Just had to share

Go on, click the image, look at all the movie posters that some clever soul who is not me made.

The Help: Part Four, Chps 29-End

So. How's 'bout that ending?

 
Skeeter gets a job in New York, Minny runs away from her abusive husband, Aibileen gets fired, but they're all free. I suppose the unfairness of that corresponds to the unfairness of racism but hot damn.

Poor Skeeter, if she stayed in Jackson unlikable people would dislike her and she'd never get married. If she hadn't been brave enough to write a book she would have had a piddly little job and been mildly uncomfortable in social settings and ended up as a empty headed housewife. That's no picnic but it's not quite on the same level as getting beat up by your husband or raising other people's children to grow up and hate you or being threatened with lynching.

Oh Skeeter, Skeeter. She's young enough that her stupidity and self-centeredness are in character, I guess, but the book only wants to see her as brave and transgressive.

I know you guys will rant about this much more effectively, and I'll come back to the novel, but I wanted to note a couple of things from the end of the book.

The acknowledgements contains one of the best lines of the book:

Thank you to Amy Einhorn, my editor, without whom the sticky-note business would not be the success it is today.

Well-played.

Stockett notes that she "took liberties with time," talking about songs and products in years before they were popular; also "the Jim Crow laws ... [were] taken from actual legislation that existed at various times across the South." Look, I know I'm Janey Stick-in-the-Mud when it comes to historical things but this kind of thing drives me nuts. IT MATTERS. It matters when things happened, but it also matters what laws were in place where and at what time. If you are going to write about Jackson, Mississippi in a specific year and you fudge the laws or whatever, then you are no longer writing about Jackson, Mississippi in that year. Which isn't necessarily a big deal unless your book purports to convey some sort of historical truth. I think, in this case, Stockett's fudging is pretty minor, but in general, if you have to fabricate or transfer historical details in order to tell a historical story, then your story maaaaaay not actually be good history. If Skeeter, in Jackson in 1962, couldn't have heard "The Times They Are A-Changin", but could have had the sense that things were a-changin, then what would have given her that feeling? It's a weak author, in my humble and snobby opinion, who has to make something up.

The autobiographical note, "Too Little, Too Late" makes me wish Stockett would have just written her own memoirs or something, but it also goes a long way toward explaining some of what's wrong with Skeeter. Skeeter is obviously channeling a lot of Stockett's experience, so I guess you could interpret some of her failings as Stockett's own critique of her younger complacency. But the book sets Skeeter up as heroine: she's the one who has the book idea, she's the one who pursues it, she's the one at the center of the project (and the one the maids think of when they worry about it). I get that Stockett wants to show both ends of the story, but Skeeter never gets any blow-back from her obnoxiousness and it makes for a really annoying read.

(Also: Stockett never reveals how old she is, which, again, IT MATTERS, and also, Southern Lady stereotype much?)

So, final thoughts. In the end analysis I thought the book took the easy path in two crucial ways. First of all, the utter evilness of Hilly and the lovelessness of the white Southern mothers. And secondly, Skeeter's lack of religiosity. It didn't quite sit right with me when Skeeter just sort of declares that she never really cared much about religion. (Wouldn't she, in that environment, consider herself at least something of a nominal Christian? Or have a stronger relationship to religion than just "meh"?) In both cases, it would have more difficult to go into detail but it would have enriched the book by miles. Also, relatedly, the sort-of absence of the civil rights movement bothered me. Skeeter (someone who orders banned books from California, remember) has access to a car, easily lies to cover up where she's going, and has been totally alienated from her former friends: how does she have so very little interest in or contact with the civil rights movement? Even if, as I've said before, she only has a strong aversion to it.

The relationship between Aibileen and poor hapless Mae Mobley was probably the best, most interesting part of the book for me. Forget Skeeter and her meal-ticket book; Aibileen's starting to tell Mae Mobley little civil rights stories (Martian Luther King!!! OMG!) was really touching. And I thought it was a sign of how things were changing and might change, in that Aibileen wouldn't have dared, perhaps, to do that before.

Thank you, Alice, for being our brave leader on this read-along journey! Well done with those section breaks, well done.

The Help: Part Three, Chps 20-28

Lawdy, is it that time again?

