The Poisonwood Bible (Paperback)

I finished The Poisonwood Bible about two weeks ago and am still having what can only be described as withdrawal symptoms now. I wanted to re-read this book the moment I finished it. Throughout the book, as the remaining pages dwindled, I began to dread the end, and made a conscious effort to slow down and savour the words on every page. It was a truly absorbing and beautiful journey through an incredibly well written and researched book - a completely plausible story of a family's experiences in the Belgian Congo in a highly political era.

The wife and 4 daughters of a devout evangelist follow Nathan Price in his mission to the Congo to educate the 'Tribes of Ham' in the teachings of Jesus, unaware of what they are to learn from a starkly different way of life than that lived in Georgia, USA. Wholly unprepared for the consequences of a white family's presence in a country which is being politically abused by the American Government, they all have lessons to learn quickly. Add this to the unrelenting and almost inhospitable environment of the country itself and the reader senses from early on that there is a recipe for disaster brewing. Indeed, the reader pre-empts and fears that moment's ultimate arrival, having developed an extraordinary empathy for the characters along the way.

The author writes beautifully, holding the reader's interest by providing a rich tapestry of historical and political education and an examination of family life in difficult times. The book combines humour and sadness with diplomacy and skill leaving nothing to dislike or criticise. The author herself states that she waited forty years for the knowledge and wisdom to write the book. Trust me, it was worth the wait. Read this and weep.

Orleanna Price, the mother, narrates the first chapter in each section, and each following chapter is narrated by a different daughter. This device allows the reader to become quickly and intimately acquainted with the family, but the father, Nathan, remains a distant and ominous figure, reported differently by each narrative. Rachel, the eldest, longs to return to her friends and home, Leah and Adah, the unidentical twins, become fascinated and at home in the Congo, and Ruth May, the baby, tries to understand what she sees around her, accepting her surroundings without surprise. Adah in particular offers fascinating, comic and razor-sharp portraits of those around her. Kingsolver creates an instantly recognizable voice for each speaker. The book encompasses with powerful themes such as freedom, redemption, free will, love vs. survival and many more. The girls have all been brought up on Nathan’s fire and brimstone religion, which leaves no room for compromise or the lessons that are to be learnt from other cultures. In the Congo, however, each member of the family learns that there are no simple choices; as Adah says: ‘Every betrayal contains a perfect moment, a coin stamped heads or tails with salvation on the other side…a two-faced goddess looking forward and back.’

The Poisonwood Bible is a wonderful achievement, weaving together the strands of religion, feminism, politics, morality and environmentalism in Kingsolver’s lyrical and layered prose, with a passionate and fulfilling love thrown in for good measure! I knew only the basics of America’s role in the Congo, and the book inspired me to read more about it, and it certainly opened my eyes to the less-than-spotless dealings that went on. It’s also wonderfully evocative of the surrounding environment, and the jungle is really a character in its own right. The death of one of the family comes as a shock and a tragedy, and yet the other members realize that every other family in the village has lost at least one person—why should their grief be any more important? This is the emotional climax of the book, and the numbness and disbelief that the characters feel is perfectly created and almost tangible.

The later sections of the book, however, are less successful than the parts set during Nathan’s mission. These later sections dip in and out of the characters’ lives in the ‘60s, ‘70s and the late ‘80s, and it is a little tricky to adjust as Nathan and Orleanna’s young daughters grow up to become mothers, hotel owners and scientists. Rachel, in particular, is somewhat sketchily drawn, still using the same malapropisms as when she was 16 (these ARE deliberate, and not typos, as one reviewer here suggested!) Anatole, too, is something of a cliché. It’s as if by virtue of being Congolese he must be a paragon, and it’s disappointing to see Kingsolver not create a more realistic character—is she afraid to create a flawed African? Also, the narrative seems more concerned with cramming in the true political events of these years than advancing the characters any further. By this stage, however, most readers will be so completely caught up in the novel and so connected to the characters that they will accept these flaws. And these are only minor flaws when set against the grand scale of the novel. It is beautiful, heart-breaking, wise, poetic, a damning indictment of colonialism, and a must-read for everybody.