A Thousand Acres by Jane Smiley: 9781101907962 | PenguinRandomHouse.com: Books

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Acres&lt;\/i&gt;, which was awarded the Pulitzer Prize, and the Last Hundred Years Trilogy:&amp;#160;&lt;i&gt;Some Luck&lt;\/i&gt;,&amp;#160;&lt;i&gt;Early Warning&lt;\/i&gt;, and&amp;#160;&lt;i&gt;Golden Age&lt;\/i&gt;. She is the author as well of several works of nonfiction and books for young adults. A member of the American Academy of Arts and Letters, she has also received the PEN Center USA Lifetime Achievement Award for Literature. She lives in Northern California.","seoFriendlyUrl":"\/authors\/28760\/jane-smiley","attr":1001,"firstInitial":"J","lastInitial":"S","hasAuthorPhoto":true,"photoCredit":"Derek Shapton","photoDate":null,"authorPhotoUrl":"https:\/\/images.penguinrandomhouse.com\/author\/28760","primaryFlag":true},"050-1002":{"id":13794,"display":"Lucy Hughes-Hallett","roleCode":"V","roleName":"Introduction by","ontour":false,"spotlight":"&lt;p&gt;&lt;b&gt;LUCY HUGHES-HALLETT&lt;\/b&gt;&amp;#160;is an award-winning cultural historian and critic. She is the author of biographies of Cleopatra and Gabriele d&#039;Annunzio and of&amp;#160;&lt;i&gt;Heroes: A History of Hero Worship&lt;\/i&gt;. Former television critic for the&amp;#160;&lt;i&gt;Evening Standard&lt;\/i&gt;, she has long been a regular contributor to the books section of&amp;#160;&lt;i&gt;The Sunday Times&lt;\/i&gt;&amp;#160;(London). She has judged a number of literary prizes and is a Fellow of the Royal Society of Literature. She lives in London.&amp;#160;&lt;\/p&gt;","seoFriendlyUrl":"\/authors\/13794\/lucy-hughes-hallett","attr":1002,"firstInitial":"L","lastInitial":"H","hasAuthorPhoto":true,"photoCredit":"Jerry Bauer","photoDate":null,"authorPhotoUrl":"https:\/\/images.penguinrandomhouse.com\/author\/13794","primaryFlag":false}},"seoFriendlyUrl":"\/books\/168687\/a-thousand-acres-by-jane-smiley-introduction-by-lucy-hughes-hallett\/9781101907962","division":{"code":"73","description":"Knopf"},"categories":[{"catId":2000000083,"catDesc":"Literary Fiction","catUri":"\/literary-fiction","menuText":"Literary","leafNode":true,"deepestNode":true,"seq":1},{"catId":2000000031,"catDesc":"Classic Fiction","catUri":"\/classic-fiction","menuText":"Classic Fiction","leafNode":true,"deepestNode":true,"seq":2},{"catId":2000000057,"catDesc":"Fiction","catUri":"\/fiction","menuText":"Fiction","leafNode":false,"deepestNode":false,"seq":0},{"catId":2000000181,"catDesc":"Classics","catUri":"\/classics","menuText":"Classics","leafNode":false,"deepestNode":false,"seq":0}],"aboutTheBook":"&lt;b&gt;PULITZER PRIZE WINNER &amp;bull; The only hardcover edition of the &quot;powerful and poignant&quot; twentieth-century reimagining of Shakespeare&amp;rsquo;s King Lear (&lt;i&gt;The New York Times Book Review&lt;\/i&gt;). &amp;bull; EVERYMAN&#039;S LIBRARY CONTEMPORARY CLASSICS. &amp;bull; With a new introduction.&lt;br&gt;&lt;\/b&gt;&lt;br&gt;This powerful novel centers on a wealthy Iowa farmer who decides to divide his farm among his three daughters. When the youngest objects, she is cut out of his will, which sets in motion a chain of events that brings dark truths to light. Ambitiously conceived and stunningly written, &lt;i&gt;A Thousand Acres&lt;\/i&gt; spins the most fundamental themes of truth, justice, love, and pride into a universally acclaimed masterpiece.","flags":["READER_REWARDS","INSIGHT"],"otherFields":{"netInv":176},"vendorIds":{"Amazon":"1101907967"},"cbRtnDate":null,"asset_types":[]}"> <span id="bookShelfControl">Add to Bookshelf</span> </div> </div> </div> <div class="excerpt-button isbn-related 9781400033836 dsktop-links"><button class="btn excerpt excerpt-text" tabindex="0">Read An Excerpt</button></div> <div class="product-format-mobile curr-ttl-mobile isbn-related hidden 9781400033836 dsktop-links"> <button type="button" class="btn buy2 9781400033836" rel="popover">Buy</button> </div> <div style="clear:both"></div> <p class="excerpt-link isbn-related hidden 9781400033836 dsktop-links"> <a href="#" data-workid="168687" data-isbn="9781400033836" data-title="A Thousand Acres" data-author="Jane Smiley" class="insight">Look Inside</a> | <a href="/books/168687/a-thousand-acres-by-jane-smiley-introduction-by-lucy-hughes-hallett/9781101907962/readers-guide/" class="reader-guide-link">Reading Guide</a> </p> <div class="excerpt-button isbn-related 9781101907962 dsktop-links"><button class="btn excerpt excerpt-text" tabindex="0">Read An Excerpt</button></div> <div class="product-format-mobile curr-ttl-mobile isbn-related show 9781101907962 dsktop-links"> <button type="button" class="btn buy2 9781101907962" rel="popover">Buy</button> </div> <div style="clear:both"></div> <p class="excerpt-link isbn-related show 9781101907962 dsktop-links"> <a href="#" data-workid="168687" data-isbn="9781101907962" data-title="A Thousand Acres" data-author="Jane Smiley" class="insight">Look Inside</a> | <a href="/books/168687/a-thousand-acres-by-jane-smiley-introduction-by-lucy-hughes-hallett/9781101907962/readers-guide/" class="reader-guide-link">Reading Guide</a> </p> <div class="excerpt-button isbn-related 9780307787712 dsktop-links"><button class="btn excerpt excerpt-text" tabindex="0">Read An Excerpt</button></div> <div class="product-format-mobile curr-ttl-mobile isbn-related hidden 9780307787712 dsktop-links"> <button type="button" class="btn buy2 9780307787712" rel="popover">Buy</button> </div> <div style="clear:both"></div> <p class="excerpt-link isbn-related hidden 9780307787712 dsktop-links"> <a href="/books/168687/a-thousand-acres-by-jane-smiley-introduction-by-lucy-hughes-hallett/9781101907962/readers-guide/" class="reader-guide-link">Reading Guide</a> </p> </div> </div> <div class="slot product-title"> <div class="panel-body"> <header> <h1>A Thousand Acres</h1> <p role="doc-subtitle" class="subtitle isbn-related 9781400033836">A Novel</p><p role="doc-subtitle" class="subtitle isbn-related 9781101907962">Introduction by Lucy Hughes-Hallett</p><p role="doc-subtitle" class="subtitle isbn-related 9780307787712">A Novel</p> </header> <h2 class="contributors isbn-related 9781400033836 dsktop-links">By <span 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9781400033836 isbn-related seemoreenable"> <section class="overview"> <h2 class="slot-header">About <span>A Thousand Acres</span></h2> <p><strong>PULITZER PRIZE WINNER • NATIONAL BESTSELLER • A “powerful and poignant” twentieth-century reimagining of Shakespeare’s King Lear (<strong><em>The New York Times Book Review</em>)</strong> that takes on themes of truth, justice, love, and pride—and centers on a wealthy Iowa farmer who decides to divide his farm between his three daughters. <br><br> </strong>When the youngest daughter objects, she is cut out of his will. This sets off a chain of events that brings dark truths to light and explodes long-suppressed emotions. Ambitiously conceived and stunningly written, <em>A Thousand Acres</em> reveals the beautiful yet treacherous topography of humanity.