We're in the thick of it now. Lots of things coming to a head in this section -- Skeeter's relationship with Stuart, Miss Celia's social status, the Terrible Thing Minny did to Miss Hilly, even the book project.

Oh sure, I had some problems with this part (I'm sure you've noticed by now that I'm a little critical). Central among these is in fact the Terrible Awful Thing. You mean to tell me there was actual human fecal matter in that pie?! No. No. My brain will not accept that as a plausible thing. I mean, I've only baked a pie once in my life, but... how would you work... it... in without ruining the consistency of the pie? And... wouldn't it affect the taste and smell? (Related Bill Nye episode.) (Easily distracted.) And when you consider the time and effort... I re-read the pages hoping to come across something to indicate that it was a lie, but... In the end, I so much can't believe this that I have gone full circle to believing it in a sort of magical fantasy land sort of way.

And maybe that's sort of my approach in general to this book now, because for the most part it's got me hooked. I tore through this section, wanting to see what was going to happen next. Even when the author made transparent attempts to manipulate me, the reader, I sort of shrugged past it ("'It's true. There are some racists in this town,' Miss Leefolt say. Miss Hilly nod her head, 'Oh, they're out there.'" - yes, yes, I see what you did there.) I am certainly enjoying Miss Celia more now that she's not just moping around being mysterious. And I thought that Skeeter's parents have become sliiiightly more human.

Plus there was this:

When you little, you only get asked two questions, what's your name and how old you is, so you better get em right.

 Adorable, right?

And this made me laugh:

enough costume jewelry for a whole family of hookers

 So that's me for this week.

The Help: Part Two, Chps 10-19

For reals this time.

Things are developing but not in entirely satisfying ways.

For one thing, Skeeter is a little hard to read. Does she know what she's getting into or not? And just when you think her eyes are opening to the realities of the situation it turns out she can't stop thinking about her book, which, let's not forget, is a project that originates in Skeeter's desire for a writing career and not in much of a civil rights concern.

Aibileen lets her head hang. I'm sure it's out of grief for Yule May, but I suspect she also knows the book is over.

I don't get the feeling that the book is a social justice project for Skeeter, really, even after she's been working on it for a while now and learning more about the situation. Do you? I think it's still about Skeeter's career, and I'm not convinced that she gets what it means or might mean to the maids.

Yule May being thrown in prison came awfully suddenly, didn't it? And wasn't it nice of her to write down her whole life story and motivation for Skeeter/us? And then all of a sudden everyone wants to help Skeeter -- and by everyone I mean a convenient thirteen maids. Convenient because Skeeter needs twelve and one of the thirteen turns out to just want to acknowledge some of the uncomfortable power dynamics in this book. I felt like all of this could have been much better handled so that it actually felt like a turning point instead of Insert Turning Point Here. I get that the Yule May thing was supposed to have happened suddenly, it just felt clumsy in the text.

Skeeter's life among the white folks isn't all that much better. When she left her bag behind -- her bag that she was carrying with her everywhere so that no one would see its sensitive contents -- at the League meeting or whatever that was, I was just all: G.T.F.O.

My thoughts exactly, stick man.

And maybe I'm just not paying sufficient attention (that's kind of my M.O. these days) but Skeeter's cautiousness feels really uneven. If anything she relaxes after the bag incident. Even though she's supposed to be a college graduate who wants to support herself with a writing career and who orders banned novels from an illicit press in California -- she just doesn't feel that smart or savvy, I guess. Especially that last bit. Does someone who deliberately seeks out banned books also feel hesitant to think of Hilly as anything but a friend?

I admit that I'm curious to find out whether her Sexy Boyfriend™ is going to turn out to be a secret supporter of Civil Rights. Scenario 1: he's a bigot, dumps Skeeter, and she takes off as a confident professional writer to New York. Scenario 2: he's sympathetic and/or won over by Skeeter's work and everyone lives happily ever after.

I'm glad we have Miss Celia's deal out in the open now (well, for us readers) (although that miscarriage business was harrowing). For some reason I thought it was a little underwhelming still; I guess I was hoping there was going to be something surprising there and there wasn't really. Oh well.

