National Book Award Nominee
A Best Book of the Year: The Washington Post, NPR, USA Today, San Francisco Chronicle, Financial Times, The Seattle Times, St. Louis Post-Dispatch, BookPage
1920, Denby, Iowa: Rosanna and Walter Langdon have just welcomed their firstborn son, Frank, into their family farm. He will be the oldest of five.
Each chapter in this extraordinary novel covers a single year, encompassing the sweep of history as the Langdons abide by time-honored values and pass them on to their children. With the country on the cusp of enormous social and economic change through the early 1950s, we watch as the personal and the historical merge seamlessly: one moment electricity is just beginning to power the farm, and the next a son is volunteering to fight the Nazis. Later still, a girl we’d seen growing up now has a little girl of her own.
The first volume of an epic trilogy from a beloved writer at the height of her powers, Some Luck starts us on a literary adventure through cycles of birth and death, passion and betrayal that will span a century in America.
About the Author
Date of Birth:September 26, 1949
Place of Birth:Los Angeles, California
Education:B.A. in English, Vassar College, 1971; M.A., Iowa University, 1975; M.F.A, 1976; Ph.D., 1978
Read an Excerpt
Walter Langdon hadn’t walked out to check the fence along the creek for a couple of months—now that the cows were up by the barn for easier milking in the winter, he’d been putting off fence-mending—so he hadn’t seen the pair of owls nesting in the big elm. The tree was half dead; every so often Walter thought of cutting it for firewood, but he would have to get help taking it down, because it must be eighty feet tall or more and four feet in diameter. And it wouldn’t be the best firewood, hardly worth the trouble. Right then, he saw one of the owls fly out of a big cavity maybe ten to twelve feet up, either a big female or a very big male—at any rate, the biggest horned owl Walter had ever seen—and he paused and stood for a minute, still in the afternoon breeze, listening, but there was nothing. He saw why in a moment. The owl floated out for maybe twenty yards, dropped toward the snowy pasture. Then came a high screaming, and the owl rose again, this time with a full-grown rabbit in its talons, writhing, going limp, probably deadened by fear. Walter shook himself.
His gaze followed the owl upward, along the southern horizon, beyond the fence line and the tiny creek, past the road. Other than the big elm and two smaller ones, nothing broke the view—vast snow faded into vast cloud cover. He could just see the weather vane and the tip of the cupola on Harold Gruber’s barn, more than half a mile to the south. The enormous owl gave the whole scene focus, and woke him up. A rabbit, even a screaming rabbit? That was one less rabbit after his oat plants this spring. The world was full of rabbits, not so full of owls, especially owls like this one, huge and silent. After a minute or two, the owl wheeled around and headed back to the tree. Although it wasn’t yet dusk, the light was not very strong, so Walter couldn’t be sure he saw the feathery horns of another owl peeking out of the cavity in the trunk of the elm, but maybe he did. He would think that he did. He had forgotten why he came out here.
Twenty-five, he was. Twenty-five tomorrow. Some years the snow had melted for his birthday, but not this year, and so it had been a long winter full of cows. For the last two years, he’d had five milkers, but this year he was up to ten. He hadn’t understood how much extra work that would be, even with Ragnar to help, and Ragnar didn’t have any affinity for cows. Ragnar was the reason he had more cows—he needed some source of income to pay Ragnar—but the cows avoided Ragnar, and he had to do all the extra milking himself. And, of course, the price of milk would be down. His father said it would be: it was two years since the war, and the Europeans were back on their feet—or at least back on their feet enough so that the price of milk was down.
