When She Woke Hardcover – Large Print, Feb 1 2012
|New from||Used from|
Customers Who Viewed This Item Also Viewed
No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer.
Getting the download link through email is temporarily not available. Please check back later.
To get the free app, enter your mobile phone number.
'Hillary Jordan channels Nathaniel Hawthorne by way of Margaret Atwood in this fast-paced, dystopian thriller. Unputdownable' Valerie Martin, author of The Confessions of Edward Day 'Not only one of the best books of the year, but it's everything the dystopian genre was made for ... An instant classic for the 21st century' Publisher's Weekly 'Holds its own alongside the dark intentions of Margaret Atwood and Ray Bradbury' NEW YORK TIMES 'A stunning futuristic thriller ... the setup in the first part of the book is excellent, very Handmaid's Tale, the second half is a straight chase and escape tale. The whole thing is stunning.' The Bookseller PRAISE FOR HILLARY JORDAN: 'Hillary Jordan writes with the force of a Delta storm' Barbara Kingsolver 'Jordan's tautly structured debut ... confronts disturbing truths about America's past with a directness and a freshness of approach that recalls Alice Walker's The Color Purple.' The Times 'The winner of Barbara Kingsolver's Bellwether Prize for a novel 'promoting social responsibility,' Hillary Jordan is happily a writer who puts her duty to entertain first' The Independent --This text refers to the Paperback edition.
About the Author
Hillary Jordan spent fifteen years working as an advertising copywriter before starting to write fiction. Her first novel, MUDBOUND, was named one of the Top Ten Debut Novels of the Decade by Paste Magazine. It won the 2006 Bellwether Prize, founded by Barbara Kingsolver and awarded biennially to an unpublished debut novel that addresses issues of social justice. Hillary grew up in Dallas, Texas and Muskogee, Oklahoma. She lives in Brooklyn. --This text refers to the Paperback edition.
What Other Items Do Customers Buy After Viewing This Item?
Top Customer Reviews
Cons: very dark tone, some disturbing scenes (religious / near violent)
Hannah Payne has been sentenced to 16 years as a Chrome. Her skin has been turned a rich, vibrant red in order to denote her crime of murder, for aborting her child. The scourge that killed many and made women infertile has been cured and the Sanctity Of Life laws mark women like Hannah as outcasts. Her fundamentalist Christian upbringing did not prepare her for forbidden love with a married man or the horrors she would face as a Red. When She Woke is Hannah's story of endurance, enlightenment and ultimately self-empowerment.
As with many dystopian novels, When She Woke is terrifying because in may ways it's easy to see this future coming about. In the book Roe v. Wade is overturned in order to help increase the population, an act some parties in the US are already trying to do, removing women's rights to control their own bodies and their bodies' reproduction. The idea of tracking released criminals is also one close to being realized, with the jump to making such a database open to the public only a small step further.
While based on Nathanial Hawthorne's The Scarlet Letter, When She Woke is much darker. While she faces the reproach and repudiation of Christians, she also faces the lechery of those who would take advantage of the downtrodden, and a fundamentalist group the equivalent of the KKK, that targets and kills Chromes.
The book was therefore unsettling on a number of levels. It reads as though it will have an unpleasant and depressing ending, yet at some point Hannah stops letting others decide her path and takes control of her own life.Read more ›
t put it down for 2 days, now my aunt has it!!!
Really good! Another great book in the same category is The Unit by Ninni Holmqvist.
Most Helpful Customer Reviews on Amazon.com (beta)
A conviction of murder in this alternate future earns the convict a red skin tint for the length of their sentence, allowing them to live a public life filled with prejudice and hardship. This sentence unburdens the government of cost and responsibility. There is no separation of church and state. Society has become puritanical.
This book is derivative; not just of "The Scarlet Letter" but of many other dystopian novels. The Handmaid's Tale, Children of Men, We, all come to mind. Though I generally love these kinds of novels, the total lack of originality in this book did drop it a star for me.
