correct; the street is not so steep one can see the water, only the pale morning sky so high and wide over the rooftops. Opposite the road are evergreen woods and brush and farther up are even more homes, all small, many with bushes and fences separating the lawns. I look once more at the woodland, at the fashion in which the sunlight drops through the branches, and I am thinking of our summer home in the mountains near the Caspian Sea, of how the light was the same in those trees along the winding earth road to our bungalow, and for a moment, I feel a sense of sarnehvesht, of destiny, and as soon as I do, I stand erect and look back at the property with as cool an eye as I am able, for I do not wish my judgment to be weakened at the point of sale.
Within thirty minutes we are all assembled, the county tax gentleman, the auctioneer, and only two prospective buyers: a young couple, a boy and his wife, who has not as many years as my daughter Soraya and is dressed in blue jean pants and white basketball shoes; and a gentleman close to my years, though very fat, as large as Torez, and he is dressed in a fine pair of suit pants but no jacket, simply a loose tie and white dress shirt that is stretched over his belly, and he is sweating on the forehead and above the lip. It is him I view as my main opponent, and all of his sweating makes me straighten my shoulders and I feel quite calm.
First, the county tax gentleman takes us for a walking tour through the bungalow. There is no air-conditioning, but the rooms are cool and I note every floor except for kitchen and bathroom is carpeted. The living room is large enough, and the dining area is a counter with stools where the kitchen begins. In the rear are three rooms, and as we step out in the backyard, I pat my breast pocket and touch the certified check from the Bank of America.
The young wife is very fond of the rear lawn, which is small and surrounded by evergreen hedges taller than a man. They shade us from the morning sun, and she begins to tell to her husband of the privacy they might have here, but it is the sweating gentleman, the radish, I am regarding. He stays close to the county tax officer and the auctioneer, who has as many years as me, carries a notepad and pen, and wears a department-store necktie and shirt. He has upon his face a confused expression, and he pulls the county tax gentleman aside for a quiet word.
Then we continue around the side yard to the front, and the sale begins with the auctioneer's suggested starting price of thirty thousand dollars. I am at once so astonished at this low figure that I do not respond and the young wife raises her hand and the auctioneer acknowledges her and the radish nods his head and the price is thirty-five thousand. The wife lifts her hand again, but the young husband forces it down and begins whispering loudly to her that they do not have that much saved, reminding her they are expected to pay all at once. My hand raises slightly from my side and the auctioneer points to me and the price is now forty thousand. The radish regards me with his wide wet face and his eyes become small, as if he is at once assessing me and my intentions as well as the numerous numbers in his head, and now it is clear to me he is a professional, a speculator, and he most possibly buys and sells dozens of these bungalows. I turn my face towards his and smile a most relaxed smile, one that is meant to invite him to bid all afternoon for I am prepared to do the same, sir, though of course I am not; I can barely go further than this, and I am not so certain any of this is wise.
"Forty-two fifty," says the radish, his eyes still upon me.
"Forty-five," my voice answers.
"Will there be a fifty-thousand-dollar bid for the property? Do I hear fifty, ladies and gentleman? Fifty thousand?" The auctioneer regards all our faces, our hands and fingers. The county tax officer consults his watch, and I feel the fat man's eyes upon me, and I make my own look to the house as if I am prepared to bid and bid. The sun is hot upon my head.
"Forty-five thousand, going once, going twice—"
The radish turns and walks to his car, and now the auctioneer cries, "Sold," and the county tax gentleman steps forward to shake my hand and receive the deposit which I hand to him from my jacket pocket. I sign his papers, and I hear the young couple drive back down the road, but already I am calculating what this house on this street might bring me in the open market, and I am certain I will surely be able to double my money. Yes, yes, I will put it up for sale as soon as we move in.
Table of Contents
What People are Saying About This
No one who reads this novel will ever forget it.
Author of Heartwood
"A page-turner with a beating heart." —The Boston Globe
"A mixture of classical tragedy perfectly imbued with film noir.... House of Sand and Fog is the work of a writer who is the real thing." —The Baltimore Sun
"Elegant and powerful.... An unusual and volatile literary thriller." —The Washington Post Book World
"House of Sand and Fog is one of the best American novels I've ever read." —James Lee Burke
House of Sand and Fog is a novel of terrible truths. Everyone here wants what we want -- love, justice, a home -- and all their good intentions collide, violently, inevitably, in a story of remarkable power and veracity and tenderness. Andrew Dubus III has a keen and generous eye, and a great gift of bestowing dignity on even the most confused of his people. I cared for them all, and mourned their fates.
