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March
 
 

March [Hardcover]

Geraldine Brooks
2.2 out of 5 stars  See all reviews (4 customer reviews)
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Product Description

From Publishers Weekly

Starred Review. Brooks's luminous second novel, after 2001's acclaimed Year of Wonders, imagines the Civil War experiences of Mr. March, the absent father in Louisa May Alcott's Little Women. An idealistic Concord cleric, March becomes a Union chaplain and later finds himself assigned to be a teacher on a cotton plantation that employs freed slaves, or "contraband." His narrative begins with cheerful letters home, but March gradually reveals to the reader what he does not to his family: the cruelty and racism of Northern and Southern soldiers, the violence and suffering he is powerless to prevent and his reunion with Grace, a beautiful, educated slave whom he met years earlier as a Connecticut peddler to the plantations. In between, we learn of March's earlier life: his whirlwind courtship of quick-tempered Marmee, his friendship with Emerson and Thoreau and the surprising cause of his family's genteel poverty. When a Confederate attack on the contraband farm lands March in a Washington hospital, sick with fever and guilt, the first-person narrative switches to Marmee, who describes a different version of the years past and an agonized reaction to the truth she uncovers about her husband's life. Brooks, who based the character of March on Alcott's transcendentalist father, Bronson, relies heavily on primary sources for both the Concord and wartime scenes; her characters speak with a convincing 19th-century formality, yet the narrative is always accessible. Through the shattered dreamer March, the passion and rage of Marmee and a host of achingly human minor characters, Brooks's affecting, beautifully written novel drives home the intimate horrors and ironies of the Civil War and the difficulty of living honestly with the knowledge of human suffering.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal

Adult/High School-In Brooks's well-researched interpretation of Louisa May Alcott's Little Women, Mr. March also remains a shadowy figure for the girls who wait patiently for his letters. They keep a stiff upper lip, answering his stiff, evasive, flowery letters with cheering accounts of the plays they perform and the charity they provide, hiding their own civilian privations. Readers, however, are treated to the real March, based loosely upon the character of Alcott's own father. March is a clergyman influenced by Thoreau, Emerson, and especially John Brown (to whom he loses a fortune). His high-minded ideals are continually thwarted not only by the culture of the times, but by his own ineptitude as well. A staunch abolitionist, he is amazingly naive about human nature. He joins the Union army and soon becomes attached to a hospital unit. His radical politics are an embarrassment to the less ideological men, and he is appalled by their lack of abolitionist sentiments and their cruelty. When it appears that he has committed a sexual indiscretion with a nurse, a former slave and an old acquaintance, March is sent to a plantation where the recently freed slaves earn wages but continue to experience cruelty and indignities. Here his faith in himself and in his religious and political convictions are tested. Sick and discouraged, he returns to his little women, who have grown strong in his absence. March, on the other hand, has experienced the horrors of war, serious illness, guilt, regret, and utter disillusionment.-Jackie Gropman, Chantilly Regional Library, VA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist

Brooks' first novel (Year of Wonders, 2001) was a straightforward historical novel of the plague. For her second novel, she has come close to creating a new genre; she imagines the life of Captain March, the father in Louisa May Alcott's Little Women. This technique has been done before, most famously in Jean Rhys' Wide Sargasso Sea. Brooks, however, has combined this idea with two other genres, historical fiction and fictionalized biography. The results, however, are mixed. March appears, much like Bronson himself, as a man whose convictions tread a thin line between admirable and aggravating. He is pure to the point of being ineffectual, and noble to the point of stupidity. The nineteenth-century writing style is accurate and entertaining, but it may be too ornate for some readers. The best moments in the narrative are the peeks inside the mind of the long-suffering Marmee, and thus we learn where Jo gets her famous spunk. Marta Segal
Copyright © American Library Association. All rights reserved

Review

Praise for A Year of Wonders: 'AYear of Wonders is a staggering fictional debut that matches journalistic accumulation of detail to natural narrative flair.' Guardian 'A lyrically written and emotionally engaging novel.' Independent 'The plot is gripping, I like the psychological subtlety of characters struggling with a shifting world, and it's packed with historical detail.' Daily Mail --This text refers to an alternate Hardcover edition.

Book Description

Winner of the Pulitzer Prize for Fiction and Richard and Judy pick. From the author of the acclaimed 'Year of Wonders' and 'People of the Book', a historical novel and love story set during a time of catastrophe on the front lines of the American Civil War. Set during the American Civil War, 'March' tells the story of John March, known to us as the father away from his family of girls in 'Little Women', Louisa May Alcott's classic American novel. In Brooks's telling, March emerges as an abolitionist and idealistic chaplain on the front lines of a war that tests his faith in himself and in the Union cause when he learns that his side, too, is capable of barbarism and racism. As he recovers from a near-fatal illness in a Washington hospital, he must reassemble the shards of his shattered mind and body, and find a way to reconnect with a wife and daughters who have no idea of the ordeals he has been through. As Alcott drew on her real-life sisters in shaping the characters of her little women, so Brooks turned to the journals and letters of Bronson Alcott, Louisa May's father, an idealistic educator, animal rights exponent and abolitionist who was a friend and confidante of Ralph Waldo Emerson and Henry David Thoreau. The story spans the vibrant intellectual world of Concord and the sensuous antebellum South, through to the first year of the Civil War as the North reels under a series of unexpected defeats. Like her bestselling 'Year of Wonders', 'March' follows an unconventional love story. It explores the passions between a man and a woman, the tenderness of parent and child, and the life-changing power of an ardently held belief. --This text refers to the Paperback edition.

