A Painted House

by John Grisham

Overview

#1 NEW YORK TIMES BESTSELLER • Until that September of 1952, Luke Chandler had never kept a secret or told a single lie. But in the long, hot summer of his seventh year, two groups of migrant workers — and two very dangerous men — came through the Arkansas Delta to work the Chandler cotton farm. And suddenly mysteries are flooding Luke’s world.

A brutal murder leaves the town seething in gossip and suspicion. A beautiful young woman ignites forbidden passions. A fatherless baby is born ... and someone has begun furtively painting the bare clapboards of the Chandler farmhouse, slowly, painstakingly, bathing the run-down structure in gleaming white. And as young Luke watches the world around him, he unravels secrets that could shatter lives — and change his family and his town forever....

Product Details

ISBN-13:	9780385337939
Publisher:	JG Publishing
Publication date:	02/03/2004
Edition description:	Reprint
Pages:	384
Product dimensions:	5.30(w) x 8.00(h) x 0.80(d)
Lexile:	780L (what's this?)

About the Author

John Grisham is the author of numerous #1 bestsellers, including The Firm, A Time to Kill, The Rainmaker, The Innocent Man, The Whistler, The Boys from Biloxi, and many more. His books have been translated into nearly fifty languages. Grisham is a two-time winner of the Harper Lee Prize for Legal Fiction and was honored with the Library of Congress Creative Achievement Award for Fiction. Grisham serves on the board of directors of the Innocence Project and Centurion Ministries, two national organizations dedicated to exonerating those who have been wrongfully convicted. Much of his fiction explores deep-seated problems in our criminal justice system. He lives on a farm in central Virginia.

Hometown:

Oxford, Mississippi, and Albemarle County, Virginia

Date of Birth:

February 8, 1955

Place of Birth:

Jonesboro, Arkansas

Education:

B.S., Mississippi State, 1977; J.D., University of Mississippi, 1981

Website:

http://www.jgrisham.com

Read an Excerpt

Chapter I

The hill people and the Mexicans arrived on the same day. It was a Wednesday, early in September 1952. The Cardinals were five games behind the Dodgers with three weeks to go, and the season looked hopeless. The cotton, however, was waist-high to my father, over my head, and he and my grandfather could be heard before supper whispering words that were seldom heard. It could be a "good crop."

They were farmers, hardworking men who embraced pessimism only when discussing the weather and the crops. There was too much sun, or too much rain, or the threat of floods in the lowlands, or the rising prices of seed and fertilizer, or the uncertainties of the markets. On the most perfect of days, my mother would quietly say to me, "Don't worry. The men will find something to worry about."

Pappy, my grandfather, was worried about the price for labor when we went searching for the hill people. They were paid for every hundred pounds of cotton they picked. The previous year, according to him, it was $1.50 per hundred. He'd already heard rumors that a farmer over in Lake City was offering $1.60.

This played heavily on his mind as we rode to town. He never talked when he drove, and this was because, according to my mother, not much of a driver herself, he was afraid of motorized vehicles. His truck was a 1939 Ford, and with the exception of our old John Deere tractor, it was our sole means of transportation. This was no particular problem except when we drove to church and my mother and grandmother were forced to sit snugly together up front in their Sunday best while my father and I rode in the back, engulfed in dust. Modern sedans were scarce in rural Arkansas.

Pappy drove thirty-seven miles per hour. His theory was that every automobile had a speed at which it ran most efficiently, and through some vaguely defined method he had determined that his old truck should go thirty-seven. My mother said (to me) that it was ridiculous. She also said he and my father had once fought over whether the truck should go faster. But my father rarely drove it, and if I happened to be riding with him, he would level off at thirty-seven, out of respect for Pappy. My mother said she suspected he drove much faster when he was alone.

We turned onto Highway 135, and, as always, I watched Pappy carefully shift the gears -- pressing slowly on the clutch, delicately prodding the stick shift on the steering column -- until the truck reached its perfect speed. Then I leaned over to check the speedometer: thirty-seven. He smiled at me as if we both agreed that the truck belonged at that speed.

Highway 135 ran straight and flat through the farm country of the Arkansas Delta. On both sides as far as I could see, the fields were white with cotton. It was time for the harvest, a wonderful season for me because they turned out school for two months. For my grandfather, though, it was a time of endless worry.

Copyright © 2001 by Belfry Holdings, Inc.