Walter walked away from this depressing thought. The funny thing was that when he told his father that he broke even this year, expecting his father to shake his head again and tell him he was crazy to buy the farm when land prices were so high, his father had patted him on the back and congratulated him. Did breaking even include paying interest on the debt? Walter nodded. “Good year, then,” said his father. His father had 320 acres, all paid for, a four-bedroom house, a big barn with hay stacked to the roof, and Walter could have gone on living there, even with Rosanna, even with the baby, especially now, with Howard taken by the influenza and the house so empty, but his father would have walked into his room day and night without knocking, bursting with another thing that Walter had to know or do or remember or finish. His father was strict, and liked things just so—he even oversaw Walter’s mother’s cooking, and always had. Rosanna complained about living with his parents—it was all Walter wanting his own place, all Walter looking at the little farmhouse (you could practically see through the walls, they were so thin), all Walter walking the fields and thinking that bottomland made up for the house, and the fields were rectangular—no difficult plowing or strange, wasted angles. It was all Walter, and so he had no one to blame but himself for this sense of panic that he was trying to walk away from on the day before his birthday. Did he know a single fellow his age with a farm of his own? Not one, at least not around here.
When you looked at Rosanna, you didn’t think she’d been raised on a farm, had farms all through her background, even in Germany. She was blonde, but slender and perfectly graceful, and when she praised the baby’s beauty, she did so without seeming to realize that it reproduced her own. Walter had seen that in some lines of cows—the calves looked stamped out by a cookie cutter, and even the way they turned their heads or kicked their hind feet into the air was the same as last year’s calf and the one before that. Walter’s family was a bastard mix, as his grandfather would say—Langdons, but with some of those long-headed ones from the Borders, with red hair, and then some of those dark-haired Irish from Wexford that were supposed to trace back to the sailors from the Spanish Armada, and some tall balding ones who always needed glasses from around Glasgow. His mother’s side leavened all of these with her Wessex ancestry (“The Chicks and the Cheeks,” she’d always said), but you couldn’t tell that Walter’s relatives were related the way you could with Rosanna’s. Even so, of all Rosanna’s aunts and uncles and cousins, the Augsbergers and the Vogels, Rosanna was the most beautiful, and that was why he had set his heart upon winning her when he came home from the war and finally really noticed her, though she went to the Catholic church. The Langdon farm and the Vogel farms weren’t far apart—no more than a mile—but even in a small town like Denby, no one had much to say to folks who went to other churches and, it must be said, spoke different languages at home.
Oh, Rosanna, just twenty, but with the self-possessed grace of a mature woman! He could see her profile as he approached the house in the dusk, outlined by the lamplight behind her. She was looking for him. Just in the tilt of her head, he could see that she had some project in mind. And of course he would say yes to her. After all, no fledgling had it easy, farmer or crow. Hadn’t he known since he was a boy the way the fledglings had to fall out of the nest and walk about, cheeping and crying, until they grew out their feathers and learned to fly on their own? Their helpless parents flew above them, and maybe dropped them a bit of food, but flying or succumbing belonged to them alone. Walter put his foot on the first step of the porch, and felt his customary sense of invigoration at this thought. On the porch, he stamped two or three times, and then slipped out of his boots. When the door opened, Rosanna drew him in, and then slipped her arms inside his unbuttoned jacket.
On the front porch, sitting up (he had just learned to sit up) on a folded blanket, Frank Langdon, aged five months, was playing with a spoon. He was holding it in his right hand by the tarnished silver bowl, and when he brought it toward his face, his eyes would cross, which made Rosanna, his mother, laugh as she shelled peas. Now that he was sitting, he could also drop the spoon, and then, very carefully, pick it up again. Before learning to sit, he had enjoyed lying on his back and waving the spoon in the air, but if he dropped the spoon, it was gone. This was no longer the case. One of the qualities Rosanna attributed to little Frank was persistence. If he was playing with the spoon, then it was the spoon he wanted to play with. If he dropped the spoon, and she happened to give him a sock doll (the sock doll that her sister, Eloise, had sewn just for Frank), Frank would fuss until she gave him the spoon. Now, sitting up, he put the spoon down and picked it up and put it down and picked it up. Although he much preferred the spoon to the doll, Rosanna always told Eloise and her mother how much Frank liked the doll. Eloise was now knitting him a wool hat. It was her first knitting project; she expected to have it done before October. Rosanna reached into the basket of pea pods and took the last handful. She didn’t mind shelling peas.
Frank was a good baby, hardly ever fussy, which, according to Rosanna’s mother, was a characteristic of all her side of the family. Speaking of peas, Rosanna and her sister and four brothers were just like peas in a pod for being good babies, and here was Frank, another of the same breed, blond, beautiful, and easy, plenty of flesh but not a bit of fat, active but not fussy, went right down every night and only got up once, regular as sunrise, then down again for another two hours while Rosanna made breakfast for Walter and the hired man. Could she ask for a better baby?
Rosanna finished shelling peas and set the bowl on the blanket, then knelt in front of Frank and said, “What a boy! What a darling boy! Are you a darling boy?” And she kissed him on the forehead, because her mother had impressed on her that you never, never kissed a baby on the lips. She laid her hand gently on the top of his head.
Frank still had his grip on the spoon, but his mother’s face transfixed him. As it loomed closer and then retreated, his gaze followed it, and as she smiled, he smiled, and then laughed, and then he waved his arms, which resulted in the spoon’s being thrown across the blanket—a first! He saw it fly and he saw it land, and his head turned slightly so he could watch it.
Rosanna laughed, because on his face was a bona-fide look of surprise, very advanced, as far as Rosanna was concerned (though she would have to admit that she had never paid one iota of attention to her brothers and sister, except when they were in her way or in her charge—no one ever said that she enjoyed watching them or had a flair for it). Now Frank’s body tilted forward, and all of a sudden he fell over on his side, cushioned by the blanket. Being Frank, he didn’t cry. Rosanna sat him up again and handed him the spoon; then she stood up, thinking that she could hurry into the house and set the bread loaves, which should have completed their second rising by now, into the hot oven and be back out in a minute or two. Nothing could happen in a minute or two.
Spoon in hand, Frank saw and heard his mother’s dress swish around her legs as she went inside, and then the screen door slapped shut. After a moment, Frank returned his attention to the spoon, which he was now gripping by the handle, bowl upward. He smacked it on the blanket, and though it was bright against the darkness of the blanket, it made no noise, so he brought it again to his face. It got bigger and brighter and bigger and brighter—this was the confusing part—and then he felt something, not in his hand, but on his face, a pressure and then a pain. The spoon jumped away from him, and there was noise—his own noise. His arm waved, and the spoon flew again. Now the spoon was small and didn’t look like a spoon. Frank looked at it for a very long time, and then he looked around the blanket for something that was within reach. The only thing was a nice clean potato, into which Mama had cut two eyes, a nose, and a mouth. Frank was not terribly interested in the potato, but it was nearby, so his hand fell upon it, gripped it, and brought it to his mouth. He tasted the potato. It tasted different from the spoon.
More interesting was the sudden appearance of the cat, orange, long, and just his, Frank’s, size. Frank let the potato drop as he looked at the cat, and then the cat was sniffing his mouth and smoothing its whiskers across Frank’s cheek, squatting to inspect the potato, pressing himself into Frank until Frank fell over again. Moments later, when the door opened and flapped closed, the cat was crouched on the porch railing, purring, and Frank was lying on his back, staring at the ceiling of the porch and kicking his legs—left, right, left, right. Mama picked him up, then arced him through the air, and he found himself pressed into her shoulder, his ear and the side of his head warm against her neck. He saw the cat one last time as the porch spun around him, and beyond that the green-gold grass, and the pale horizontal line of the dirt road, and the two fields, one for oats, a thick undulating surface, and one for corn, a quiet grid of still squares (“There’s a little breeze,” thought Rosanna; “I’ll open the upstairs windows”), and around that, a different thing, empty, flat, and large, the thing that lay over all things.
Reading Group Guide
The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of Some Luck, the engrossing, vividly textured new novel by beloved Pulitzer Prize–winning author Jane Smiley.
1. What do you think the title means? Whose luck does it refer to? Is it only good or bad luck, or does the word “luck” shift in connotation as the novel goes forward?
2. Each chapter in the novel takes place over the course of one year. How does Smiley use this structure to propel her story?
3. Rosanna assigns personality traits to each of her children in infancy. When those traits prove true, do you think it’s because of nurture—her and Walter’s influence—or nature—personalities fully formed at birth?
4. How does Smiley use the children’s points of view at all ages—including when they are very small—to show their development and coming-of-age in real time? What are some of the memorable traits that carry from infancy to young adulthood for each of the five children?
5. How does Mary Elizabeth’s death affect Rosanna? How does it change her relationship with the children who follow?
6. Throughout the story, Frank is described as persistent, if not outright stubborn. How does this quality help him in his life? Does it hinder him?
7. Variations on the story of Lucky Hans appear several times in the novel, including the version told by Opa to Frank in 1924, Lillian’s version remembered by Henry in 1947, and Arthur’s tale of Frank and the golden egg in 1952. What point is Smiley making by changing the mythology?
8. Over the course of the three decades depicted in Some Luck, various characters embrace or resist new technology—Walter and the tractor, Rosanna and electricity, Joey’s farming techniques, Frank’s study of German warfare. How does Smiley use their reactions to deepen our understanding of these characters and to show the passage of time?
9. On page 104, Eloise says to Frank, “Almost everyone sees things, but not everyone notices them.” What does she mean, and why is it fitting that she says this to Frank, of all her nephews and nieces? How does Frank exemplify the difference between seeing and noticing, especially as he uses his keen sense of “vision” to lead him throughout his life?
10. What does Walter think and feel during the scene at the well? What do his decisions at that moment say about his own personality and the circumstances of the times? Why doesn’t he tell Rosanna about it until many years later?
11. What are examples of the different kinds of secrets that come in the novel—from those held by individuals to those of institutions, such as banks or the government? Do you have the sense that the book suggests a hierarchy of secrecy, or are all secrets equally dangerous?
12. How do you understand Andy’s identity crises and her other internal conflicts within the context of the novel? How do they reflect her relationship with Frank as well as the political and sociological forces at work during these beginning days of the Cold War?
13. What role do faith and religion play in the early parts of the novel? What about for the subsequent generation? Would you say that religion is related to the theme of luck?
14. Joey is distraught to learn of Jake’s death on page 229. Later, on page 373, he tells Lois, “I don’t get over things.” Is this why he’s so suited to farming? And does he, eventually, learn to get over things?
15. On Walter’s forty-seventh birthday, he lets each of his children select an item from a box he’d kept locked away. Joey chooses the sprig of lavender, Lillian the oriole feather, and Henry the gold coin; Claire was given the handkerchief; and Rosanna saves the photograph of Walter during the Great War for Frank. What do these totems represent?
16. Rosanna reflects on page 264, “Well, that’s what a war did for you—it made you look around at your shabby house and your modest family and give thanks for what you had and others had lost. . . . It made you stop talking about what you wished for, because, in the end, that might bring bad luck.” Frank was lucky and survived the war, but he’s far from unscathed when he returns home. Do his experiences verify or contradict Rosanna’s claim about the effects of war? How does what happened to him in Europe ripple throughout the rest of his life, as well as the lives of his family?
17. How do the generations of men engage differently in the wars of their times? What does their involvement show about their respective personalities, the nature of war, and America’s evolving role in world conflict?
18. How does parenting change from one generation to the next? Compare Lillian and Andy to Rosanna, and Arthur and Frank to Walter. And what about the roles of the sexes?
19. On page 392, Walter walks near the Osage-orange hedge: “Every year, Joe said, as Walter always had, that he was going to pull it up, but he never did—the roots had probably spread everywhere, and taking the thing out would be a major pain in the neck. There was always a reason not to bother. Walter touched one of the thorns. He was used to the hedge, but the thorns still seemed menacing.” What, if anything, do you think the Osage-orange hedge stands for, in the book as a whole? What metaphors are at work here?
20. By the end of Some Luck, Henry is just becoming an adult and Claire is still a child. What do you think might be ahead for them in the next book(s) of this trilogy?
21. Did your knowledge that Some Luck is the first of a trilogy affect your reading of the novel? In what ways is the conclusion of the book definitive, full circle, and in what ways does it leave things open-ended?