About the Author

Geraldine Brooks was born and raised in Australia. After moving to the USA she worked for eleven years on the Wall Street Journal, covering stories from some of the world's most troubled areas, including Bosnia, Somalia and the Middle East. Her first novel, 'Year of Wonders' became an international bestseller and her second, 'March' won the 2006 Pulitzer Prize for Fiction. She lives with her husband and son in rural Virginia and is currently a fellow at Harvard University. --This text refers to the Paperback edition.

Excerpt. © Reprinted by permission. All rights reserved.

chapter one

Virginia Is a Hard Road

October 21, 1861

This is what I write to her: The clouds tonight embossed the sky. A dipping sun gilded and brazed each raveling edge as if the firmament were threaded through with precious filaments. I pause there to mop my aching eye, which will not stop tearing. The line I have set down is, perhaps, on the florid side of fine, but no matter: she is a gentle critic. My hand, which I note is flecked with traces of dried phlegm, has the tremor of exhaustion. Forgive my unlovely script, for an army on the march provides no tranquil place for reflection and correspondence. (I hope my dear young author is finding time amid all her many good works to make some use of my little den, and that her friendly rats will not grudge a short absence from her accustomed aerie.) And yet to sit here under the shelter of a great tree as the men make their cook fires and banter together provides a measure of peace. I write on the lap desk that you and the girls so thoughtfully provided me, and though I spilled my store of ink you need not trouble to send more, as one of the men has shown me an ingenious receipt for a serviceable substitute made from the seasonís last blackberries. So am I able to send ìsweet wordsî to you!

Do you recall the marbled endpapers in the Spenser that I used to read to you on crisp fall evenings just such as this? If so, then you, my dearest one, can see the sky as I saw it here tonight, for the colors swirled across the heavens in just such a happy profusion.

And the blood that perfused the silted eddies of the boot-stirred river also formed a design that is not unlike those fine endpapers. Oróbetterólike that spill of carmine ink when the impatient hand of our little artist overturned the well upon our floorboards. But these lines, of course, I do not set down. I promised her that I would write something every day, and I find myself turning to this obligation when my mind is most troubled. For it is as if she were here with me for a moment, her calming hand resting lightly upon my shoulder. Yet I am thankful that she is not here, to see what I must see, to know what I am come to know. And with this thought I exculpate my censorship: I never promised I would write the truth.

I compose a few rote words of spousal longing, and follow these with some professions of fatherly tenderness: All and each of you I have in my mind, in parlor, study, chambers, lawn; with book or with pen, or hand in hand with sister dear, or holding talk the while of father, a long way off, and wondering where he is and how he does. Know that I can never leave you quite; for while my body is far away my mind is near and my best comfort is in your affection...Then I plead the press of my duties, closing with a promise soon to send more news.

My duties, to be sure, are pressing enough. There are needful men all around me. But I do not immediately close my lap desk. I let it lie across my knees and continue to watch the clouds, their knopped masses blackened now in the almost lightless sky. No wonder simple men have always had their gods dwell in the high places. For as soon as a man lets his eye drop from the heavens to the horizon, he risks setting it on some scene of desolation.

Downriver, men of the burial party wade chest deep to retrieve bodies snagged on fallen branches. Contrary to what I have written, there is no banter tonight, and the fires are few and ill tended, so that the stinging smoke troubles my still-weeping eye. There is a turkey vulture staring at me from a limb of sycamore. They have been with us all day, these massive birds. Just this morning, I had thought them stately, in the pearly predawn light, perched still as gargoyles, wings widespread, waiting for the rising sun. They did not move through all the long hours of our Potomac crossing, first to our muster on this island, which sits like a giant barge in the midstream, splicing the wide water into rushing narrows. They watched, motionless still, as we crossed to the farther shore and made our silent ascent up the slippery cow path on the face of the bluff. Later, I noticed them again. They had taken wing at last, inscribing high, graceful arcs over the field. From up there, at least, our predicament must have been plain: the enemy in control of the knoll before us, laying down a withering fire, while through the woods to our left more troops moved in stealthy file to flank us. As chaplain, I had no orders, and so placed myself where I believed I could do most good. I was in the rear, praying with the wounded, when the cry went up: Great God, they are upon us!