<br><br>“A family portrait that is also a near-epic investigation into the broad landscape, the thousand dark acres of the human heart…. The book has all the stark brutality of a Shakespearean tragedy.” —<em>The Washington Post Book World</em></p> </section> </div> <div class="slot product-about 9781101907962 isbn-related seemoreenable show"> <section class="overview"> <h2 class="slot-header">About <span>A Thousand Acres</span></h2> <p><strong>PULITZER PRIZE WINNER • The only hardcover edition of the “powerful and poignant” twentieth-century reimagining of Shakespeare’s King Lear (<em>The New York Times Book Review</em>). • EVERYMAN’S LIBRARY CONTEMPORARY CLASSICS. • With a new introduction.<br></strong><br>This powerful novel centers on a wealthy Iowa farmer who decides to divide his farm among his three daughters. When the youngest objects, she is cut out of his will, which sets in motion a chain of events that brings dark truths to light. Ambitiously conceived and stunningly written, <em>A Thousand Acres</em> spins the most fundamental themes of truth, justice, love, and pride into a universally acclaimed masterpiece.</p> </section> </div> <div class="slot product-about 9780307787712 isbn-related seemoreenable"> <section class="overview"> <h2 class="slot-header">About <span>A Thousand Acres</span></h2> <p><strong>PULITZER PRIZE WINNER • NATIONAL BESTSELLER • A “powerful and poignant” twentieth-century reimagining of Shakespeare’s King Lear (<strong><em>The New York Times Book Review</em>)</strong> that takes on themes of truth, justice, love, and pride—and centers on a wealthy Iowa farmer who decides to divide his farm between his three daughters. <br><br> </strong>When the youngest daughter objects, she is cut out of his will. This sets off a chain of events that brings dark truths to light and explodes long-suppressed emotions. Ambitiously conceived and stunningly written, <em>A Thousand Acres</em> reveals the beautiful yet treacherous topography of humanity.<br><br>“A family portrait that is also a near-epic investigation into the broad landscape, the thousand dark acres of the human heart…. The book has all the stark brutality of a Shakespearean tragedy.” —<em>The Washington Post Book World</em></p> </section> </div>  <div class="product-look-inside mbl-links"> <div class="excerpt-button isbn-related 9781400033836 mbl-links"><a class="btn excerpt excerpt-text">Read An Excerpt</a></div> <div style="clear:both"></div> <p class="excerpt-link isbn-related 9781400033836 mbl-links"> <a href="/books/168687/a-thousand-acres-by-jane-smiley-introduction-by-lucy-hughes-hallett/9781101907962/readers-guide/" class="reader-guide-link">Reading Guide</a> </p> <div class="excerpt-button isbn-related 9781101907962 mbl-links"><a class="btn excerpt excerpt-text">Read An Excerpt</a></div> <div style="clear:both"></div> <p class="excerpt-link isbn-related show 9781101907962 mbl-links"> <a href="/books/168687/a-thousand-acres-by-jane-smiley-introduction-by-lucy-hughes-hallett/9781101907962/readers-guide/" class="reader-guide-link">Reading Guide</a> </p> <div class="excerpt-button isbn-related 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src="https://images3.penguinrandomhouse.com/cover/9781524718145?height=295&alt=cover_coming_soon.jpg" alt="Riding Lessons (An Ellen & Ned Book)" loading="lazy" class="lazyload img-responsive deferred-view-scroll"></a> </div> </div> <div class="see-all-link">See all books by <a href="/authors/28760/jane-smiley">Jane Smiley</a></div> </div> </div>   </div><div id="mobile-author-spotlights"> <a name="#author" id="author"></a> <div class="slot product-author-info isbn-related 9781400033836"> <h2 class="slot-header">About Jane Smiley</h2> <p class="clearfix">JANE SMILEY is the author of numerous novels, including A Thousand Acres, which was awarded the Pulitzer Prize, and the Last Hundred Years Trilogy: Some Luck, Early Warning, and Golden Age. She is the author as well of several works of nonfiction and books… <a href="/authors/28760/jane-smiley/">More about Jane Smiley</a></p> </div> <div class="slot product-author-info isbn-related 9781101907962"> <h2 class="slot-header">About Jane Smiley</h2> <p class="clearfix">JANE SMILEY is the author of numerous novels, including A Thousand Acres, which was awarded the Pulitzer Prize, and the Last Hundred Years Trilogy: Some Luck, Early Warning, and Golden Age. She is the author as well of several works of nonfiction and books… <a href="/authors/28760/jane-smiley/">More about Jane Smiley</a></p> </div> <div class="slot product-author-info isbn-related 9780307787712"> <h2 class="slot-header">About Jane Smiley</h2> <p class="clearfix">JANE SMILEY is the author of numerous novels, including A Thousand Acres, which was awarded the Pulitzer Prize, and the Last Hundred Years Trilogy: Some Luck, Early Warning, and Golden Age. She is the author as well of several works of nonfiction and books… <a href="/authors/28760/jane-smiley/">More about Jane Smiley</a></p> </div> </div><div id="mobile-second-product-detail"> <a name="#productdetails" id="productdetails"></a> <div class="slot scnd-prod-detail"> <div class="product-author-also-by" id="scnd-detail"> <h2 class="slot-header">Product Details</h2> </div> <div class="clearfix isbn-related 9781400033836"> <h4 class="category">Category: <a