Author of A Man in Full
Reading Group Guide
The questions, discussion topics, and author biography that follow are intended to enhance your group's reading of Andre Dubus III's House of Sand and Fog, a uniquely American tragedy of taut suspense and profound emotional impact.
1. Do you sympathize more with Kathy Nicolo or with Colonel Behrani in part one of the novel? How does Dubus's use of alternating first-person narratives affect your response to, and involvement with, the characters?
2. The contested ownership of the house on Bisgrove Street is the fulcrum of the novel's plot. Who, in your opinion, owns the house once Behrani has paid cash for it? What would be a fair solution to the conflict?
3. Early in the novel Behrani buys himself a hat, which he says gives him "the appearance of a man with a sense of humor about living, a man who is capable to live life for the living of it" [p. 28]. Why is this a poignant thing for Behrani to wish for himself? Does he in fact take life too seriously?
4. What does Kathy's response to Nick's desertion reveal about her character? Why does Lester fall in love with Kathy? Is he better for her than Nick was?
5. Lester tells Kathy that he had wanted to become a teacher, but plans changed when Carol became pregnant. Is Lester's job in law enforcement a poor fit for him? Why did he once plant evidence in a domestic violence case?
6. Who, of the three main characters, is most complex? Who is most straightforward?
7. Where does the hostility between Lester and Behrani spring from? How do their memories–Lester's of his teenage girlfriend and her brother, Behrani's of his murdered cousin, Jasmeen–function to reveal the deep emotions that motivate action in thisnovel?
8. At what point do Kathy's and Lester's actions depart from the path of a simple desire for justice and move into something else? Why can neither of them seem to act rationally? Does Behrani act rationally?
9. Does Lester drink to break free of a sense of deadness, or to anesthetize himself? Why does he risk his family life as well as his professional life for his involvement with Kathy? Is he attempting to reinvigorate his life, or is he unconsciously seeking to destroy himself?
10. Note the epigraph to the novel, from "The Balcony" by Octavio Paz: "Beyond myself/ somewhere/ I wait for my arrival." How does it apply to the problems of self and alienation in each of the three main characters? Who has the clearest sense of his or her identity? What does it mean to have a clear sense of self?
11. Describing the success of her recovery program, Kathy says, "I had already stopped wanting what I'd been craving off and on since I was fifteen, for Death to come take me the way the wind does a dried leaf out on its limb" [p. 46]. How does the novel affect your response to the social and psychological issues of addiction, depression, and suicide? Do you find yourself being understanding or judgmental of Kathy as the stress of the conflict increases? Is she actually more of a survivor than she thinks she is?
12. Is Behrani's wife, Nadereh, an admirable character? Does her feminine role in a very traditional marriage reduce her importance as an actor in this drama? Does she have qualities that are missing in Behrani, Kathy, and Lester?
13. Behrani tells his son, "Remember what I've told you of so many Americans: they are not disciplined and have not the courage to take responsibility for their actions. If these people paid to us the fair price we are asking, we could leave and she could return. It is that simple. But they are like little children, son. They want things only their way" [p. 172]. How accurate is his perception of Americans? How well does it apply to Kathy and Lester?
14. How does House of Sand and Fog highlight the conflict between downwardly mobile Americans and upwardly mobile recent immigrants? What role does racism play in the reaction of Americans and foreigners to each other?
15. Why has Kathy avoided telling her mother and brother the truth about her situation? Does their meeting at the end of the novel resolve any of Kathy's difficult feelings about her place in the family?
16. Should Behrani be held responsible, on some level, for the crimes and excesses of the Shah's regime? Is he responsible for Esmail's fate?
17. Why does Behrani put on his military uniform at the climax of the novel?
18. What do you find most disturbing about the novel's denouement? If you find yourself imagining an alternate ending, what would that ending be?