Overall, the book is holding my interest pretty well, but as I'm seeing the plot develop I'm not all that impressed. Entertained, maybe, but not impressed.

The Help: Pride Goeth Before A Fall

Eh heh heh ...eh.

So last week I was riding high, feeling smug because I was so ahead in my reading for the Help! I have not read The Help! Readalong. Where's that wonderful graphic?

There it is.

In the first week, I got up to chapter 16, so I was feeling pretty smug about finishing through chapter 19 for today. Then a week passed and I forgot about it (reading Harry Potter among other things) until last night. Then I went to a lovely Bach concert, and thought I'd do the reading in the morning. This morning I woke up promptly but then got caught up in foreign apartment listings. And then I watched this video featuring Patton Oswalt:


Reader Meets Author: Patton Oswalt

....which reminded me I was supposed to do something about a book today? Oops. And now I'm going to go to the gym (hurgh) in an effort to jumpstart some dissertation work (urgh) so I am going to try to write something up for tonight.

Mostly I am posting this for Alice, so she has something to read at work and also so she can mock me. Aren't I a good friend?

The Help: Part One, chps 1-9

Wooo, Alice posted her comments (click below) so now I can post mine.

So! I'm enjoying the book so far! I am intrigued, intrigued I tell you, by each of the three main characters; although the present-tense and switching of narrators I find mildly tedious. Then again, I am very grateful that the entire book isn't written in dialect, so there's that. I'm enjoying the book so much I actually read ahead, but before I crossed the threshold of chapter 10 I made some notes which I shall now share with you all (oh goodie).

Does anyone feel like there are some super easy targets in this book? How cliche is it that all the white mothers are cruel and unfeeling?

I have an issue with the Mister Johnny plot. If Mister Johnny is such an old time Southern boy, why on earth would he be shocked and offended that his wife has hired a maid? Wouldn't he expect it? In fact, wouldn't he have made sure his wife hired someone? I get Celia's motivations in wanting to hide it, but I don't quite get why Minny goes along with it. She seems so savvy, she must realize that Mister Johnny must have an inkling of what's going on, right? And that he must be ok with it, right? Why does she (Minny) think she's actually in hiding from Mister Johnny? Maybe this is just a case of my failing to understand an irrational situation.

I wonder if the book will address Skeeter's Miss Myrtle shenanigans, namely the way she mindlessly uses Aibileen for her own ends and doesn't even pay her. Will Skeeter start to feel guilty? Will someone call her out on it? I don't know who could exactly, but... someone. Maybe she'll become more self-aware.

Finally, I will simply say: I feel for Skeeter and her tallness.

The Help: The Helpening

I actually had a moment earlier this week when I wondered what I should read next. Then I remembered that Alice at Reading Rambo has already told me what I'm reading next.

By way of kicking things off, she's posted some of her preconceptions about The Help and rather than increase her comment count I'm being a jerk being self-centered going to post a few of my thoughts over here. Because let's be honest I wasn't going to manage a second post this week otherwise (sigh).

I think the first time I consciously acknowledged the existence of The Help was when the random stranger I talked to in Waterstone's this spring asked if I knew whether it was any good. "Uh, it's popular, I think. It's about segregation?" -- that is about as much as I knew about it.

And since I am a huge snob that was all I needed to ignore it. It seemed like an Oprah book: madly popular among (I assumed) suburban housewives, and Serious because it was about something Sad. I imagined book clubs across the country swooning over it. "Oh my god, you guys! It was like, so sad back then! How could people be so mean?" Yes, I know, I'm a horrible, horrible person.

(But don't worry, because in this story I get my comeuppance.)

So there I was, being superior, and then the movie came out. The reviews I read (e.g.) seemed to confirm what I thought about the book: that it was a condescending, sentimental portrayal of inequality meant primarily to make the reader feel better about herself. But then something strange happened: people I knew went to see the movie. And they liked it. Including a usually rather critical grad school companion of mine, whose work centers on racism and discrimination. Maybe they were wrong. Or maybe there was something to this whole The Help thing that I wasn't getting.

So I am duly chastened for my assumptions and prejudices and I haven't even read the book yet. Well done Stockett!

Anyhow, I am reading away and we'll see how it goes.