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Mary Doria Russell's debut novel, The Sparrow, took us on a journey to a distant planet and into the center of the human soul. A critically acclaimed bestseller, The Sparrow was chosen as one of Entertainment Weekly's Ten Best Books of the Year, a finalist for the Book-of-the-Month Club's First Fiction Prize and the winner of the James M. Tiptree Memorial Award. Now, in Children of God, Russell further establishes herself as one of the most innovative, entertaining and philosophically provocative novelists writing today.
The only member of the original mission to the planet Rakhat to return to Earth, Father Emilio Sandoz has barely begun to recover from his ordeal when the So-ciety of Jesus calls upon him for help in preparing for another mission to Alpha Centauri. Despite his objections and fear, he cannot escape his past or the future.
Old friends, new discoveries and difficult questions await Emilio as he struggles for inner peace and understanding in a moral universe whose boundaries now extend beyond the solar system and whose future lies with children born in a faraway place.
Strikingly original, richly plotted, replete with memorable characters and filled with humanity and humor, Chil-dren of God is an unforgettable and uplifting novel that is a potent successor to The Sparrow and a startlingly imaginative adventure for newcomers to Mary Doria Russell's special literary magic.
From the Hardcover edition.
Brilliant...Powerful...An outstanding natural storyteller.
More Reviews and RecommendationsA paleoanthropologist with specialties in bone biology and biomechanics, Mary Doria Russell did field work in Australia and Croatia and spent four years writing computer manuals before kicking off her writing career with her acclaimed debut novel, The Sparrow. Her latest novel -- the first in seven years -- is A Thread of Grace, is set in Italy during the dramatic finale of World War II.
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May 27, 2008: Wonderful. The most perfect sequel anyone could have asked for.
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November 25, 2005: 'The Sparrow' was a wonderful novel that could stand well on its own, but 'The Children of God' is a great continuation with a more pleasing conclusion. The two books should really be read together as one, and the sequal really reads like the second act of a Broadway musical. While the first book has a more clear, concise, and driving plot, the second book ties up loose ends, characters are more well-developed, and new issues are brought to light. This is awesome reading even for people who hate science fiction, as Mary Doria Russel's books are more 'speculative' fiction with lots of intelligent research thrown in. As the first novel did, this book really provoked thoughts about faith and our very own existance and purpose.
Name:
Mary Doria Russell
Current Home:
Cleveland, Ohio
Date of Birth:
August 19, 1950
Place of Birth:
Elmhurst, Illinois
Education:
B.A., The University of Illinois; M.A., Northeastern University; Ph.D., The University of Michigan
Awards:
The John W. Campbell Award, 1998; The Cleveland Arts Council Prize for Literature 1998; The American Library Association’s Reader’s Choice Award 1998
Mary Doria Russell was born in suburban Chicago in 1950. Her mother was a U.S. Navy nurse and her father was a Marine Corps drill sergeant. She and her younger brother, Richard, consequently developed a dismaying vocabulary at an early age. Mary learned discretion at Sacred Heart Catholic elementary school and learned how to parse sentences at Glenbard East High; she moved on to study cultural anthropology at the University of Illinois, social anthropology at Northeastern University in Boston, and biological anthropology at the University of Michigan.
After earning a doctorate, Russell taught human gross anatomy at Case Western Reserve University in the 1980s but left the academic world to write fiction, which turned out to be a good career move. Her novels have struck a deep chord with readers for their respectful but unblinking consideration of fundamental religious questions. The Sparrow and Children of God remain steady sellers, translated into more than a dozen languages. Russell has received nine national and international literary awards and has been a finalist for a number of others. She and her family live in Cleveland, Ohio.
Author biography courtesy of Random House, Inc.
Some interesting outtakes from our interview with Russell:
"I honestly think getting up early gives you cancer. You should definitely sleep in as often as possible."
"Coffee is good for you. Don't believe anyone who says different. All research concluding that coffee is bad is seriously flawed in scientific design."
"Here's how you know when you're grown up: you decide if you get to have a pet. You don't have to ask anyone else's permission. I just got myself a 4-year-old miniature dachshund named Annie from Petfinder.com. She makes me laugh out loud first thing in the morning, and at least half a dozen times a day after that."
What was the book that most influenced your life or your career as a writer?