Exclusive Author Essay
The Right Words
I wrote the bulk of House of Sand and Fog in my car, parked in a graveyard not far from my house where I live with my wife and three lovely children in Massachusetts. The graveyard is quiet and I usually wrote either on my way to work (teaching or carpentry), or on the way home, for about ninety minutes. (It doesn't sound like much, but if you do this five or six days a week, every week, every month, the whole year long, it tends to add up.) I write longhand, in pencil, in blue-lined notebooks I buy at the grocery store. Each day, I parked my old Toyota station wagon full of tools in the same place, on a dirt road beneath the branches of a huge sugar maple next to the grave of Hylas T. Wheeler, who died at age 33 in 1866. In the summer, I'd have my windows down and cover myself with bug spray; in the winter, I'd let the windows steam up and keep the heat running, turning the engine off every few minutes to avoid the carbon-monoxide poisoning I was convinced I would get through the 15-year-old floor of my car.
Tim O'Brien wrote in his essay "The Magic Show" that fiction writers tend to be the kind of people who want "to enter the mystery of things." This sure is true for me. (I think it's true of fiction readers, too, by the way, which is why, I believe, most of us read.) When I begin writing a story, the less I know the better. If you've got a story all figured out and know just what you want to say, the imagination gets the message it's not needed and, frankly, hardly shows up at all. At least that's been my experience with my own failures at writing stories. What seems to work better for me is to leave it all up to my characters and the situation in which they find themselves, the landscape they live in, all those forces that shape us in "real" life, too. Grace Paley said: "We write what we don't know we know."
House of Sand and Fog seemed to rise out of two story ideas I mixed together. For years I'd wanted to write about a man I knew, the father of a friend from college, who had been a colonel in the shah's Imperial Air Force in Iran. In his country in that corrupt regime the CIA helped to install, he had great power and prestige, two things that eluded him completely in the United States, where he had trouble finding work and ended up working a string of menial jobs. He was miserable and seemed stunned at the direction his life had taken. Every now and then, after finishing one writing project or another, I tried to write about the colonel, tried to answer this question in my head: What would it be like to be him? But something central was missing from the narrative, and I didn't find it until I'd read in the newspaper a few years later about a woman who was evicted from her home for failure to pay back taxes she did not owe. When the country realized their mistake, they were willing to give the house back, but had already repossessed it and auctioned it off, and the new owner wasn't willing to sell. I was intrigued by this story and, again, the same question was in my head: What's it like to be her? But I was working on something else at the time, so I cut the story out of the newspaper and folded it into the pages of a notebook I keep for writing ideas. Months later, after I finished the draft of something I was convinced had fallen on its face, I found the news clipping and read it again. This time I noticed a detail I hadn't before: The man who refused to sell the house back to the woman had a Middle Eastern name! What if my colonel was the one to buy that house? Would he refuse to sell it back, too? And who is she? Where is she living while she's trying to get the house back? Who are these people, anyway?
That's how it began, with far more questions than answers. After three years of daily writing, I had 22 notebooks filled with a story that had a beginning, a middle, and an end. It took me another year to type those notebooks, rewriting extensively as I went. For the next 18 months, my agent, Philip Spitzer, sent the manuscript out to more than 22 publishers before it finally found a home at W. W. Norton & Co. My new editor is Alane Salierno Mason, one of the best in publishing, and in the months before final production of the book she guided me in even more revision, encouraging me to cut out whatever was even slightly false or self-indulgent or just plain bad. Without the diligence of Philip Spitzer and Alane Mason, I wouldn't be writing you this note about the writing of this book. I'm working on something new now, again in pencil in notebooks it will take me forever to type. I don't know what it's about yet, or even what it is, but over the last 20 years of writing, I've learned that if I just take the time and energy to pick the right words, they'll tell me.
--Andre Dubus III
Most Helpful Customer Reviews
In a nutshell, House of Sand and Fog is a struggle over a house. While this doesn¿t may not sound like a very compelling tale, hidden within these pages is a struggle well worth putting some time into cracking open. In this novel, Andre Dubus III presents the stark differences between two nationalities and two lifestyles. Through the struggle over ownership of a house, Colonel Behrani, Kathy Nicolo, and Lester Burton experience their own personal struggles with the American dream, redemption, and what one wants versus what is right.