href="/books/literary-fiction/">Literary Fiction</a></h4> Paperback | $18.00 <br /> Published by Vintage<br /> <span class="ws-nw">Dec 02, 2003</span> <span class="ws-nw">| 384 Pages</span> <span class="ws-nw">| 5-3/16 x 8</span> <span class="ws-nw isbn-row">| ISBN 9781400033836</span> </div> <div class="clearfix isbn-related 9781101907962"> <h4 class="category">Category: <a href="/books/literary-fiction/">Literary Fiction</a> | <a href="/books/classic-fiction/">Classic Fiction</a></h4> Hardcover | $26.00 <br /> Published by Everyman’s Library<br /> <span class="ws-nw">Feb 27, 2018</span> <span class="ws-nw">| 456 Pages</span> <span class="ws-nw">| 4-7/8 x 8</span> <span class="ws-nw isbn-row">| ISBN 9781101907962</span> </div> <div class="clearfix isbn-related 9780307787712"> <h4 class="category">Category: <a href="/books/literary-fiction/">Literary Fiction</a></h4> Ebook | $4.99 <br /> Published by Vintage<br /> <span class="ws-nw">Jan 05, 2011</span> <span class="ws-nw">| 384 Pages</span> <span class="ws-nw isbn-row">| ISBN 9780307787712</span> </div> </div>  </div> </div>  <script> var rightRailList = {"NONE":["also-in-series","author-spotlights","related-links","audio-extras","second-product-detail"],"CCS":["also-in-series","author-spotlights","related-links","audio-extras","second-product-detail"]}; </script>  <div id="right-rail-top" class="right-rail"> </div>   <div class="product-body clearfix"> </div> </div> </div> </div> <section> <div class="modal slide sitehome-discovery" id="single-title-view"></div> <h2 class="carousel-header ab-test">YOU MAY ALSO LIKE</h2> <div class="carousel-wrap"> <div id="recommendationCarousel" class="book-carousel finite-carousel" data-carousel-title="PDP Recommendations" data-carousel-type="rec-carousel-no-feedback" data-cart-work-ids="" > <div class="element-wrapper first-slide"> <div class="carousel-element overlaid" data-workid="326547" data-work="{"title":"Sons and Lovers","isbn":9780451530004,"workId":326547,"usPrice":6.95,"division":"Berkley \/ NAL","imprint":"Signet","format":"Paperback","category":"Classic Fiction,Literary Fiction,Historical Fiction","moduletype":"recommendation-carousel","author":"D. 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data-acq-code="PRH_BOOKPAGE_STATIC_ONGOING" data-author-check="true" data-author-id="28760" data-author-name="Jane Smiley" data-background-color="#ffffff" data-form-headline="Subscribe for curated reading picks, the trendiest books, and so much more." data-general="true" data-headline-tag="h2" data-side-by-side="true" data-work-id="" ></div> </div> </div> </div>  <div class="container"> <div class="scaffolding row"> <div class="col-xs-1 col-sm-0 col-md-0 col-lg-0"></div> <div class="main-content col-xs-14 col-sm-16 col-md-16 col-lg-16">  <div id="left-rail-bottom" class="product-body clearfix">  <div id="mobile-praise"> <a name="#praise" id="praise"></a> <div class="slot product-praise seemoreenable"> <h2 class="slot-header">Praise</h2> <p class="clearfix"> “Brilliant…. Absorbing…. A thrilling work of art.” —<em>Chicago Sun-Times<br><br></em>“A family portrait that is also a near-epic investigation into the broad landscape, the thousand dark acres of the human heart…. The book has all the stark brutality of a Shakespearean tragedy.” —<em>The Washington Post Book World<br><br></em>“Powerful and poignant.” —<em>The New York Times Book Review<br></em><br>“Superb…. There seems to be nothing Smiley can’t write about fabulously well.” —<em>San Francisco Chronicle<br><br></em>“It has been a long time since a novel so surprised me with its power to haunt…. <em>A Thousand Acres </em>[has] the prismatic quality of the greatest art.” —<em>Chicago Tribune<br><br></em>“Absorbing…. Exhilarating…. An engrossing piece of fiction.” —<em>Time<br><br></em>“A full, commanding novel…. A story bound and tethered to a lonely road in the Midwest, but drawn from a universal source…. Profoundly American.” —<em>The Boston Globe</em> </p> </div>  </div> <div id="mobile-book-awards"> <a name="#awards" id="awards"></a> <div class="slot product-awards seemoreenable"> <h2 class="slot-header">Awards</h2> <p class="clearfix"> <span class="left">National Book Critics Circle Awards</span> <span class="right">WINNER 1991</span> </p> <p class="clearfix"> <span class="left">Pulitzer Prize</span> <span class="right">WINNER 1992</span> </p> </div>  </div> <div id="mobile-video-related-links">   </div> <div id="mobile-author-qa">  <a name="#authorqa" id="authorqa"></a> <div class="slot product-author-qa seemoreenable"> <h2>Author Q&A</h2> <p class="clearfix"><b>A Conversation with Jane Smiley<br><br>Ron Fletcher</b> <i>interviewed Jane Smiley and wrote the reader’s guides for two previous Smiley novels,</i> The All-True Travels <i>and</i> Adventures of Lidie Newton <i>and</i> Horse Heaven. <i>He teaches English at Boston Col-lege High School in Massachusetts. His reviews and interviews have appeared in </i>The Boston Phoenix <i>as well as</i> The Christian Science Monitor. <i>Daunted and haunted, Ron continues to work on his first novel.</i> <br><br><b>Q: More than a decade has passed since the publication of A Thousand Acres; how do you feel about the novel today?</b> <br><br><b>A:</b> A few summers ago, I wrote a piece on the novel for <i>The Washington Post</i> in which I said that I didn’t like it and I wouldn’t write it again. I argued that philosophically <i>A Thousand Acres</i>, like <i>King Lear</i>, asks what is love, and then proposes something of the same answer: love is an exchange. Lear says to his daughters I gave you everything, and in return he expects fealty, submission, and honor. When Lear says I gave you everything he means not only his kingdom but everything, and that’s what he wants in return.The action of the play proves that the idea of love as an exchange amounts to nothing. By the end of Lear no one loves anybody: everyone’s either dead or grieving or resigned to life in a completely impersonal and terrifying world. <br><br>I ended up repeating this quid pro quo version of love in <i>A Thousand Acres</i>, but now I see the play and thus my novel quite differently. My attitudes about life and the world and love were transformed after I wrote <i>King Lear</i>–bite my tongue, I mean after I wrote <i>A Thousand Acres</i>. <br><br><b>Q: What now is your understanding of love vis-a-vis these works?