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The National Book Award-winning author of The Women of Brewster Place explores the secrets of an affluent black community. For its wealthy African American residents, the exclusive neighborhood of Linden Hills is a symbol of "making it." The ultimate achievement: a home on prestigious Tupelo Drive. Making your way downhill to Tupelo is irrefutable proof of your worth. But the farther down the hill you go, the emptier you become . . . Using the descent of Dante's Inferno as a model, this bold, haunting novel follows two young men as they attempt to find work amid the circles of the well-off community. Exploring a microcosm of race and social class, author Gloria Naylor reveals the true cost of success for the lost souls of Linden Hills--an existence trapped in a nightmare of their own making. … (more)
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Best friends and fellow poets Willie Mason and Lester Tilson, work their way down through the exclusive, and exclusively African-American, suburb of Linden Hills, doing odd jobs to earn money to buy Christmas presents. But the streets of Linden Hills correspond to the circles of hell in Dante's Inferno, and Willie (who lives in the down-market area of Putney Wayne) and Lester (whose family have lived on First Crescent in Linden Hills since the very beginning) are this book's Dante and Virgil.
Lester and Willie's friends Ruth (who during her first marriage lived on Fifth Crescent) and Norman, live in a barely furnished apartment in Putney Wayne and are happy with their lot, and unlike most of their neighbours, they don't aspire to a house in Linden Hills. Those who have already made it into Linden Hills hope to move further down the hill, and ultimately onto Tupelo Drive, just above the moated house belonging to undertaker and property developer Luther Nedeed, whose ancestor bought the hillside back before the American Civil War.
Apart from the poets and their friends, the person I had most sympathy for was Reverend Hollis, a resident of Fifth Crescent who employed Willie and Lester to help him get ready for the children's Christmas party at his church. Reverend Hollis feels his faith seeping away, quashed by the emptiness emanating from his large, wealthy and status-conscious congregation, so every year he throws a party for the children of Putney Wayne at his own expense, in the hope of encouraging some poorer people who are full of God's spirit to start attending his church. The oddest person in the book doesn't even live in Linden Hills. Maxwell Smyth has risen to a high position in General Motors despite the handicap of being black. He controls every aspect of his life to the nth degree, including his dietary and toilet habits, dedicating his life to being so perfect that no-one can doubt that he is the best man for whatever job is on offer.
I don't find myself able to like ANY of the characters. Am I supposed to identify with mad woman in the basement? The mad man who is in the role of the devil, the young, poor, uneducated black man who frequently
There are a couple of minor characters I sympathise with - Laurell's grandmother, Laurell to some extent, and Dr. Braithwaite, but by and large I just couldn't give a damn.
The humour that others I've talked to find misses the mark for me. Perhaps there are too many cultural bridges for it to cross, I'm not Black, not American, etc...
Despite that, I persevered and found some interesting things. I knew the links to Dante's Inferno, but it was interesting to spot them and make the links. An intellectual exercise rather than a pleasant reading one for me.
I find none of the main characters likable, and that makes it hard to read. I found myself feeling sorry for a few of the lesser characters
I came to this book knowing the parallels to the Inferno, but I wonder how anyone could miss them, there are several really strong screaming examples, including the school gates having "Abandon hope all ye..." over them, and the first circle having poets and pagans on it... so it's strongly established before you go down too far. It makes the parallels interesting, wondering how each of the circles will be dealt with, but that's just about the only attraction for me.
Gloria Naylor's Lindon Hills is somehow a perfect allegory of race, gender, and sexuality within the
The novel has at times 4 simultaneous storylines running throughout: the present, involving Willie and Lester; the other presents depicting Mr. Nedeed and another with his wife trapped in the basement; and the backstories of the characters Willie and Lester interact with through their journey through Linden Hills.
I absolutely loved the characters Willie and Lester and how who interact with as they descend into Linden Hills. It almost felt a little like a mystery novel at times; the characters revealing subtle clues as to their ills before the great reveal of their "sins". We meet a gay man marrying and making his lover be his best man to get a foot into Linden Hills, a man mourning his conveniently dead wife before he marries another, an alcoholic, burned out priest, a woman who loses all sense of meaning after leaving the warm home of her grandmother and "making it", and a creepy historian who documents every happening of Linden Hills—including the acts of our own Willie and Lester from the past few days without anyone knowing. I kept wondering each chapter who'd I'd see, what cast of characters I'd meet and chip away word by word to see who they really were.
A vivid addition to the novel was the southern gothic elements of that comes alive around Willa Nedeed in her basement. There's major Wuthering Heights and Jane Eyre vibes in the calling across the hills of the trapped woman in the basement, the almost supernatural powers of Mr. Nedeed and his control over his own little section of hell. It's full of unnatural shadows and nightmares, dead children shrouded in lace and stiffening by the hour and fires (perhaps) purifying it all. It was exciting. It was something classic in an understandable, modern setting. It was amazing.
And so I really appreciated and enjoyed the ease that the book read in and the pervasiveness of the themes and symbols. For some, it may seem heavy-handed, but I think masking that in a novel such as this is would have been incredibly disingenuous and showed quite apparently the genius of Gloria Naylor. Her work in this story with the interwoven themes of and symbols of black and white, father and son, faces and identity, and material goods and their emptiness was beautiful and complex without being convoluted. It's the perfect allegory for the question of "making it" in a white man's world and a clear thesis against the philosophies of Booker T. Washington. It'll make you think, and I believe that's exactly what Naylor wanted.
"Being white was the furthest thing from his mind, since he spent every waking moment trying to be no color at all."