Kathy Nicolo is a recovering drug addict who was recently left by her husband and thinks that her family considers her a failure. Her life is falling apart and she is possibly suicidal. Through a mistake by the government, her house is wrongfully taken from her and sold in an auction to Colonel Behrani. Behrani was rich and well respected in his homeland of Iran. However, when revolution broke out, he and his family were forced to flee to America where he is unable to find work. He lost his money and his status as a result and sees Kathy¿s house as an opportunity to regain this. Lester Burton fits into the story on Kathy¿s side. A married police officer who was present when Kathy was forced from her home, Lester sympathizes with Kathy and finds himself pulled into the conflict as he falls in love with her.
The book is presented so that each side can argue its points. Each chapter flips from Kathy¿s point of view and Behrani¿s. In this way, there is no clear hero or villain in the story. You actually over time can choose which character is in the wrong and will find yourself rooting for either Kathy or Behrani to get the house. The problem here is that none of the characters are very likeable. Kathy¿s a miserable slob who let her life slip from her fingers because of her apparent lack of good choices. Lester isn¿t half-bad, but would go against everything he vowed not to do and walk out on his wife and kids just like his father. Behrani is an egotistical and power-hungry old man who would risk everything just to get his status back while claiming its all for his family.
Yet that¿s life. People are not perfect and Dubus has created characters with many flaws who hardly even try to do the right thing and likeable or not, this makes them all the more real. House of Sand and Fog is the story of ordinary battles fought by ordinary people. This is its brilliance, because it is easy to relate to these characters. Dubus puts you in the character¿s mind and allows you to sift through the character¿s perspective on the world. The intimate connection Dubus creates between the reader and his characters makes it almost impossible not to sympathize with them.
The book starts slow and about as interesting as a quarrel over a house sounds. Soon after, though, the character¿s struggles grab you. Even as the plot appeared unmoving, I found that I didn¿t want to put the book down. The characters personal struggles made me keep coming back to find out what would happen to them. And the book only gets better as it goes along. I wasn¿t ready for the twist near the end, and once I got there, Kathy, Behrani, and Lester consumed my every thought. House of Sand and Fog is a book that everyone can enjoy. I highly recommend it.
This book was very well written, and each character was able to provoke a response (although I did want to strangle one of the characters). This book really illustrates the struggle people have in trying to achieve the American Dream, and the way that love influences our decisions.
Such an intricate tale of tragedy and love with an insightful perspective on american race relations! Great read!
This book, a thriller, is based on a simple idea: two families fighting over the ownership of one house. I found myself intrigued and couldn't wait to find out what happened - who would eventually get the house?! Kathy did not come across as a very likeable character (I'm not sure if that was the intention?) so I found myself hoping that Behrani and his family would keep it. I thought the ending was a bit rushed and perhaps too unrealistic, but I'm still giving it 5 stars because I think it is a book that deserves to be read and it will keep you
I read this book thinking that it was going to be an interesting drama....I was wrong. EVERY character was irritating. They all did annoying things and it was hard to tell who the bad guys and the good guys were (not that it's a bad thing, but in this case it was). There were too many sex scenes that did nothing to support the plot. Some of the characters did unbelievable things that did not allow the plot to run smoothly. I must say, however, that towards the end somethings happened that I was not expecting. Overall, the book left many questions unanswered and the end was very dissapointing and unsatisfying.
I bought this book seeing that it was an Oprah's Book Club novel and hearing praise for it's 'magnificent plot.' Sadly, I was terribly dissapointed. The story really captivated me for about the first two thirds of the novel, but after that point the plot was rushed, the main characters acted almost unrealistically rash, and the book ended in the most confusing/frustrating manner. I don't recommend you read this if you are a pessimistic person!
What a wonderful, well written book! It reminds us that we can alter our entire life by making one careless, selfish choice.
Pretty much the worst book I've ever read. Not one of the characters deserves any sympathy from the reader.
I was skeptical of the author and his wife as readers at first, but it works. I haven't seen the movie, but I'm not sure I want to. I wouldn't want my image of this powerful story ruined by Hollywood.
Haunting characters and story. Outstanding read.
ordinary people (is anybody really "normal"?) that end up meeting in a dark, dark place. This is a chilling story but one that is frighteningly very believable...What i found interesting was that, while none of the characters were perfect, I could side with them all for the feelings that they had.
Beautiful read- loved it!
OK, but not as good as hyped up to be. Kinda of a dark beach read.