I called for bearers to carry off the wounded men. One private, running, called to me that any who tried it would be shot full of more bullets than he had fingers and toes. Silas Stone, but lightly injured then, was stumbling on a twisted knee, so I gave him my arm and together we plunged into the woods, joining the chaos of the rout. We were trying to recover the top of the cow pathóthe only plain way down to the riverówhen we came upon another turkey vulture, close enough to touch it. It was perched on the chest of a fallen man and turned its head sharply at our intrusion. A length of organ, glossy and brown, dangled from its beak. Stone raised his musket, but he was already so spent that his hands shook violently. I had to remind him that if we didnít find the river and get across it, we, too, would be vulture food.

We thrashed our way out of the thicket atop a promontory many rods short of the cow path. From there, we could see a mass of our men, pushed by advancing fire to the very brow of the bluff. They hesitated there, and then, of a sudden, seemed to move as one, like a herd of beasts stampeded. Men rolled, leaped, stumbled over the edge. The drop is steep: some ninety feet of staggered scarps plunging to the river. There were screams as men, bereft of reason, flung themselves upon the heads and bayonets of their fellows below. I saw the heavy boot of one stout soldier land with sickening force onto the skull of a slight youth, mashing the bone against rock. There was no point now in trying to reach the path, since any footholds it might once have afforded were worn slick by the frenzied descent. I crawled to the edge of the promontory and dangled from my hands before dropping hard onto a narrow ledge, all covered with black walnuts. These sent me skidding. Silas Stone rolled and fell after me. It wasnít until we reached the water-laved bank that he told me he could not swim.

The enemy was firing from the cliff top by then. Some few of our men commenced tying white rags to sticks and climbing back up to surrender. Most flung themselves into the river; many, in their panic, forgetting to shed their cartridge boxes and other gear, the weight of which quickly dragged them under. The only boats were the two mud scows that had ferried us across. For these, men flung themselves until they were clinging as a cluster of bees dangling from a hive, and slipping off in clumps, four or five together. Those that held on were plain targets and did not last long.

I dragged off my boots and made Stone do the same, and bade him hurl his musket far out, to the deepest channel, so as to put it from reach of our enemies. Then we plunged into the chill water and struck out toward the island. I thought we could wade most of the way, for crossing at dawn, the poles had seemed to go down no significant depth. But I had not accounted for the strength of the current, nor the cold. ìI will get you across,î I had promised him, and I might have done, if the bullet hadnít found him, and if he hadnít thrashed so, and if his coat, where I clutched it, hadnít been shoddily woven. I could hear the rip of thread from thread, even over the tumbling water and the yelling. His right hand was on my throat, his fingersócallused tradesmanís fingersódepressing the soft, small bones around my windpipe. His left hand clutched for my head. I ducked, trying vainly to refuse him a grip, knowing he would push me under in his panic. He managed to snatch a handful of my hair, his thumb, as he did so, jabbing into my left eye. I went under, and the mass of him pushed me down, deep. I jerked my head back, felt a burn in my scalp as a handful of hair ripped free, and my knee came up, hard, into something that gave like marrow. His hand slid from my throat, the jagged nail of his middle finger tearing away a piece of my skin.

We broke the surface, spewing red-brown water. I still had a grip on his tearing jacket, and if he had stopped his thrashing, even then, I might have seized a stouter handful of cloth. But the current was too fast there, and it tugged apart the last few straining threads. His eyes changed when he realized. The panic just seemed to drain away, so that his last look was a blank, unfocused thingóthe kind of stare a newborn baby gives you. He stopped yelling. His final sound was more of a long sigh, only it came out as a gargle because his throat was filling with water. The current bore him away from me feet first. He was prone on the surface for a moment, his arms stretched out to me. I swam hard, but just as I came within reach a wave, turning back upon a sunken rock, caught his legs and pushed the lower half of his body under, so that it seemed he stood upright in the river for a moment. The current spun him round, a full turn, his arms thrown upward with the abandon of a Gypsy dancer. The firing, high on the bluff, had loosed showers of foliage, so that he swirled in concert with the sunshine-colored leaves. He was face to face with me again when the water sucked him under. A ribbon of scarlet unfurled to mark his going, widening out like a sash as the current carried him, down and away. When I dragged myself ashore, I still had the torn fragment of wet wool clutched in my fist.

I have it now: a rough circle of blue cloth, a scant six inches across. Perhaps the sum tot...

--This text refers to the Paperback edition.

From AudioFile

In the classic American novel LITTLE WOMEN, the father is more of a presence than a character. He's serving in the Union Army at the beginning and comes home to recuperate from illness later on. Author Geraldine Brooks has taken the patriarch of the March family and spun an entire story. It is set in the Civil War, and flashbacks help flesh out the back story of his philosophical growth. The author uses some language of the period, which 21st-century listeners may find a little off-putting. But it in no way hinders the pace or understanding of the novel. Richard Easton is solid as the narrator, but his portrayal of Mrs. March--Marmee from LITTLE WOMEN--makes her sound too much like Mr. March. R.C.G. © AudioFile 2005, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to an out of print or unavailable edition of this title.
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