</b> <br><br><b>A:</b> The sort of love Shakespeare depicts in <i>The Winter’s Tale</i> makes more sense to me now than the one he offers in Lear. Although Shakespeare presents a similar family situation in this later play, he proposes a much different definition of love. <i>The Winter’s Tale</i> suggests that love is a gift from outside of the world and that the hallmark of love is forgiveness. This sort of love makes salvation of the family possible, whereas its opposite in <i>Lear</i> tears everyone apart. Several years separate these plays, yet I think that they speak to one another about what love is and reveal the extent to which Shakespeare’s mind changed. <br><br><b>Q: What changed your mind about <i>King Lear</i>?</b> <br><br><b>A:</b> Well, time and experience in general as well as a symposium of the World Shakespeare Congress that I attended in Los Angeles a few years ago. During a discussion of <i>A Thousand Acres</i>, one panelist pointed out that when Shakespeare was writing <i>King Lear</i> his father seemed to be a victim of an Alzheimer’s-like disease, some kind of senile dementia. Prior to hearing this news I had always seen Shakespeare as identifying with Lear in the sense that he was a man and he wanted the unquestioned fealty of the women around him. I always thought the play was about how Lear failed to enter into an actual relationship with his daughters from beginning to end.The relationships at the beginning of the play seemed as false as those at the end, if only in a slightly different way. <br><br><b>Q:Your sympathies shifted?</b> <br><br><b>A: </b>They did. I now think that the idea of Shakespeare identifying with his daughters is more psychologically true than that of his identifying with Lear. When you’re in a situation when a family member has a mental illness or a mental decline you feel that there is no possible normal role that you can have in relationship to that person: if you live your life in a normal way, then you feel like you’re not fulfilling the needs of that person, which are very great, and yet it’s impossible to live your life as a saint. <br><br>So, I suddenly saw Shakespeare as torn in his personal life between being like Goneril and Regan, who seem like more or less normal women given their anger and resentment, and Cordelia, who seems like a saint but is not very believable. <br><br>Once I had that change of heart about where the essence of Shakespeare’s imagination was in the play, then I began to see <i>King Lear</i> differently and as a result to see <i>A Thousand Acres</i> differently. <br><br><b>Q: Yet the novel does convey and question convictions you held when writing it, no?</b> <br><br><b>A:</b> That’s true. No writer can write without a sense of conviction; it’s absolutely necessary. Without conviction you can’t go forward or put anything down.As soon as you put something down with that fabulous sense of conviction, however, things change, truths shift. So, you put the next thing down with conviction. <br><br><b>Q: What convictions lie at the heart of <i>A Thousand Acres</i>?</b> <br><br><b>A:</b> Well, <i>A Thousand Acres</i> has always been an abstraction for me because it wasn’t based on any actual experiences in my life: I didn’t come from a farm; I didn’t suffer abuse; I didn’t grow up with just my father. The novel was entirely constructed around King Lear, so it’s entirely abstract in terms of its relationship to my consciousness. Even so, it drew on feelings that I had about patriarchy, environmental issues, and western history since Shakespeare’s time. I had very strong and systematic views about all these things, and the novel sort of drew on the emotional content of those views. And a relatively aggressive feminism was at the heart of those views. <br><br><b>Q: Some see <i>A Thousand Acres</i> as the work of a polemicist, while others find it an accomplished fiction that examines but remains unobscured by competing ideologies.</b> <br><br><b>A:</b> I like to think that any ideology in the novel is hidden well. For example, Ginny gets to be an unsophisticated and uneducated feminist who appears to come to her conclusions on her own, but that’s not me. I came to her conclusions with a certain theoretical background, and then I just imagined another way for Ginny to approach such issues. There’s a necessary sleight of hand there. <br><br><b>Q: How do you feel about your work being appropriated to push a particular politics?</b> <br><br><b>A:</b> I learned early on that you have no control about how the literary system you constructed will appear to others. I recall when <i>The Greenlanders</i> was endorsed by an extremely conservative organization that was fooled by the book’s archaic tone into not seeing its radical politics. <br><br>The other thing is that all literary systems have a consciousness and a subconsciousness.You don’t know the total content of what you’ve constructed, because there’s this underground area created by the cultural moment in which it was authored as well as that in which it is read. President Bush could read Moo today and pick up on not only what I put in there, but things formed by the culture–things over which I had no control. That he might give the novel a reading I would not be able to share makes his reading no less valid. <br><br><b>Q: Doubtless some readers encounter <i>A Thousand Acres</i> before <i>King Lear</i>, allowing your work to influence or at least color Shakespeare’s. Rather heady stuff.</b> <br><br><b>A:</b> Absolutely. Those girls who read <i>A Thousand Acres</i> in high school then go on to read <i>King Lear</i> will never read Shakespeare the way they would have read it had they read it cold. And I think that’s a good thing. It’s also inevitable: no person’s literary history occurs in the same order. <br><br><b>Q: When considering your fiction do you think in terms of a body of work or individual novels?