Without giving away too much, a major theme in this book is abortion and with a pro-choice slant. I don't think conservative readers will enjoy it much.
The writing was good, the characters interesting, the evolution of Hannah was well-paced. It moved quickly and was generally satisfying. I'm not raving about it, but I enjoyed it, and it has definitely piqued my interest in Mudbound.
Review: As you may have surmised from the summary, this novel is a retelling of Hawthorne's Scarlet Letter. Hannah Payne/Hester Prynne, Reverend Dale/Dimmesdale, etc. The mean-spirited husband of that tale has been swapped for a bigoted brother-in-law, but much of the debate about sin, suffering, and personal faith remain. The setting and general atmosphere, however, are lifted right from Margaret Atwood's heavy-handed dystopian fantasy The Handmaid's Tale. The legal atmosphere of the novel is incredibly misogynistic, the religious right holds the country in a tyrannical grip, and everything from wearing short skirts to questioning male opinions is a sin. Basically, it's your liberal atheist's worst nightmare. Most of the religious figures are incredibly hypocritical and cruel, and the 'good' characters are persecuted by them.
I waver back and forth on my opinion of the messages in this novel. On the one hand, it offers up to the reader questions of sexuality: what is 'good', what is 'bad', is abortion wrong, is pre-marital sex wrong, is adultery wrong...was Hannah wrong? And to the novel's credit, it doesn't attempt to answer these questions for the reader. This make it a good choice for younger teens who may be grappling with variations on these problems. On the other hand, the treatment of religion in this novel seems a bit heavy-handed. Hannah's family are fundamentalists who abandon her after her 'sin' - only her father stands by her, but he is overruled by his wife. The religious boarding house that takes in Hannah after her imprisonment is horrid - the minister, his wife, and their religious 'counselors' are monstrous sadists who take righteous pleasure in tormenting their sinful charges. The religious right has shut down all women's rights and subordinated women to men. To attempt to balance this negative picture of the religious institution, the author has Hannah finding internal peace with God and her faith. She also meets an inspiring female minister at one point in the novel. These positive portrayals of faith, however, are not salient enough to compete with the negative portrayals of faith in the novel, and as a result, some religious readers may feel alienated by the author.
The issue of female authority is ambiguous here too. There are several negative examples of female authority: Hannah's mother overrules her father in accepting their daughter after she has be convicted of aborting her baby, and the minister's wife at the boarding house clearly runs the sadistic show there. But at the same time the female leaders of the liberal rebellion and the female minister are positive female models.
What is Jordan saying about religion? What is she saying about female authority? What is she saying about sexuality? In a novel aimed at adult readers, these questions would be well left ambiguous. Young adults, however, may feel adrift at the end of this tale, with no absolute moral or message to take away.
I rated this novel 3 stars because it began very promisingly, but tapered off. The borrowing from Atwood gave me literary deja vu, and the heavy-handed treatment of religion and conservative politics felt excessive even for this liberal atheist reader. Though the religious message was problematized by the positive aspects of faith, I had the feeling that the author was more confused in her message than deliberately ambiguous.
First off, this isn't what I would identify as a bad book. The writing is pretty well done, for the most part. The concepts are excellent, particularly the whole idea of Chroming. I found this to be not only an interesting premise, but one that was rather scary because it seems like a possibility. I was very impressed by the depth of the world the author built, at the complicated factions at play here. Jordan has obviously tackled a very ambitious project but the problem is that, while her elements when taken singularly are very intriguing, there are just too many of them all put together. At times, I felt like this book was one of those European tours, where you get off a bus, take a look at a monument, and then get back on the bus so that it can take you to the next monument. It felt like Hannah as moving through the world not so much because the plot required it but because Jordan wanted to highlight certain features of the society she created.