Seven Pillars of Wisdom by T. E. Lawrence (1935). I saw the David Lean movie Lawrence of Arabia when it first came out in 1962. I was twelve then, and ripe for hero worship, living in Lombard, Illinois, but ready to imagine a larger world than the Chicago suburbs. I found a musty old copy of Seven Pillars, and to this day I remain fascinated by the book and the man who wrote it. I can name a number of direct effects of reading the book.
Initially, I became interested in archeology because of Lawrence's early work, and that led me to anthropology, which sustained my interest through three degrees and years of professional work. I keep my hand in by editing the professional papers of friends in the field.
Lawrence taught me that speaking more than one language opens doors to experiences you'd miss if you only speak English. Over the years, I've studied Spanish, Russian, French and Croatian fairly formally, with less studious stabs at Latin, Hebrew, Italian and German. Each one has led me places I'd never have gone other wise. My study of Croatian led directly to the adoption of our son Daniel in Zagreb -- so Lawrence is Dan's sort-of godfather!
I learned that intentions are irrelevant and regrets are useless: it doesn't matter what you thought would happen, or that you meant no harm. Unintended consequences of good intentions are a theme I return.
Lawrence taught me that how you write is as important as what you have to tell about. Choice of word, rhythm, detail, editing and overall structure make Seven Pillars literature, not just a military history or personal memoir.
There are echoes of Lawrence's experience in Deraa in my first novel, echoes of his war guilt in my third. I'm beginning research for a novel about the 1921 Cairo Peace Conference, and will come full circle: T. E. Lawrence will actually be a character in that one.
I also caught the colon habit from reading Lawrence's work: quod erat demonstradum.
What are your favorite books, and what makes them special to you?
In science fiction, two books stand out: Ursula LeGuin's The Left Hand of Darkness was the first novel I read twice, and then again every few years. She brought an anthropological sensibility to science fiction that I appreciated. There were multiple cultures, multiple languages, and the inevitable misunderstandings that result when a stranger is coping with utterly foreign concepts. I loved the device of an unreliable narrator, and reread this book before beginning The Sparrow, to study how she used literary aikido on her readers.
The second book is Walter Miller's A Canticle for Leibowitz. That book, too, is approaching its 30th anniversary, and stands up to rereading well. Again, there is a theme of well-intentioned misunderstanding of language, and a sort of archeological approach to science fiction, this time with an appealing religious twist: after a nuclear holocaust, literacy is preserved in isolated Catholic monasteries.
Among more recent books, I lean toward the kind of exquisite and hilarious observation of contemporary society that Karen Joy Fowler provides in The Jane Austen Book Club, or in her earlier World War II home front novel The Sweetheart Season. Karen has a way of making devastatingly funny remarks about less than admirable behavior, without ever being nasty or hurtful to the person involved.
Another author whose work is both laugh aloud funny and ironic, but also slyly sweet is David Sosnowski. In his latest novel Vamped, he takes modern American culture and twists it around a single fictional fact: what if vampires were not only real, but eventually vamped nearly the entire population of the world? (Each meal makes a new vampire, a logical outcome of vampirism nobody else seems to have noted.) David makes you believe that this is just how America would react: with marketing campaigns for vacations in Alaska during the winter (no sun for six months, get it?) and illegal hunting trips for "free range" human blood.
In preparation for the 1921 book I'm working on, I've been reading a lot of novels and memoirs from the 1920s. These books are far closer to the kind of style I admire than most contemporary writing, and it's sheer pleasure to read them. Richard Aldington's Death of a Hero is startlingly modern in attitude. Katherine Anne Porter's Pale Horse, Pale Rider was also a revelation.
What are some of your favorite films, and what makes them unforgettable to you?
I seem to gravitate toward big operatic movies. Besides Lawrence of Arabia, my favorite large-scale movies are The Godfather and Tombstone. I like a moral and literary structure, the sense of trying to live by some moral code, even in when society is debased by war or crime.
On the opposite end of the spectrum, there are comedies that my family and I watch until we know the entire script by heart. The Princess Bride and Young Frankenstein were early favorites. And then there's Guy Ritchie's gloriously Snatch, which is nonstop violence and obscenity, but somehow not offensive! Again: there is a structural perfection in those that I admire.
And I love movies with great dancing: Bob Fosse's All That Jazz, Carlos Saura's flamenco Carmen.