What People are Saying About This

From the Publisher

“John Grisham is about as good a storyteller as we’ve got.”—The New York Times Book Review

“The kind of book you read slowly because you don’t want it to end ... John Grisham takes command of this literary category just as forcefully as he did legal thrillers with The Firm.... Never let it be said this man doesn’t know how to spin a good yarn.”—Entertainment Weekly

“Characters that no reader will forget. .. prose as clean and strong as any Grisham has yet laid down ... and a drop-dead evocation of a time and place that mark this novel as a classic slice of Americana.”—Publishers Weekly

“Some of the finest dialogue of his career ... Every detail rings clear and true, and nothing is wasted.”—Seattle Times

Read all of John Grisham’s #1 New York Times bestsellers:

The Brethren The Testament The Street Lawyer The Partner The Runaway Jury The Rainmaker The Chamber The Client The Pelican Brief The Firm A Time to Kill

Available from Dell

Coming soon!

The Summons

The new novel by John Grisham

Available from Doubleday

Reading Group Guide

Beautifully evoking an extraordinary time and place, A PAINTED HOUSE has captivated millions of readers. Depicting aspects of family, community, trust, and faith through the eyes of a charming little boy, the book makes a memorable choice for reading groups. The questions, discussion topics, and author biography that follow are intended to enhance your reading of John Grisham’s A PAINTED HOUSE. We hope they will enrich your experience of this enduring novel.

1. Luke Chandler is exposed to events that many adults have never even seen. What is the effect of reading about these circumstances—from a difficult childbirth to the possibility of financial ruin—through the eyes of a seven-year-old narrator?

2. The Chandlers cannot afford some of the hallmarks of the1950s American dream, such as a television set or a stylish-looking car. Yet other aspects of that time period, such as the Korean War, make an unmistakable impression on them. How does the Chandler household measure up to your own memories or impressions of that era?

3. Several generations of women are presented in A PAINTED HOUSE, including Gran, Luke’s mother, and Tally. How do contemporary women compare to those three characters?

4. Baseball is a central theme in the novel, providing Luke with heroes, dreams, and a diversion from the exhaustion of picking cotton. When the Arkansans challenge the Mexicans to a baseball game, however, Luke sees a darker side to competition. In what way does this scene foreshadow the conclusion of the novel?

5. How might the novel have been different if Luke’s father or mother had narrated it?

6. How does your opinion of Cowboy change throughout the novel? What do you think attracts Tally to him? How did you react to his final showdown with Hank?

7. Discuss the role of Ricky in A PAINTED HOUSE. Though we never meet him directly, he does play a key part in the progress of the plot. What is the effect of his absence, and the letter writing it inspires? In what way does his experience differ from that of modern soldiers?

8. What keeps Pappy from giving up on farming?

9. What role do the Methodist and Baptist churches play in the Black Oak community? How well do religious teachings serve Luke during 1952?

10. In what way is Black Oak a snapshot of the world at large?

11. Luke says that most members of his community are descended from Scotch-Irish immigrants. What are some of the legacies of this ancestry?

12. The weather is a powerful force in A PAINTED HOUSE; floods, heat, hail, and tornadoes all add suspense to the novel. What is it like for the Chandlers to live at the complete mercy of the weather? How is their situation different from that of the cousins who perform indoor industrial work up north? What are the costs and benefits of relying on the natural world for your livelihood?

13. At the end of the novel, Luke and his parents become migrant workers themselves, venturing off to a new part of the country solely for employment opportunities. Twenty-first-century workers are often asked to transfer to a new part of the globe in order to further their careers. What is the best way to make decisions between financial security and family or cultural ties?

14. Poverty is a highly relative concept in A PAINTED HOUSE. Though they have no indoor plumbing and have perilously high debts, the Chandlers nonetheless give generously to those in need. How do you define “rich” and “poor”?

15. The Chandler house itself conveys a meaningful message. What is the significance of the way in which it gets painted? Do you believe that Pappy really does finish the job after Luke and his family leave? What is the effect of that detail? What causes Luke to set aside his dream of ordering a Cardinals jacket and instead use his meager earnings to buy paint?

16. In terms of plot and writing style, are any elements of John Grisham’s legal thrillers evident in A PAINTED HOUSE?

17. Discuss your own coming-of-age story. What are your first memories of home? Who were the first people you loved?

18. A PAINTED HOUSE ends with tantalizing possibilities. Speculate about how Luke’s life unfolds after his family leaves the Arkansas Delta.

Interviews

A Letter from John Grisham

Dear Friends:

A Painted House is not a legal thriller. In fact, there is not a single lawyer, dead or alive, in this story. Nor are there judges, trials, courtrooms, conspiracies or nagging social issues.

A Painted House is a work of fiction. It was inspired by my childhood in rural Arkansas. The setting is reasonably accurate, though historical accuracy should not be taken too seriously. One or two of these characters may actually have lived and breathed on this earth, though I know them only through family lore, which in my family is a most unreliable source. One or two of these events may indeed have taken place, though I've heard so many different versions of these events that I believe none of them myself.

Sincerely,

John Grisham

Foreword

1. Luke Chandler is exposed to events that many adults have never even seen. What is the effect of reading about these circumstances—from a difficult childbirth to the possibility of financial ruin—through the eyes of a seven-year-old narrator?

