I had to take a break from the Bookers to read a book for the school where I teach, and a novel for my neighborhood book club.
Educated by Tara Westover is in itself an education. Westover is the youngest of seven children in a family of Mormon survivalists. She grew up in Idaho, supposedly homeschooled, but basically only able to read and write. Her father ran a junkyard in which the children were regularly injured; her mother mixed essential oils which did nothing to heal the injuries; and one of her brothers beat her regularly. This memoir is the story of how a person raised in dogmatic isolation finds the strength to question her reality.
Westover manages to attend college, even though she never spent a day in high school, and the world opens up to her. She and her siblings all took one of two radically different paths: stay home and follow in their parents’ footsteps, or get away and get an education. I am so grateful that Ms. Westover chose the latter, and shared her story about embracing uncertainty.
In a completely different genre, I received a free copy of One Thousand White Women by Colorado author Jim Fergus, and recommended it to my neighborhood book club. It is a strange read. The cover made me think I’d be reading something like the recent retelling of the Little House series through Ma’s eyes, Caroline, by Sarah Miller. Not quite.
The premise of White Women is based in fact: a few years after the Civil War, a Cheyenne chief proposed that his tribe should exchange one thousand horses for one thousand white brides, so that they would bear his tribe’s children and raise them in the white culture. This, of course, never came to pass, but Fergus asks, what if it had?
Our heroine, May Dodd, joins the band of white women (which ends up counting only about fifty women, not a thousand) in order to escape the asylum where she has been confined against her will for promiscuity. She meets a motley crew of other women who make up a blatantly stereotypical microcosm. It is as if Fergus gave these two-dimensional characters the most obvious names as placeholders while he wrote, then forgot to go back and change them. We have the brazen Irish twins, who share the last name Kelly; the impoverished and jilted Southern belle, Daisy; the stout Swiss maid, Gretchen; the proud, strong ex-slave Phemie; etc., etc.
The women meet and marry their braves and quite quickly (perhaps implausibly so) become enamored of their new culture. Like “Dances with Wolves,” White Women presents a mostly positive portrait of the “noble savage.” U.S. policy certainly deserves the critique, but the delivery is not what one might call nuanced.
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