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
There's a theme here: big, emotional, layered stuff appeals to me. I love arena rock like Van Halen's 5150 and Def Leppard's Hysteria. To me, those have the same fist in the air power that Beethoven's odd-numbered symphonies have.
Johnny Lang's way too young to sing the blues so well, but I love his stuff. And I love every second Sting album. Cerebral and beautiful -- gotta love a guy who can work curriculum vitae into a pop song.
If you had a book club, what would it be reading?
I'd probably steer it toward David Sosnowski's Vamped, because they'd already have read Karen Fowler's The Jane Austen Book Club.
What are your favorite kinds of books to give -- and get -- as gifts?
Nonfiction, generally, both to give and get. For my husband's birthday, I bought him The Know-It-All by A. J. Jacobs, and Tycho and Kepler, a joint biography by Kitty Ferguson.
For my mother, I'll be getting the new biography of Florence Nightingale, Heart and Soul, by Gena K. Gorrel. Mom was a registered nurse who trained in the 1940s, and I think she'll enjoy revisiting the story of a woman who invented the profession.
What are you working on now?
Dreamers of the Daywill be about the 1921 Cairo Peace Conference. After the first World War, a handful of British and French diplomats got together in a nice hotel for a few days, took some fun camel rides out to see the pyramids and get their pictures taken, gossiped, flirted, argued, and -- oh, yes, invented the Middle East as it is today. My characters will include T. E. Lawrence, Lady Gertrude Bell, Winston Churchill, Chaim Weitzman, and Prince Feisal, of the Hashemite royal family. I think I'll try a first person narrative this time, with an American missionary lady named Loella Rieder as the voice.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
Well, my story is that 31 agents turned The Sparrow down before Jane Dystel finally decided to take me on as a client. I don't know if that's inspirational or horrible, but it's true.
If you could choose one new writer to be "discovered," who would it be?
I am going to give a leg up to a young poet named Gary C. Wilkens, by having him write a series of poems that will come between my chapters in Dreamers of the Day. I think this kid is a gen-u-wine genius, and I want to do what I can to get him some visibility. Our plan is for him to write in the persona of a 12-year-old Egyptian girl, whose life will be profoundly changed by what the people in the hotel decide about the Middle East, but who is completely invisible to them. Gary and I will write separately, but I will tell him what the themes of each of my chapters is, so he can imagine the girl's life, so distant from power.
What tips or advice do you have for writers still looking to be discovered?
Don't rely on other writers to critique your work. Find passionate readers who know what they like and why. Ask them to read for you, and tell you what works and what doesn't, where they didn't buy a motive or believe in a character, when the dialog was clunky, or the description hackneyed. It's thrilling to be part of the creative process, and good readers can be better than another writer for diagnosis and even prescription. I rely heavily on a team of friends who can criticize my work without breaking my heart or discouraging me. They get a lot of the credit for the success my novels have had.
Mary Doria Russell's debut novel, The Sparrow, took us on a journey to a distant planet and into the center of the human soul. A critically acclaimed bestseller, The Sparrow was chosen as one of Entertainment Weekly's Ten Best Books of the Year, a finalist for the Book-of-the-Month Club's First Fiction Prize and the winner of the James M. Tiptree Memorial Award. Now, in Children of God, Russell further establishes herself as one of the most innovative, entertaining and philosophically provocative novelists writing today.
The only member of the original mission to the planet Rakhat to return to Earth, Father Emilio Sandoz has barely begun to recover from his ordeal when the So-ciety of Jesus calls upon him for help in preparing for another mission to Alpha Centauri. Despite his objections and fear, he cannot escape his past or the future.
Old friends, new discoveries and difficult questions await Emilio as he struggles for inner peace and understanding in a moral universe whose boundaries now extend beyond the solar system and whose future lies with children born in a faraway place.
Strikingly original, richly plotted, replete with memorable characters and filled with humanity and humor, Chil-dren of God is an unforgettable and uplifting novel that is a potent successor to The Sparrow and a startlingly imaginative adventure for newcomers to Mary Doria Russell's special literary magic.
From the Hardcover edition.
Brilliant...Powerful...An outstanding natural storyteller.