2. The Chandlers cannot afford some of the hallmarks of the1950s American dream, such as a television set or a stylish-looking car. Yet other aspects of that time period, such as the Korean War, make an unmistakable impression on them. How does the Chandler household measure up to your own memories or impressions of that era?

3. Several generations of women are presented in A PAINTED HOUSE, including Gran, Luke’s mother, and Tally. How do contemporary women compare to those three characters?

4. Baseball is a central theme in the novel, providing Luke with heroes, dreams, and a diversion from the exhaustion of picking cotton. When the Arkansans challenge the Mexicans to a baseball game, however, Luke sees a darker side to competition. In what way does this scene foreshadow the conclusion of the novel?

5. How might the novel have been different if Luke’s father or mother had narrated it?

6. How does your opinion of Cowboy change throughout the novel? What do you think attracts Tally to him? How did you react to his final showdown with Hank?

7. Discuss the role of Ricky in A PAINTED HOUSE. Though we never meet him directly, he does play a key part in the progress of the plot. What is the effect of his absence, and the letter writing it inspires? In what way does his experience differ from that of modern soldiers?

8. What keeps Pappy from giving up on farming?

9. What roledo the Methodist and Baptist churches play in the Black Oak community? How well do religious teachings serve Luke during 1952?

10. In what way is Black Oak a snapshot of the world at large?

11. Luke says that most members of his community are descended from Scotch-Irish immigrants. What are some of the legacies of this ancestry?

12. The weather is a powerful force in A PAINTED HOUSE; floods, heat, hail, and tornadoes all add suspense to the novel. What is it like for the Chandlers to live at the complete mercy of the weather? How is their situation different from that of the cousins who perform indoor industrial work up north? What are the costs and benefits of relying on the natural world for your livelihood?

13. At the end of the novel, Luke and his parents become migrant workers themselves, venturing off to a new part of the country solely for employment opportunities. Twenty-first-century workers are often asked to transfer to a new part of the globe in order to further their careers. What is the best way to make decisions between financial security and family or cultural ties?

14. Poverty is a highly relative concept in A PAINTED HOUSE. Though they have no indoor plumbing and have perilously high debts, the Chandlers nonetheless give generously to those in need. How do you define “rich” and “poor”?

15. The Chandler house itself conveys a meaningful message. What is the significance of the way in which it gets painted? Do you believe that Pappy really does finish the job after Luke and his family leave? What is the effect of that detail? What causes Luke to set aside his dream of ordering a Cardinals jacket and instead use his meager earnings to buy paint?

16. In terms of plot and writing style, are any elements of John Grisham’s legal thrillers evident in A PAINTED HOUSE?

17. Discuss your own coming-of-age story. What are your first memories of home? Who were the first people you loved?

18. A PAINTED HOUSE ends with tantalizing possibilities. Speculate about how Luke’s life unfolds after his family leaves the Arkansas Delta.

Editorial Reviews

The Barnes & Noble Review
John Grisham takes a break from penning edge-of-your-seat legal thrillers for his latest effort, a coming-of-age tale with a deceptively languid pace and a strong literary flavor. A Painted House, which Grisham first serialized in his magazine, The Oxford American, depicts the simple but hardscrabble life of an Arkansas farming family during the early '50s. Loosely based on experiences from Grisham's own childhood, this poignant story lacks the legal maneuvering and courtroom scuffles he is best known for. But there's plenty of tension just the same, an underlying, constant tension that stunningly mirrors the life of the story's point-of-view character, a seven-year-old boy named Luke Chandler.

Luke hates harvest time. Not only must he head out to the fields and pick cotton until his fingers bleed and his back aches, his cantankerous grandfather is even more irritable than usual, knowing that the success or failure of this year's crop may well determine the family's future. Plus, there is the invasion of migrant workers the family must hire to help pick the fields. This year, the workers consist of two groups: ten Mexicans who traveled north in the back of a cattle truck and the Spruills, one of the many hill families who come down from the Ozarks every fall to work the harvest.

Things start out smoothly enough, and the crop is a promising one. But signs of trouble soon appear. Hank, the Spruills' oldest son and one of the biggest men Luke has ever seen, is a walking time bomb of violence and anger. Then there's the Mexican known as Cowboy, as lean and mean as they come. The tension builds until these two indomitable forces inevitably clash, culminating in a shocking denouement that forces young Luke to deal with some very grown-up issues. And the worst is yet to come, for nature has a few things to throw at the Chandler family, as well.

Grisham's portrayal of one young boy's rude awakening to the harsh realities of life is, at turns, heartwarming and heartbreaking. The tension is subtle but constant, with undercurrents that build toward a crescendo of explosive emotion. Parts of the story are grim, and the struggles often seem endless. But at the heart of it all is the essence of the human spirit and the story of one family's ability to love and survive in the face of overwhelming adversity.