</b> <br><br><b>A:</b> When I go to a shelf of Dickens’ books or Shakespeare’s plays I see them all at once; they exist simultaneously. In their lives, though, they didn’t exist that way at all: they evolved out of one another. One of the things we don’t pay enough attention to is the idea that each book that a writer writes evolves both from the life that he has lived and also the previous books he has written. Each book teaches something, provokes, and makes him change his mind about something. Then that mind goes on to write the next book, which inevitably has a different take on things. So, I think we should think of books not in terms of comparing and contrasting one with another, but instead ask how did this book evolve out of that one. What did Dickens learn in <i>The Pickwick Papers</i> that he put to work in <i>Oliver Twist</i>? <br><br><b>Q: How does this view inform your perspective on <i>A Thousand Acres</i></b>? <br><br><b>A: </b>Because I didn’t die at the end of <i>A Thousand Acres</i>, I can’t help going on and thinking of things differently. There’s nothing I can do about it. So, <i>A Thousand Acres</i> is not my final word on any issue; it’s just a place that I passed through at that point in my life. <br><br>After I passed through that place, I had another child, I moved to California, my marriage broke up, and my children grew up. I went on to live in a place and environment where issues presented themselves differently, thus I wrote with conviction about the next thing. <br><br><b>Q: Do you regard all of your novels as having receded for good?</b> <br><br><b>A:</b> No. There is an exception. I feel that I could come back to Horse Heaven in ten years and make it better, but <i>A Thousand Acres</i> and the others are artifacts of their time and my life. It’s much more interesting to go on and write new things than to fiddle around with the artifacts. So, I don’t have much attachment to any of the books that I’ve written simply because they aren’t current and they don’t represent what I’m thinking. Each is a husk or a shell–some indica-tion of where I’ve been. <br><br><b>Q: What has hindsight revealed about the significance of winning the Pulitzer Prize with <i>A Thousand Acres?</i></b> <br><br><b>A:</b> It was and remains very significant; it meant that I was successful. I got a lot of money and promptly changed my life: I moved to California, bought horses, and began a different way of living. But it didn’t have any effect on my sense of self as an artist. <br><br><b>Q: What do you think of the film of your novel?</b> <br><br><b>A:</b> I have no thoughts about it at all. I was happy to cash the check–that’s about my only thought. <br><br><b>Q: You once said that the movie made you glad you were a novelist.</b> <br><br><b>A:</b>Yeah, that was my other thought. <br><br><b>Q: <i>A Thousand Acres</i> represented the tragedy in your plan to work in four distinct genres. <i>The Greenlanders</i>, an epic, preceded it. Later came the comedy Moo followed by the romance <i>The All-True Travels</i> and <i>Adventures of Lidie Newton</i>. How did your last novel, <i>Horse Heaven</i>, relate to this cycle?</b> <br><br><b>A: </b>I have a theory about literary form: each time you’re working in a single genre you’re niggled by its limitations and the opportunities of another. For instance, you can’t tragically kill off the main character of your comedy. When I got to <i>Horse Heaven</i>, I wanted to do everything–epic, tragedy, comedy, romance, realism, and fantasy. I wanted the whole cake rather than just one piece. <br><br><b>Q: What’s the next cake looking like?</b> <br><br><b>A:</b> Well, the next cake is much simpler. It looks like a tale about a mysterious stranger. It will be a straight-forward realist novel more than anything else. <br><br><b>Q:Your subject?</b> <br><br><b>A: </b>The ’80s and Reaganomics. One of the things that fascinates me about that period is how government actions so rapidly caused chaos. Congress said let’s fix the Savings and Loans disaster this way, and individuals all over the country promptly engaged in corrupt behavior and destroyed an entire industry and endangered the savings of millions of people. <br><br><b>Q: What occurs at the intersection–or collision–of the individual and the collective, the social and the solitary is at least one prominent motif of your fiction, no?</b> <br><br><b>A: </b>I’ve always been interested in the ways that history manifests itself through individual actions and how large-scale events play themselves out in personal, private lives. What hap-pened under Reagan in the ’80s is another opportunity for me to examine how an individual and his sense of his own autonomy are deeply embedded in the fabric of national life. <br><br><b>Q: What challenges have you faced in moving from Regan to Reagan?</b><br><br><b>A: </b>Each novel is a kind of test.When I set out to write <i>A Thousand Acres</i>, I had <i>King Lear</i> in front of me and I followed it. I knew where I was going. If I strayed from the path, I would backtrack to return to it. <br><br>With my present novel, I have no idea, no master plan, which is something I would never have been able to tol-erate ten years ago. Now, I just say let’s do this and let’s try that. And I write with a faith that it will all work out in the end. And I’m sure that my faith, like all true faiths, will be totally satisfied.</p> </div>  </div> <div id="mobile-essays">   </div> <div id="mobile-table-of-contents">   </div> <div id="mobile-related-links">  <a name="#relatedlinks" id="relatedlinks"></a> <div id="product-related-wrap-mobile"> <div class="slot product-related"> <h2 class="slot-header">Related Links</h2> <div class="related-item"><a href="http://www.prhspeakers.com/speaker/jane-smiley/" target="_blank">Contact us about speaking engagements with Jane Smiley</a></div> </div> </div>  </div> <div id="mobile-audio-extras">   </div> <div id="mobile-filler"> <div class="slot product-filler seemoreenable"> Looking for More Great Reads?