Russell follows her speculative first novel, The Sparrow, with a sequel that will please even readers new to her interplanetary missionaries. Having returned from a disastrous, 21st-century expedition to the planet Rakhat, Jesuit Father Emilio Sandoz, the sole survivor of the mission, faces public rage over the order's part in the war between the gentle Runa and the predatory Jana'ata -- fury more than matched by the priest's own self-hatred and religious disillusionment. In the sequel, he is forced to return to Rakhat with a new expedition more interested in profits than prophets. When they discover the planet in turmoil and the Runa precariously in power, the temptation to interfere is more than they can withstand.
As in her first book, Russell uses the entertaining plot to explore sociological, spiritual, religious, scientific and historical questions. Misunderstandings between cultures and people are at the heart of her story. It is, however, the complex figure of Father Sandoz around which a diverse interplanetary cast orbits, and it is the intelligent, emotional and very personal feud between Father Sandoz and his God that provides energy for both books.
Emilio Sandoz is a priest and brilliant linguist who was crippled and sexually assaulted during a mission to Rakhat, a planet inhabited by two intelligent life forms, the Runa and the Jana'ata. Vowing never to return, Emilio quits the priesthood and finds peace, even love. He is kidnapped, however, and sent on a return mission, where he finds that the servant Runi are rebelling against the Jana'ata and the planet is consumed by unrest and savagery. Intertwined are other stories, including that of Sophia, a previously unknown survivor from the first mission, and Supaari, a Jana'ata who risks everything to protect his daughter who, in accordance with Jana'ata policy, should have been killed. Compelling and chilling, set in the not-too-distant 2060, Russell's novel immediately pulls the listener in and delivers. -- Susan McCaffrey, Sturgis Middle School,. Michigan
Emilio Sandoz is a priest and brilliant linguist who was crippled and sexually assaulted during a mission to Rakhat, a planet inhabited by two intelligent life forms, the Runa and the Jana'ata. Vowing never to return, Emilio quits the priesthood and finds peace, even love. He is kidnapped, however, and sent on a return mission, where he finds that the servant Runi are rebelling against the Jana'ata and the planet is consumed by unrest and savagery. Intertwined are other stories, including that of Sophia, a previously unknown survivor from the first mission, and Supaari, a Jana'ata who risks everything to protect his daughter who, in accordance with Jana'ata policy, should have been killed. Compelling and chilling, set in the not-too-distant 2060, Russell's novel immediately pulls the listener in and delivers. -- Susan McCaffrey, Sturgis Middle School,. Michigan
Brilliant...Powerful...An outstanding natural storyteller.
Sequel to The Sparrow, Russell's account of a 21st- century Jesuit-led expedition to planet Rakhat with its two intelligent, kangaroo-like alien races, the carnivorous Jana'ata and their prey, the enslaved Runa. Broken, beset by terrible nightmares, Emilio Sandozthe expedition's sole survivorhas returned to Earth, where he rejects the Jesuits and the priesthood and falls in love with Gina Giuliani and her four-year-old daughter Celestina. Still, for a variety of reasons the Jesuits (as well as the Pope) pressure Sandoz toward agreeing to return to Rakhat. But even when Sandoz discovers that another expedition member, Sofia Mendes, also survived, he refuses to go. On Rakhat, meanwhile, changes continue. The merchant Supaari, who broke Sandoz and sold him, rejects the Jana'ata lifestyle and takes his supposedly deformed daughter into the forest. Jana'ata poet Hlavin Kitheri, who bought Sandoz in order to rape him, slaughters all his relatives, blames Supaari, and tries to build a society based on ability, not inherited rank. Sofia Mendes, hiding in the forest with the Runa she incited to rebel, gives birth to Isaac, an autistic child with an uncanny musical talent, and supplies the Runa with advanced technology so that they can continue the revolt against their Jana'ata overlords. On Earth, Sandoz is shanghaied aboard the Jesuits' new ship (thanks to relativistic effects, he will never see Gina again), which arrives at Rakhat just in time to prevent the extermination of the Jana'ata by the Sofia-led Runa. Finally, Sandoz will return to Earth, free at last of his nightmares, to meet the daughter he never knew he had. A brutal and deliberate tale, its characters rathertoo forgiving to be wholly human, that will challenge and sometimes shred the reader's preconceptions.
Loading...1. How have the unforeseen mistakes of the first visitors to Rakhat influenced the history of the planet? Are there any parallels from our history? What does this story say about the gap between intention and effect? What do you see as the themes of this story?
2. Russell has constructed Children of God using a three-tiered story line: Earth and its standard time; the ship, Giordano Bruno, and its Earth-relative time; and time on Rakhat. The story also contained two parallel narratives: that of Mendes and that of Sandoz. Do you think this makes the story more interesting? Did you find it easy or difficult adjusting to the time jumps?
3. Russell never tells us what happened to the UN party that showed up at the end of The Sparrow and sent Emilio back to Earth. What do you think happened to them? Why does Russell leave the fate of the rescue party a mystery?
4. One reviewer describes the characters in this story as "rather too forgiving to be wholly human." Do you agree? If you were in Sandoz's shoes, would you be able to work with the people who kidnapped you?
5. At the end of the book Emilio Sandoz makes it very clear to Sofia that he can't forgive what was done to him. He is ashamed of that--he wishes he could, but he just can't let go of his hate. Do you think that will ever change for Sandoz? Sandoz also realizes that he can't hate the children of the men who harmed him, he can't hate the Jana'ata ingeneral for what Supaari VaGayjur and Hlavan Kitheri and seventeen other men did to him. Is this a moral triumph for the former priest?
6. What price does Danny Iron Horse pay for agreeing to do what feels like a wrong for the right reason? Eventually Sandoz comes to understand the pressures Danny caved in to, but he never misses an opportunity to rake him over the coals for it. What sort of pressures was Danny subjected to? And how does Sandoz make him pay for his decision?
7. History and religious literature are both packed with examples indicated that God's favor brings not wealth and happiness, but agony and torture. How could Sandoz, a Jesuit priest inculcated with stories of martyred saints, feel so betrayed by God? Is there a difference between what happened to Sandoz and what happened to martyred saints throughout history?
8. Sofia has had all the same traumas as Emilio but unlike Emilio, she did not have sympathetic supporters to help her overcome what happened to her. How does she survive her experiences? How would you describe her reaction to the traumas she has suffered? Why does she become so blind to the suffering of the remaining Jana'ata?
9. In the Coda, Emilio muses that we come into the world hardwired to hear noise and make language, to see a chaos of color and find patterns, to experience random events and make a coherent life out of them. Is it possible that the idea of God is simply a manifestation of that biological drive to impose structure on sensory input?
10. How would you compare Children of God to the first Sandoz/Rakhat book, The Sparrow? Some reviewers consider Children of God a much darker story. Do you agree?
11. Even when he appears to be getting on with his life, Sandoz is caught in the larger machinations of a battle between Fate and Providence. Which do you think wins out in the end? Is there a clear winner? Does this novel provide the answers to Sandoz's questions about faith?
12. This story forces us to face the task of accepting the less theological and more ethical possibility that God may be merely an idea, yet one that still drives a people to live like children of God who place as much faith in a universal family as they do in the divine. Do you think God is merely an idea or does God really exist?
13. Beyond its determination to see Sandoz fulfill his destiny on Rakhat with or without his consent, why does the Church conspire to kidnap Sandoz and send him back to Rakhat? What purpose does this act serve? What would your reaction be if you were in Sandoz's shoes? Does the result--Sandoz's reconnection with God and his coming to terms with what happened to him on the planet--justify his kidnapping? In other words, do the ends justify the means?
14. There were extraordinarily important children born because Emilio was on Rakhat, including Isaac, Ha'anala and Rukuei. So, whether it's Providence or dumb luck, Emilio was the catalyst for everything that happened on Rakhat in the generations that followed the first Jesuit mission. Do you think Emilio realizes this? Does this make the suffering he lived through worthwhile?
15. What do you think of Danny Iron Horse's plan to save the Jana'ata by establishing reservations? Do you think Danny's plan will work in the long run or will it be as disastrous as America's reservation system was for Native Americans?
16. Sandoz faces a dilemma at the end of The Sparrow. If he accepts the spiritual beauty and the religious rapture he experienced as real and true, then all the rest of it--the violence, the deaths, the maiming, the assaults, the humiliations--all that was God's will, too. Either God is vicious--deliberately causing evil or at least allowing it to happen--or Sandoz has been deluded. What do you think of the way Russell handled this dilemma in Children of God? What is the place of evil and pain in a world ruled by a benevolent God?
17. Isaac composes a song based on the DNA for humans, Jana'ata, and Runa. He says it is God's music. What do you think he means by that?
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