Contributing editor Beth Amos is the author of three novels, including Cold White Fury and Second Sight.

bn.com

He takes command of this literary category just as forcefully as he did legal thrillers with The Firm. Never let it be said this man doesn't know how to spin a good yarn....The kind of book you read slowly because you don't want it to end.

Entertainment Weekly

This year, Grisham, the reigning king of the legal thriller, has veered from his usual course to write a heartbreaking and captivating coming-of-age novel. The book, which draws on Grisham's own childhood experiences, is set in the fall of 1952 and tells the tale of Lucas Chandler, the seven-year-old son of Arkansas cotton farmers. This season, the Chandlers are desperate to reap a bountiful harvest, which depends not only on the weather but also on the hard-working Mexican laborers who provide temporary help. While this book displays a markedly different, old-fashioned quality, fans of the author's thrillers will be pleased to find constant undercurrents of tension as Lucas uncovers the farm's many secrets. Actor David Lansbury, accompanied by a Southern drawl, captures the innocence and awe of the young narrator. Though a couple of the minor characters are over the top, Lansbury often does a superb job of creating colorful personalities.
—Rochelle O'Gorman

(Excerpted Review)

This simple tale of cotton harvesting in 1952 Arkansas offers the curious a chance to see what Grisham would be like without all the lawyers. Now that the weather's been suspiciously clement all season, Luke Chandler's father is looking for temporary labor to pick the 80 acres of cotton his family rents. He finds a hill family, the Spruills, who promptly pitch camp on Luke's baseball diamond in the front yard, and ten migrant Mexicans who all set to picking alongside the Chandlers. As the days grow shorter, Luke's dreams of moving to St. Louis and playing for the Cardinals are nurtured by Stan Musial's run at the batting title, and he prays his big brother Ricky will come home safely and soon from Korea and worries that he'll get beaten for all manner of infractions. Meanwhile, hulking Hank Spruill wades into a street brawl and leaves a man dead; his sister Tally takes up with one of the Mexican pickers; their younger brother Trot, whose withered arm keeps him from picking much cotton, gets the fantastical idea of painting the Chandlers' weathered house. As the improbable repository of the family secrets, Luke watches the episodic season unfold, but knows he can't say anything against the Spruills—not even the dangerous Hank—because trouble for any of them would chase the rest of them away, and his father needs every picker he can get. So the families drift along in a quietly uneasy alliance till the inevitable climax-still another moment Luke will have to keep secret. What's Grisham like sans lawyers? Leisurely and sentimental, a little like The Cider House Rules, The Human Comedy, The Adventures of Tom Sawyer, and presumably a lot more like his own Arkansaschildhood—yet not all that much different in this coming-of-age story from A Time to Kill, The Firm, and all those other tales of grown-up naïfs in three-piece suits.

Kirkus Reviews

Captivating . . . This is John Grisham’s best work.”—CNN

“The kind of book you read slowly because you don’t want it to end . . . John Grisham takes command of this literary category just as forcefully as he did legal thrillers with The Firm. . . . Never let it be said this man doesn’t know how to spin a good yarn.”—Entertainment Weekly

“Characters that no reader will forget . . . prose as clean and strong as any Grisham has yet laid down . . . and a drop-dead evocation of a time and place that mark this novel as a classic slice of Americana.”—Publishers Weekly

“Some of the finest dialogue of his career . . . Every detail rings clear and true, and nothing is wasted.”—The Seattle Times

“The pages turn. The characters take on their own lives. And at times, as the cotton bolls glisten in the sun, you can’t help thinking of other coming-of-age novels from the South: Huckleberry Finn or To Kill a Mockingbird.” —The New York Times Book Review

“Grisham, like the good suspense writer that he is, keeps subtly building the tension.”— Chicago Tribune

“Some of Grisham’s best writing . . . Even without lawyers, A Painted House earns a well-deserved favorable verdict.”—The Atlanta Journal-Constitution

“Captivating . . . colorful characters.”—US Magazine

“Once again, Grisham has given us memorable characters and woven this fast-moving novel with the skill readers have come to expect.”—Houston Chronicle

“Danger, thrills, and gossip are among the sinister and exhilarating features of this new work. . . . Grisham proves that he can spin a story outside familiar territory.”—St. Petersburg Times

“Grisham lives up to his reputation as a prolific, inventive, and plot-driven storyteller. He throws in enough mayhem to keep the story line moving at a rapid clip.”—The Memphis Commercial Appeal

“The best kind of book. By the time you turn the last page, you’re so involved with the characters, you want to know what happened to them afterward.”—The Denver Post

“The writing is as crisp and evocative as ever, the characterization snappy, and the various plot strands knotted together with an adept hand.”—The Sunday Telegraph (London)

From the Publisher