Read Glory Over Everything Online
Authors: Kathleen Grissom
“It will be a happy home,” Robert said.
That thought silenced us, and we all sat back in quiet contemplation, each no doubt mulling over his own concerns, until Pan spoke again. “Mr. Burton?”
“Yes, Pan?”
“I can't stop thinking about what's gonna happen to any others who get took, like Randall and me. What about the runners who come through and got to get away? If Sukey isn't there, who's going to help them get out?”
This time I had no answer. Until now, consumed by my own troubles, I had given little thought but to my own circumstances. As I considered Pan's words, I thought again of what might have happened to the two of us if so many others had not risked their own lives. I remembered everyone: Sukey and her man at Southwood, then the Spencers and the Quaker family, and finally, Willie and Peg and all those who helped us through the canal. Surely, given my release and fortunate circumstances, I might take some responsibility.
“Pan,” I said. “Do you know who can help?”
He shook his head.
“I will,” I said.
“What can you do?” he asked.
“I don't know yet. This is new to me. But to begin with, as soon as we get home, I will write to Mr. Spencer to ask how I might be of assistance.”
“You're not just sayin' that?”
“No, Pan. You have my word.” When I met his eyes, I saw what appeared to be a glimmer of his former self.
“Can I help, too?”
“First, Pan, you must get an education. And Robert and I will need your help in raising the girls. But when you are grown, if you still choose, we might work on this together.” He studied me with such fervor that I laughed. “Come here,” I said to him, and dismissing all my usual inhibitions, I pulled him under my arm. How good it felt to embrace this brave boy.
“Mr. Burton,” came Pan's muffled voice.
“Yes, Pan?”
“I'm glad we're going home.”
I held him closer still. “So am I, Pan,” I said. “So am I!”
T
HOUGH THIS
is a work of fiction, for readers familiar with the history of Philadelphia, I am aware that over this time period the Peale Museum made a transition to Baltimore. However, in the interest of this story, I kept it in Philadelphia.
Rebecca GradingerâI cannot express how grateful I am for all of your tireless efforts. Your belief in my work inspired me to my best self.
My gratitude extends as well to everyone at Fletcher and Company, in particular to Melissa Chinchillo, Grainne Fox, and Rachel Crawford for their many successful efforts on my behalf.
Trish Todd, your insight is, as it was before, a benediction. Beth Thomas, how fortunate I am to have you with me a second time.
I thank my faithful first readers who didn't stop at the first go-round: Charles Grissom, Eleanor Dolan, Diane Eckert, Carlene Baime, Bob Baime, Judy Chisholm, Ann Kwan, Leah Weiss, Teresa Morrow, and Reginald Brown. Your careful consideration and suggestions were exactly what I needed.
While I was researching the Great Dismal Swamp, two wonderful people came forward to help. Penny Leary, retired director of the Dismal Swamp Welcome Center, and George Ramsey, Southeast Representative for the Virginia Canals and Navigation Society, both provided, again and again, the detailed information that I sought. As well, they arranged a boat tour with Robert Peek, lock keeper and bridge tender, and the day we spent exploring the mysteries and waterways of the forbidding but fiercely spectacular Great Dismal Swamp is one I shall not forget. For those interested, Robert Peek offers boat tours to the public; you will find him at www.greatdismaladventures.com.
Pin-feather painting might be a lost art, but for Colin Woolf. To learn more about his amazing work, go to
www.wildart.co.uk
.
My research took me from libraries in Philadelphia to historical sites in Louisiana, and though they are too numerous to list here, I am indebted to all.
There were times when, in the writing of this story, I questioned my ability, but the doubt did not live long, for I was graced with the support of my lifelong friend Carlene and my dear daughter, Erin. Though they both know what they are to me, I thank them again.
Finally, I remember Lisbeth Walker, a dear friend who recently went before me. Her final message was one of gratitude, and it is in her memory that I list these many blessings.
Simon & Schuster Reading Group Guide
Glory over Everything
By Kathleen Grissom
This reading group guide for
Glory over Everything
includes an introduction, discussion questions, ideas for enhancing your book club, and a Q&A with author
Kathleen Grissom
. The suggested questions are intended to help your reading group find new and interesting angles and topics for your discussion. We hope that these ideas will enrich your conversation and increase your enjoyment of the book.
Introduction
In the follow-up to her beloved novel,
The Kitchen House,
Kathleen Grissom returns to the riveting story of Jamie Pyke, the son of a black slave and a white plantation owner forced to flee his Virginia home to avoid being sold as a slave.
Glory over Everything
opens in Philadelphia in 1830, where Jamie now passes as the white Mr. James Burton, an artist and silversmith of renown. But when his lover, Caroline, finds herself pregnant, James fears that his years of deception will unravel with the birth of their child. In the meantime, James learns that slave catchers have abducted his young servant, Pan, the only son of Henry, the fugitive slave responsible for James's safe passage to Philadelphia years before. Aware of his debt to Henry, and mourning Caroline's tragic death in childbirth, James undertakes an odyssey to North Carolina to rescue Pan. With help from Sukey, a former Tall Oaks slave, and a series of Underground Railroad sympathizers, James must face up to his true identity and some of his greatest fears.
