About the book:
Golden Country vividly brings to life the intertwining stories of three immigrants seeking their fortunes: the handsome and ambitious Seymour, a salesman turned gangster turned Broadway producer; the gentle and pragmatic Joseph, a door-to-door salesman who is driven to invent a cleanser effective enough to wipe away the shame of his brother’s mob connections; and the irresistible Frances Gold, who grows up in Brooklyn, stars in Seymour’s first show, and marries the man who invents television. Their three families, though inextricably connected for years, are brought together for the first time by the engagement of Seymour’s son and Joseph’s daughter. David and Miriam’s marriage must endure the inheritance of not only their parents’ wealth but also the burdens of their pasts.
Spanning the first half of the twentieth century, Golden Country captures the exuberance of the American dream while exposing its underbelly—disillusionment, greed, and the disaffection bred by success.
About the author:
JENNIFER GILMORE‘s work has appeared in magazines, journals, and anthologies, including the New York Times Magazine, Allure, Nerve, and Salon. She lives in Brooklyn, New York.
Q. How does the novel’s structure — chapters jumping back and forth in time and alternating between family members — strengthen the plot? What would change if the novel were written in chronological order?
Q. There are many references throughout the novel to events marking "the beginning of things." For example, the night Joseph creates Essoil he "could see it then, as clear as the streetlamp outside his window: he was at the start of his life. Everything that had happened to him . . . had made Joseph feel as if his life were beginning just at that moment" (p. 23). Frances recalls her father telling her, "in America, no end in sight. Only zhe beginnings here" (p. 50). Discuss the significance of this recurring idea of new beginnings. How does the idea of starting over carry a variety of meanings for the different generations of all three families?
Q. