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Home Paperback – Large Print, Sep 1 2009


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Paperback, Large Print, Sep 1 2009
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--This text refers to the Hardcover edition.

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Product Details

  • Paperback: 524 pages
  • Publisher: Large Print Press (Sept. 1 2009)
  • Language: English
  • ISBN-10: 1594133468
  • ISBN-13: 978-1594133466
  • Product Dimensions: 21.3 x 13.7 x 2.5 cm
  • Shipping Weight: 590 g
  • Average Customer Review: 3.3 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Bestsellers Rank: #695,700 in Books (See Top 100 in Books)

Product Description

From Publishers Weekly

Starred Review. Robinson's beautiful new novel, a companion piece to her Pulitzer Prize–winning Gilead, is an elegant variation on the parable of the prodigal son's return. The son is Jack Boughton, one of the eight children of Robert Boughton, the former Gilead, Iowa, pastor, who now, in 1957, is a widowed and dying man. Jack returns home shortly after his sister, 38-year-old Glory, moves in to nurse their father, and it is through Glory's eyes that we see Jack's drama unfold. When Glory last laid eyes on Jack, she was 16, and he was leaving Gilead with a reputation as a thief and a scoundrel, having just gotten an underage girl pregnant. By his account, he'd since lived as a vagrant, drunk and jailbird until he fell in with a woman named Della in St. Louis. By degrees, Jack and Glory bond while taking care of their father, but when Jack's letters to Della are returned unopened, Glory has to deal with Jack's relapse into bad habits and the effect it has on their father. In giving an ancient drama of grace and perdition such a strong domestic setup, Robinson stakes a fierce claim to a divine recognition behind the rituals of home. (Sept.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.

Review

Gilead is a beautiful work—demanding, grave and lucid . . . Robinson’s words have a spiritual force that’s very rare in contemporary fiction.” —James Wood, The New York Times Book Review
 
"There is almost no first-rate American fiction about what happens in a household where religion is the family business, but if you ever wondered what it's like to be a preacher's kid, you can't do better than "Home." Robinson's greatest achievement is that she manages to introduce the notions of belief and religious mystery without ever seeming vague. She never shies from uncomfortable truths. When Jack asks Glory why she hates Gilead and wants to leave, she says, "Because it reminds me of when I was happy." Fixing dinner, she "wished that it mattered more that [she and her father and brother] loved one another. Or mattered less, since guilt and disappointment seemed to batten on love. Her father and brother were both laid low by grief, as if it were a sickness, and she had nothing better to offer them than chicken and dumplings." This is a novel that builds its truth out of quotidian detail—the way Jack thumbs the felt on his hat brim, the way Glory thinks in Bible verses: watching Jack leave at the end of the book, she thinks, "A man of sorrows and acquainted with grief, and as one from whom men hide their face. Ah, Jack." This is book full of sadness, but the greatest sadness on the reader's part is that it has to end."--Newsweek
 
“One of "Home's" pleasures is watching Glory and Jack rediscover each other after years of separation and misunderstanding. Each possesses a wry, almost mordant sense of humor; for such a serious writer, Robinson can be very funny. Through hardship and humor, these two siblings find in one another an empathy unique to those in the same gene pool, shouldering a similar burden of parental expectations.”--Seattle Times
 
"In both "Home" and "Gilead," Robinson appears to be considering (among myriad themes and issues) the ravaging, irremediable loneliness of the unbeliever. She embeds her inquiry in a lode of theological history, and a nest of comforting physical details. "Home's" deepest pleasures may come from the exchanges (which form the novel's body) between Glory and Jack - tentative, difficult, sore with love, anguish, insight, told through Glory's exquisitely nuanced perceptions in clean, simple, luminous language. (Robinson's prose soothes and calms, itself a balm.) Jack strives to prove himself, relapses and self-lacerates, retriggering everyone's sorrow, not least that of a father who hardens as he diminishes - a spectacle so universal in its particularity it becomes nearly unbearable. We may hope, "Home" finally suggests, that things will one day settle, in unanticipated ways. Robinson loves the word "settle," and by it she does not mean resignation.
 
""Home" offers such intricate characterizations, so many passages of surpassing wisdom and beauty, one yearns to quote page after page. It rejoices in the humblest actions - giving a haircut, weeding, making meals, coffee - the holiness of the daily. As handily as it fits Frost's famous lines, "Home" also calls to mind those of the late, entirely unreligious E.B. White: "All that I ever hope to say, is that I love the world.""--San Francisco Chronicle
 
 “Any novel from Marilynne Robinson arrives with a sense of the miraculous.  More than two decades passed between the publication of her quietly earth-shattering debut, HOUSEKEEPING, a book that remains a modern classic, and its triumphant, expansive follow-up, GILEAD, a Pulitzer Prize-winner in 2005.  We can be grateful to not have to wait so long for HOME…Marilynne Robinson lives up to her dazzling reputation.” --Vogue
 
“HOME takes up with the elderly and ailing Reverend Boughton-neighbor and friend of Gilead’s narrator, the Reverend John Ames-and his daughter and wayward son.  Animated by Robinson’s quietly unassailable love for and faith in them, they rise off the page and grip us with the drama of their lives” --Elle
 
“[Robinson’s] prose is our flight out, a keen instrument of vision and transcendence.  The book is told from the perspective of Glory, so this language is given a compelling personal voice…While the men work out their splintery emotions, the wisdom and grace of the book resides in the quiet voice of the woman who loves them.”--O, the Magazine
 
“Robinson, one of America’s most quietly thrilling novelists, paints a serene Iowa landscape which contrasts with Glory’s memories of Jack, her father’s ancient anger and her struggle to make peace with two men who have kept her on the edges of their orbits.”--More
 
“A prodigal son returns in brilliant ‘Gilead’ sequel”--Bookpage
--This text refers to the Hardcover edition.

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3 of 4 people found the following review helpful By Rosaleen on Dec 6 2009
Format: Paperback
Home
I finally finished slogging my way through this book, and found it a highly unsatisfying experience. First, the characters are not well-rounded, and in the end, we know and understand very little about them, their motives, their inner feelings. And that's what the book is about, in essence. While I understand that perhaps this novel is not meant to be entirely realistic, it certainly seems to set itself up within the category of realism. But the characters address each other in ways that seem so restrained, so delicate, and indirect, that I found the dialogue to be maddeningly unbelievable. Can people in a family really speak to each other so that every nuance, every line they say is so calculated? It seemed almost ridiculously circumspect. Moreover, I found that it was hard to differentiate who was speaking to whom, because the characters are so lacking in depth and personality and interest. The plot, such as it is, uses delaying tactics to the big reveal, but then nothing much is revealed after 300 pages of a what felt like a long read. It is a matter of much too little, much too late. The coda was particularly lame and had a sense of being an afterthought meant to tie some loose ends together. I didn't care very much about what happened to these characters, because I didn't know who they were. It's a novel about forgiveness and acceptance and family ties, but I found myself incredulous that anyone could be as caring of every word they utter, and talk so much about the same subject over and over, without giving much real drama or tension. I appreciate subtlety and indirection, but this fell into an altogether different mode of not giving the reader enough to go on.
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By Rodge TOP 50 REVIEWER on March 16 2013
Format: Paperback
This novel lives in the shadow of its predecessor Gilead, which is shorter and better. Those 2 factors may be related.

Nonetheless, this is a powerful novel with moments of majesty and grace, all within the context of a muted domestic drama. The main characters are Glory Boughton, her aged father, and her wayward brothe Jack. Both Glory and Jack return home after long absences, setting off a painful process of attempted reconciliation and redemption. The power of this book is reduced by many scenes that are drawn out too long or just become unbelievably weighty.

Not a book for everyone therefore. I would recommend reading Robinson's novel Gilead before taking on this one.
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Format: Paperback Verified Purchase
Slow to start, this book captured me gradually. I felt great sympathy for all the characters.
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3 of 5 people found the following review helpful By Laurel-Rain Snow on Nov. 17 2008
Format: Hardcover
When Glory Boughton returns home to Gilead to care for her ailing father, she carries with her the regrets and fantasies of a life of her own - now abandoned. But soon after her return to the old homestead, her prodigal brother Jack writes a letter, announcing that he, too, is on his way home.

After more than twenty years gone, she barely recognizes him - and a part of her resents his return, coming as it does at a time when the old man needs this connection so badly. But as time passes, she and Jack come to a deeper understanding of each other, revealing some of their own secrets that neither is eager to share with anyone.

Caring for their father together, fixing up the old homestead, which has become quite neglected in the past few years, they seemingly form a team...Protecting each other against the harshness of the life here, which remains the same, with the Reverend Ames sitting in judgment and the town folk glancing sidelong at Jack as if they half-expect him to steal from them...This is the reputation Jack once held, and his twenty-year abandonment of the family and any ties to this community, somehow reinforces this view. And Jack, self-deprecatory and doing nothing
to eradicate the image the townspeople hold of him, continues in his quiet way to try to make some kind of amends - on the home front and with the minister. Their father, too, a former minister, holds many beliefs that cast someone like Jack in a "sinner" role.

Slowly, the author peels away the layers that conceal the sadness and loss carried by these two, as they walk along the old familiar paths in the town and as they fall into the humble patterns of their youth in this home that is filled with memories of a time long ago...Dreams and loves and fantasies have been cast aside.
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