Topics & Questions for Discussion
1. “I had met Henry twenty years earlier, when, at the age of thirteen, I arrived in Philadelphia, ill and terrified and fleeing for my life.” How does James's flight from Tall Oaks mark his life going forward? Why does Henry come to James's aid, and what does he represent to James? What details from their early interactions complicate their relationship as adults?
2. “I had never and would never consider myself a Negro. In fact, the idea disgusted me.” How does James reconcile his biracial identity with his own racist attitudes? To what extent does his denial of his ethnicity serve as a means of self-preservation in the racist society he inhabits?
3. Why does Pan's unexplained disappearance distress James? Compare and contrast the dangers from slave catchers that Pan and James face. Why do you think Kathleen Grissom chose to alternate these characters' narratives at key points in the novel?
4. Why does James conceal his biracial status from Caroline Preston, the married daughter of socially prominent Philadelphia aristocrats? How does her pregnancy threaten James's entire existence? How might Caroline's discovery of his biracial status have altered the trajectory of the novel? Why do you think Kathleen Grissom chose not to pursue that storyline?
5. “âI can provide [room and board] for you in my home, where you will be downstairs with our household help.'” As a newly minted apprentice at Burton's Silversmith, why does James feel insulted to live below stairs with the black servants? How do Delia, Ed, and Robert react to having a white person living with them?
6. Describe James's relationship with Mrs. Burton. What role does the bird Malcolm play in their bond? How is their connection strengthened by the tragedies they have experienced? How does James's discovery of the Burtons' views on slavery affect him?
7. From the reactions of his white and black acquaintances, how convincing are James's efforts to pass as a white silversmith in Philadelphia? What does Delia's theft of James's letter in the aftermath of his adoption by the Burtons suggest about her intentions? What reasons might Delia have for outing James?
8. “I had loved [Mrs. Burton] as a mother. . . . A difference existed after she learned the truth from Delia. Yet I did not hold her responsible; for how could I blame her for an inability to love the part of me that I, too, loathed.” How does Delia's revelation of James's race affect his relationship with his Mrs. Burton? What does her dismissal of Delia imply about her acceptance of James?
9. James refers to his attraction to Caroline Preston as an “uncomfortable fascination.” How does Caroline characterize her feelings for James? Given their differences in age and social class, what explains their connection? To what extent is Caroline's mother, Cristina Cardon, an enabler of their illicit affair?
10. Discuss the remarkable events that converge to liberate Pan from the Southwood plantation. What does the collaboration of Sukey and the Spencer family in the daring rescue suggest about the racially progressive views of many white Americans during this era? Given the unique dangers James faces in his efforts to retrieve Pan from the plantation's overseer, Bill Thomas, why does he persist?
11. “From above, thick corded vines netted with Spanish moss draped down to ensnare us. With each vine I pushed away I thought of cottonmouth moccasins, the copperheads, and the rattlesnakes that were known to inhabit the place.” What does the Great Dismal Swamp represent to runaway slaves and their pursuers? Why do the runaways seek refuge there, despite the many dangers? Why does the Spencer family, along with many others, fear it?
12. Why does Sukey's delivery of her baby in a cave in the Great Dismal Swamp cause James to panic and flee? How does Pan respond to James's act of cowardice? To what extent does James redeem himself in Pan's eyes through his treatment of Sukey's infant daughter, Kitty?
13. “Where, then, did I belong? Was my birth an accident of fate, or was my life intended to have some purpose?” How do the circumstances of James's birth and upbringing shape his sense of self at the beginning of the novel? By the end, what events have enabled his new understanding and acceptance of himself?
14. How does Kathleen Grissom's use of multiple narrators deepen your appreciation of the work? If the author had chosen to include other characters' perspectives, whose would you have been especially interested to read, and why?
15. In James's last letter to his mother, Belle, he reveals his decision to change his daughter's name from Caroline to Belle. What role does his servant Robert play in the radical transformation of James's feelings for his mother? Discuss how the conclusion of the novel brings the arc of James's character full circle.
Enhance Your Book Club
1. Ask members of your club to consider the social and political causes that are most important to them. How willing would they be to risk their lives to improve the lives of total strangers? Consider what leading a double life as a secret member of the Underground Railroad would have been like in nineteenth-century America.
2.
Glory over Everything
confronts many serious questions of race and prejudice. Compare the state of race relations in the nineteenth century with those of the present day. To what extent does racial prejudice persist in our country? How does James's anxiety as a biracial person passing as white compare to the concerns of a person of mixed race in America today? Consider the case of Rachel Dolezal, a white woman who claimed to be and passed as African-American.
3. Toward the end of
Glory over Everything,
James undergoes an epiphany in his thoughts about race, himself, and his role in the world. Ask members of your group whether or not they have ever experienced epiphanies relating to their personal identities, faith, careers, or relationships. If they have, discuss what spurred these realizations. How did these epiphanies enable them to change or refocus their lives?
A Conversation with Kathleen Grissom
Can you reflect on how your phenomenal success as a first-time novelist has affected your life?
Over these past few years, what to me has the most meaning are the exchanges that I have had with so many wonderful book clubs. That the readers connected so deeply to the characters in
The Kitchen House
gave me a sense that I had done my job. From the beginning I wanted others to experience the story as vividly as I had.
You have related the unusual origins of
The Kitchen House:
how a historic map of a house you were renovating in Virginia included a detail about slaves that began to obsess you and kindle your creativity. How would you compare that experience to the series of events that led to your writing
Glory over Everything?
In many ways the experience was very similar. Once again, in
Glory over Everything
, the characters appeared spontaneously and insisted that I write their story. After finishing
The Kitchen House
, I had every intention of writing about Crow Mary, a Native American woman who led a fascinating life. I went out to the Crow reservation in Montana to study her culture and to search out more documentation. Yet, while researching Crow Mary, though I felt her spirit, something was stopping me from absorbing her culture in the way I knew I must. In fact it began to feel as though a veil had come down and Jamie, Belle's son from
The Kitchen House
, was standing in front of Crow Mary to let me know that I was to tell his story first. So, with some initial reluctance, that is what I did.
The success of
The Kitchen House
was due in part to its adoption by book clubs around the country. Why do you think
The Kitchen House
lends itself so well to group discussion and interpretation?
Though some might expect
The Kitchen House
to be a story of race, most come to see it as a story of humans, all caught in the trap of slavery.
The Kitchen House
is a story of complicated characters and nontraditional relationships. Through discussion these are looked at closely and, as is often the case, new insight brings clarity and even compassion.
In
Glory over Everything,
you revisit many members of the Pyke family that you portrayed in
The Kitchen House
, but you shift the focus of your narrative to Belle's son James. Can you compare your experiences in narrating books from both a woman's and a man's perspectives?
The gender actually made little difference. In
Glory over Everything
I heard Jamie's voice as clearly as I'd heard Lavinia's and Belle's from
The Kitchen House
. The difference was that both Lavinia and Belle were open to me and very forthcoming; whereas Jamie, a man with a secret, was guarded and kept me at a distance when I first met him. For that reason I found Jamie both frustrating and intriguing. Fortunately, other characters, such as Pan, were quite verbal and gave me deeper insight into Jamie until gradually he became less cautious and was ready to reveal himself.
The Kitchen House
relates the intimate details of the lives of the slaves of Tall Oaks, as told from the perspective of a young white girl.
Glory over Everything
examines the lives of black and white characters mainly from the perspective of a biracial male narrator who is passing as white. How challenging is it for you to get yourself inside the heads of the fictional characters you create? Please describe the kinds of research do you before you begin writing.
The best way for me to describe the way this process works is to say that I don't get into their heads, but they get into mine. They come fully formed and are complete characters. I don't always see them, but I feel who they are in the deepest sense. Jamie was not particularly likable when I first met him. Eventually I came to understand his deep fear, and as my compassion and understanding for him grew, he opened up to me.
For my research I visit the places I feel my characters inhabited. There I walk and absorb whatever comes to me. There are times when I come upon something, such as a torture device, that I feel such pain and despair that I want to fall to my knees. Often I cry over it after I uncover the details of how it might have been used. When I see something that gets me happily excitedâperhaps an artifact at a historical siteâI research it with joy. I've learned that when I have this type of strong reaction, one of my characters wants me to have the information so they can use it to better tell their story.
How did you decide to set
Glory over Everything
in Philadelphia? What plot opportunities does an urban setting provide that a more confined or rural setting, such as a plantation, does not?
I don't decide on the setting. My characters do.
I always saw Jamie in Philadelphia. I've been there a number of times and happen to love the city, but curiously, when I began my research, I found the city to be overwhelming, just as it initially was for Jamie. It wasn't until Jamie left for the rural South that both he and I felt less constraint.
Glory over Everything
is narrated by James Pyke, Pan, and Caroline Preston. How did you decide to tell the novel from these three characters' perspectives?
Actually there is a fourth voiceâthat of Sukey. In fact, hers, I believe, is the soul of the story.
Interestingly, I don't choose who will be the characters to speak. They present themselves to me as though in a movie. They arrive fully formed and each speaks in his or her own distinctive voice. I can't say that I decide on who will speakâinstead, as the characters appear, I go with the ones who take center stage.
You have mentioned that the troubling aspects of slavery were extremely challenging for you to write about in
The Kitchen House.
To what extent was that the case in
Glory over Everything?
Writing about slavery, I'm sure, would be challenging for anyone. However, Sukey's narrative was so painful that I cried my way through her story. Each time she spoke, I dreaded what was to come. Yet I loved her so that I couldn't wait to hear what she had to say.
As well, I loved young Pan, and to see his innocence taken away was heartbreaking.
In writing
The Kitchen House
, many times I considered stopping because of the violence. This time I better understood the process, and realized that, though there were times I was in tears, I needed to write what I saw. I feel that my job is to tell the story so the reader can see and feel what I see and feel.
In many respects, the Great Dismal Swamp seems almost like a character in
Glory over Everything.
Can you describe your acquaintance with it, and how it became such an essential part of the novel?