Ticks up the tension like a precision-engineered timepiece. Character is destiny. Or character plus circumstances equals destiny.Found the POV of the immigrant colonel more convincing than Kathy's. Could be that I don't know much about the nature of addiction and falling off a speeding wagon.
A very tormenting story.
I really did not like this book when I first started it. It took me about 100 pages to get into it, but after that, I found it okay. I thought it was very well-written. I wouldn't use the word enjoyable to describe this because it's an incredibly depressing book. It's hard for me to really say what I feel about this one. I guess I liked it but I had a lot of problems with the plausibility of many of the developments in the book (e.g. the romance between Kathy and Lester and pretty much everything about the ending). I really did not enjoy the ending but in a way, it seemed to be the inevitable conclusion. I can't really imagine another ending to this tragic tale. I don't know. I'm really confused about my feelings on this one. Perhaps it was just too unsettling for me to admit that I actually liked it more than I disliked it.
It`s hard to read a book with no hero at all, not even a leader, and it didn`t got better at the end. Left me with a very frustrating feeling.
This book was like watching a train wreck in slow motion. I started it months before I finally picked it up and finished it. Tragic and compelling. I was angry at the main female character from the beginning, and felt compassion for the family who came to occupy her house, although there was fault on their side as well. The ending was terrible.The author certainly knew how to command the reader's attention. He did a good job of showing two opposing sides of an argument. The writing was very good, it was the story itself that bothered me.
Hard to pinpoint what made this the best book in a long time. The main character, an Iranian was immediately fascinating, and you were on his side within a couple of pages. The atmosphere seemed ordinary--modern-day California, but the author's descriptions made it dreamy for me. Tried to be sympathetic to the irritating woman who loses her house, but I was rooting for the Iranian already. The ending was hard to accept, and I wished for a different outcome.
A very engrossing novel. The characters and their clashing cultures and mindsets are very detailed and almost spellbinding. I read this in a two day binge. The story concerns a dispute over a house that was seized for non-payment and then bought by an Irani family with the last of their money for an investment. The original owner inherited the house from her family but she loses it to the county after her husband abandons her. The third main character is the sheriff's deputy who falls in love with the owner and tries to help her get the house back. The tension is high throughout the story; you are never quite sure what to expect. Great read.
I tend not to like books about people who seem incapable of making good decisions. And one of the characters in this book is definitely like that. She just never seems able (or willing) to take any responsible action. Realistic this may be, but it's also annoying.Another main character, on the other hand, tends to make good decisions. Decisions that are responsible financially, good for his family, and on the right side of the law. And yet, things don't turn out well for him either.If this is a book the purpose of which is to show how quickly things can spiral out of control, then it succeeds. Good decisions or bad, no-one wins here. Too many of us, who manage to have lives that are more or less in control, this is a valuable thing to learn about. But this is an awfully depressing education.
Probably not the best book to be reading while in the process of purchasing a foreclosed home...An error at the tax agency forces one woman, Kathy out of her house. At the same time a hard working Persian man, Behrani takes advantage of a house that has been auctioned off. Both main characters in this book are stubborn. Lester is the deputy who takes part of forcing Kathy out of her home. He has a wife and a father of two. He goes ga-ga for Kathy and will do anything and everything to get Kathy back in her home. Mr. Behrani is willing to sell back the home he purchased but only for a profit. Lester and Kathy are convinced that Behrani family is wealthy and does not need the house. The story switches back from Kathy and Behrani narrating. Kathy who is struggling and can barely afford to stay in cheap motorlodges ends up bunking up at a fishing cabin with Lester. She falls off the wagon and more trouble ensues. All of this could have been avoided if Kathy hadn't thrown away those notices from the tax bureau!
This is a pretty dark and depressing novel involving a snowball effect of bad decisions among several parties.
I read this, or rather listened to the audio version, some time ago so this review is based on past impressions. I recall that I was expecting more because it received such good reviews. It's told from two points of view - a woman who loses her beloved house and the man who moves into it with his family. I was kind of okay with this novel until the end, which pretty much ruined it for me. On the plus side, the audio version was well done.
I liked this slow burner which focuses on three people caught in what might have been a mundane legal dispute but which spirals shockingly out of control as the story reaches its conclusion. The writing is dense, every little detail keenly observed. Not a fast read, but an enjoyable and illuminating one.