First of all, we have Chroming. This was such a great idea, in theory. I was really curious to find out what life would be like for those who had been Chromed. In fact, I could imagine an entire novel dealing solely with this aspect of the book. It's an excellent way of taking a hard look at the criminal justice system and asking some hard questions about what we really want out of it. Unfortunately, there is no real showing in this book of what the average Chrome goes through. We get bits and pieces of it here and there, as when Hannah is harassed at a gas station, but there is always some plot device swooping in to interrupt the scene. It's not that I was looking for lurid violence, just that I really wanted to examine the psychology of the Chromes and the dehumanizing effect their Chroming had on them. This was such a missed opportunity.
Next up, Hannah heads to a halfway house run by a couple of sadists--particularly the wife--who make Jane Eyre's Aunt Reed look compassionate. Yet this is another part of the book that just feels terribly underdeveloped. The couple running the center would have been an excellent lens for viewing how society functions within Jordan's world, as well as how some people would certainly chafe within its limitations. Instead, the halfway house feels like a plot device. Hannah and her fellow Chromes are treated in a viciously horrible manner, seemingly as a shorthand way of showing the reader how badly society is bound to mistreat them before Hannah and her new friend Kayla are sent off to be pretty much entirely isolated from society for the remainder of the novel. Once again, this is a setting that could have made up an entire novel, much like Offred's story being told through the lens of her servitude to her Commander's family.
Things just continue to go downhill from here, really. By having Hannah and Kayla be taken in by Jordan's equivalent of the Underground Railroad, the two characters become entirely detached from the reality of the world Jordan has so painstakingly created. They spend the bulk of the novel hiding out in one place or another, with their "stops" on the way to Canada just used as more plot devices to give the reader a glimpse of what the society is like. This section of the book really highlights just how disconnected the characters are from the setting, which I found to be a huge disappointment. I went into this novel thinking I'd see how Hannah functions in a world that openly scorns her, but there is really none of that here.
Still, Hannah does have an inner journey of sorts, as she struggles to reconcile her strictly fundamentalist Christian upbringing with her new sense of her world. I think her affair with Simone is meant to illustrate just how much Hannah is breaking away from her former beliefs, but I thought the whole episode felt so contrived. It was probably one of the most egregious plot devices of all. Once Hannah takes off to see Aiden, all of my suspension of disbelief was pretty much out the window. There are far too many coincidences and examples of deus ex machina in this book for me to be able to really buy into it.
As the ending drew nearer, I found myself worrying about the lack of resolution. I don't know why I was surprised to find that it was left wide open for a sequel, but it was. I take that back, I think I was surprised by the ending precisely because I didn't find this book compelling enough to want to pick up a second installment. At the end of the day, it's a pretty classic example of a fantastic concept that just isn't well executed.
Abortion is illegal in this dystopia, and those who are convicted of the crime are punished by being injected with viral DNA which turns their skin "the solid, declarative red of a stop sign." Other crimes warrant other colors, but the stigmatized "chromes" become societal outcasts, bearing the signature color of their transgressions for everyone to see.
Blood-red but not bowed, Hannah sets off on a series of adventures that take her from a halfway house whose proprietors try to inculcate in her the puritanical social and religious doctrines espoused by the government (no separation of church and state in this dystopia, nosirree) to an underground railroad implemented by some covert but rebellious and prickly feminists. Along the way, Hannah endures various forms of social ostracism and cruelty, including kidnapping and attempted rape, has a lesbian affair, gains then loses (but will she regain???) a friend who is also chromed, and reunites with Reverend Dale at least long enough to tell him a thing or two about love and truth.
In short, this morality tale is long on political and religious diatribe but short on character development, dialogue, description, and believable plot. It reads like a mutant and shallow version of The Scarlet Letter (or Margaret Atwood's The Handmaid's Tale) and might have been better suited to the format of a comic book. After all, the colors of the "chromes" and the stereotyped villains against whom Hannah struggles lend themselves to pictorial depiction. In this non-literary format, they might even be entertaining.