<br /> <a href="https://www.penguinrandomhouse.com/the-read-down/21-books-youve-been-meaning-to-read">21 Books You’ve Been Meaning to Read</a></div>  </div> </div>   <div id="right-rail-bottom" class="right-rail"> </div>  </div> </div> </div>  <div class="modal fade product-image" id="modal-product-image" style="display:none;"> <div class="modal-dialog product-image"> <div class="modal-content"> <div class="modal-header product-image"> <button type="button" class="close" data-dismiss="modal"> <span class="fa fa-times"> </span> <span class="sr-only">Close</span></button> </div> <div class="modal-body"> <img alt="A Thousand Acres by Jane Smiley"/> <div class="btn product-image download"><span class="fa fa-download"></span>Download Hi Res</div> </div> </div> </div> </div>  <script> var excerpt_embed_html_list = []; var excerpt_text_list = {"9781400033836":"At sixty miles per hour, you could pass our farm in a minute, on County Road 686, which ran due north into the T intersection at Cabot Street Road. Cabot Street Road was really just another country blacktop, except that five miles west it ran into and out of the town of Cabot. On the western edge of Cabot, it became Zebulon County Scenic Highway, and ran for three miles along the curve of the Zebulon River, before the river turned south and the Scenic continued west into Pike. The T intersection of CR 686 perched on a little rise, a rise nearly as imperceptible as the bump in the center of an inexpensive plate. <br><br>From that bump, the earth was unquestionably flat, the sky unquestionably domed, and it seemed to me when I was a child in school, learning about Columbus, that in spite of what my teacher said, ancient cultures might have been onto something. No globe or map fully convinced me that Zebulon County was not the center of the universe. Certainly, Zebulon County, where the earth was flat, was one spot where a sphere (a seed, a rubber ball, a ballbearing) must come to perfect rest and once at rest must send a taproot downward into the ten-foot-thick topsoil. <br><br>Because the intersection was on this tiny rise, you could see our buildings, a mile distant, at the southern edge of the farm. A mile to the east, you could see three silos that marked the northeastern corner, and if you raked your gaze from the silos to the house and barn, then back again, you would take in the immensity of the piece of land my father owned, six hundred forty acres, a whole section, paid for, no encumbrances, as flat and fertile, black, friable, and exposed as any piece of land on the face of the earth. If you looked west from the intersection, you saw no sign of anything remotely scenic in the distance. That was because the Zebulon River had cut down through topsoil and limestone, and made its pretty course a valley below the level of the surrounding farmlands. Nor, except at night, did you see any sign of Cabot. You saw only this, two sets of farm buildings surrounded by fields. In the nearer set lived the Ericsons, who had daughters the ages of my sister Rose and myself, and in the farther set lived the Clarks, whose sons, Loren and Jess, were in grammar school when we were in junior high. Harold Clark was my father's best friend. He had five hundred acres and no mortgage. The Ericsons had three hundred seventy acres and a mortgage. <br><br>Acreage and financing were facts as basic as the name and gender in Zebulon County. Harold Clark and my father used to argue at our kitchen table about who should get the Ericson land when they finally lost their mortgage. I was aware of this whenever I played with Ruthie Ericson, whenever my mother, my sister Rose, and I went over to help can garden produce, whenever Mrs. Ericson brought over some pies or doughnuts, whenever my father loaned Mr. Ericson a tool, whenever we ate Sunday dinner in the Ericson's kitchen. I recognized the justice of Harold Clark's opinion that the Ericson' land was on his side of the road, but even so, I thought it should be us. For one thing, Dinah Ericson's bedroom had a window seat in the closet that I coveted. For another, I thought it appropriate and desirable that the great circle of the flat earth spreading out from the T intersection of County Road 686 and Cabot Street be ours. A thousand acres. It was that simple. <br><br>It was 1951 and I was eight when I saw the farm and the future in this way. That was the year my father bought his first car, a Buick sedan with prickly gray velvet seats, so rounded and slick that it was easy to slide off the backseat into the footwell when we went over a stiff bump or around a sharp corner. That was also the year my sister Caroline was born, which was undoubtedly the reason my father bought the car. The Ericson Children and the Clark children continued to ride in the back of the farm pickup, but the Cook children kicked their toes against a front seat and stared out the back windows, nicely protected from the dust. The car was the exact measure of six hundred forty acres compared to three hundred or five hundred. <br><br>In spite of the price of gasoline, we took a lot of rides that year, something farmers rarely do, and my father never again did after Caroline was born. For me, it was a pleasure like a secret hoard of coins--Rose, whom I adored, sitting against me in the hot musty velvet luxury of the car's interior, the click of the gravel on its undercarriage, the sensation of the car swimming in the rutted road, the farms passing every minute, reduced from vastness to insignificance by our speed; the unaccustomed sense of leisure; most important, though, the reassuring note of my father's and mother's voices commenting on what they saw--he on the progress of the yearly work and the condition of the animals in the pastures, she on the look and size of the house and garden, the colors of the buildings. Their tones of voice were unhurried and self-confident, complacent with the knowledge that the work at our place was farther along, the buildings at our place more imposing and better cared for. When I think of them now, I think how they had probably seen nearly as little of the world as I had by that time. But when I listened to their duet then, I nestled into the certainty of the way, through the repeated comparisons, our farm and our lives seemed secure and good.<br \/><span class=\"excrpt_cp\">Excerpted from <span class=\"excrpt_cp_ttl\">A Thousand Acres<\/span> by Jane Smiley. Copyright © 1992 by Jane Smiley. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<\/span>","9781101907962":"At sixty miles per hour, you could pass our farm in a minute, on County Road 686, which ran due north into the T intersection at Cabot Street Road. Cabot Street Road was really just another country blacktop, except that five miles west it ran into and out of the town of Cabot. On the western edge of Cabot, it became Zebulon County Scenic Highway, and ran for three miles along the curve of the Zebulon River, before the river turned south and the Scenic continued west into Pike. The T intersection of CR 686 perched on a little rise, a rise nearly as imperceptible as the bump in the center of an inexpensive plate. <br><br>From that bump, the earth was unquestionably flat, the sky unquestionably domed, and it seemed to me when I was a child in school, learning about Columbus, that in spite of what my teacher said, ancient cultures might have been onto something. No globe or map fully convinced me that Zebulon County was not the center of the universe. Certainly, Zebulon County, where the earth was flat, was one spot where a sphere (a seed, a rubber ball, a ballbearing) must come to perfect rest and once at rest must send a taproot downward into the ten-foot-thick topsoil. <br><br>Because the intersection was on this tiny rise, you could see our buildings, a mile distant, at the southern edge of the farm. A mile to the east, you could see three silos that marked the northeastern corner, and if you raked your gaze from the silos to the house and barn, then back again, you would take in the immensity of the piece of land my father owned, six hundred forty acres, a whole section, paid for, no encumbrances, as flat and fertile, black, friable, and exposed as any piece of land on the face of the earth. If you looked west from the intersection, you saw no sign of anything remotely scenic in the distance. That was because the Zebulon River had cut down through topsoil and limestone, and made its pretty course a valley below the level of the surrounding farmlands. Nor, except at night, did you see any sign of Cabot. You saw only this, two sets of farm buildings surrounded by fields. In the nearer set lived the Ericsons, who had daughters the ages of my sister Rose and myself, and in the farther set lived the Clarks, whose sons, Loren and Jess, were in grammar school when we were in junior high. Harold Clark was my father's best friend. He had five hundred acres and no mortgage. The Ericsons had three hundred seventy acres and a mortgage. <br><br>Acreage and financing were facts as basic as the name and gender in Zebulon County. Harold Clark and my father used to argue at our kitchen table about who should get the Ericson land when they finally lost their mortgage. I was aware of this whenever I played with Ruthie Ericson, whenever my mother, my sister Rose, and I went over to help can garden produce, whenever Mrs. Ericson brought over some pies or doughnuts, whenever my father loaned Mr. Ericson a tool, whenever we ate Sunday dinner in the Ericson's kitchen. I recognized the justice of Harold Clark's opinion that the Ericson' land was on his side of the road, but even so, I thought it should be us. For one thing, Dinah Ericson's bedroom had a window seat in the closet that I coveted. For another, I thought it appropriate and desirable that the great circle of the flat earth spreading out from the T intersection of County Road 686 and Cabot Street be ours. A thousand acres. It was that simple. <br><br>It was 1951 and I was eight when I saw the farm and the future in this way. That was the year my father bought his first car, a Buick sedan with prickly gray velvet seats, so rounded and slick that it was easy to slide off the backseat into the footwell when we went over a stiff bump or around a sharp corner. That was also the year my sister Caroline was born, which was undoubtedly the reason my father bought the car. The Ericson Children and the Clark children continued to ride in the back of the farm pickup, but the Cook children kicked their toes against a front seat and stared out the back windows, nicely protected from the dust. The car was the exact measure of six hundred forty acres compared to three hundred or five hundred. <br><br>In spite of the price of gasoline, we took a lot of rides that year, something farmers rarely do, and my father never again did after Caroline was born. For me, it was a pleasure like a secret hoard of coins--Rose, whom I adored, sitting against me in the hot musty velvet luxury of the car's interior, the click of the gravel on its undercarriage, the sensation of the car swimming in the rutted road, the farms passing every minute, reduced from vastness to insignificance by our speed; the unaccustomed sense of leisure; most important, though, the reassuring note of my father's and mother's voices commenting on what they saw--he on the progress of the yearly work and the condition of the animals in the pastures, she on the look and size of the house and garden, the colors of the buildings. Their tones of voice were unhurried and self-confident, complacent with the knowledge that the work at our place was farther along, the buildings at our place more imposing and better cared for. When I think of them now, I think how they had probably seen nearly as little of the world as I had by that time. But when I listened to their duet then, I nestled into the certainty of the way, through the repeated comparisons, our farm and our lives seemed secure and good.<br \/><span class=\"excrpt_cp\">Excerpted from <span class=\"excrpt_cp_ttl\">A Thousand Acres<\/span> by Jane Smiley. Copyright © 1992 by Jane Smiley. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<\/span>","9780307787712":"At sixty miles per hour, you could pass our farm in a minute, on County Road 686, which ran due north into the T intersection at Cabot Street Road. Cabot Street Road was really just another country blacktop, except that five miles west it ran into and out of the town of Cabot. On the western edge of Cabot, it became Zebulon County Scenic Highway, and ran for three miles along the curve of the Zebulon River, before the river turned south and the Scenic continued west into Pike. The T intersection of CR 686 perched on a little rise, a rise nearly as imperceptible as the bump in the center of an inexpensive plate. <br><br>From that bump, the earth was unquestionably flat, the sky unquestionably domed, and it seemed to me when I was a child in school, learning about Columbus, that in spite of what my teacher said, ancient cultures might have been onto something. No globe or map fully convinced me that Zebulon County was not the center of the universe. Certainly, Zebulon County, where the earth was flat, was one spot where a sphere (a seed, a rubber ball, a ballbearing) must come to perfect rest and once at rest must send a taproot downward into the ten-foot-thick topsoil. <br><br>Because the intersection was on this tiny rise, you could see our buildings, a mile distant, at the southern edge of the farm. A mile to the east, you could see three silos that marked the northeastern corner, and if you raked your gaze from the silos to the house and barn, then back again, you would take in the immensity of the piece of land my father owned, six hundred forty acres, a whole section, paid for, no encumbrances, as flat and fertile, black, friable, and exposed as any piece of land on the face of the earth. If you looked west from the intersection, you saw no sign of anything remotely scenic in the distance. That was because the Zebulon River had cut down through topsoil and limestone, and made its pretty course a valley below the level of the surrounding farmlands. Nor, except at night, did you see any sign of Cabot. You saw only this, two sets of farm buildings surrounded by fields. In the nearer set lived the Ericsons, who had daughters the ages of my sister Rose and myself, and in the farther set lived the Clarks, whose sons, Loren and Jess, were in grammar school when we were in junior high. Harold Clark was my father's best friend. He had five hundred acres and no mortgage. The Ericsons had three hundred seventy acres and a mortgage. <br><br>Acreage and financing were facts as basic as the name and gender in Zebulon County. Harold Clark and my father used to argue at our kitchen table about who should get the Ericson land when they finally lost their mortgage. I was aware of this whenever I played with Ruthie Ericson, whenever my mother, my sister Rose, and I went over to help can garden produce, whenever Mrs. Ericson brought over some pies or doughnuts, whenever my father loaned Mr. Ericson a tool, whenever we ate Sunday dinner in the Ericson's kitchen. I recognized the justice of Harold Clark's opinion that the Ericson' land was on his side of the road, but even so, I thought it should be us. For one thing, Dinah Ericson's bedroom had a window seat in the closet that I coveted. For another, I thought it appropriate and desirable that the great circle of the flat earth spreading out from the T intersection of County Road 686 and Cabot Street be ours. A thousand acres. It was that simple. <br><br>It was 1951 and I was eight when I saw the farm and the future in this way. That was the year my father bought his first car, a Buick sedan with prickly gray velvet seats, so rounded and slick that it was easy to slide off the backseat into the footwell when we went over a stiff bump or around a sharp corner. That was also the year my sister Caroline was born, which was undoubtedly the reason my father bought the car. The Ericson Children and the Clark children continued to ride in the back of the farm pickup, but the Cook children kicked their toes against a front seat and stared out the back windows, nicely protected from the dust. The car was the exact measure of six hundred forty acres compared to three hundred or five hundred. <br><br>In spite of the price of gasoline, we took a lot of rides that year, something farmers rarely do, and my father never again did after Caroline was born. For me, it was a pleasure like a secret hoard of coins--Rose, whom I adored, sitting against me in the hot musty velvet luxury of the car's interior, the click of the gravel on its undercarriage, the sensation of the car swimming in the rutted road, the farms passing every minute, reduced from vastness to insignificance by our speed; the unaccustomed sense of leisure; most important, though, the reassuring note of my father's and mother's voices commenting on what they saw--he on the progress of the yearly work and the condition of the animals in the pastures, she on the look and size of the house and garden, the colors of the buildings. Their tones of voice were unhurried and self-confident, complacent with the knowledge that the work at our place was farther along, the buildings at our place more imposing and better cared for. When I think of them now, I think how they had probably seen nearly as little of the world as I had by that time. But when I listened to their duet then, I nestled into the certainty of the way, through the repeated comparisons, our farm and our lives seemed secure and good.<br \/><span class=\"excrpt_cp\">Excerpted from <span class=\"excrpt_cp_ttl\">A Thousand Acres<\/span> by Jane Smiley. Copyright © 1992 by Jane Smiley. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<\/span>"}; </script> <div class="modal fade" id="modal-excerpt" tabindex="-1"> <div class="modal-dialog"> <div class="modal-content"> <div class="modal-header-sticky"> <div class="book"> <div class="cover"> <img alt="A Thousand Acres by Jane Smiley" src /> </div> </div> <button type="button" class="close grey-filter" data-dismiss="modal"> <img decoding="async" src="https://www.penguinrandomhouse.com/wp-content/themes/penguinrandomhouse/images/excerpt-close.svg" alt="Close excerpt" /> </button> </div> <div class="modal-body" tabindex="0"> <div class="book-meta"> <div class="book-name">A Thousand Acres</div> <div class="contributors 9781400033836 hidden"><div class="contributor-type">By <span class="ws-nw role-A"><a href="/authors/28760/jane-smiley" >Jane Smiley</a></span></div></div><div class="contributors 9781101907962 show"><div class="contributor-type">By <span class="ws-nw 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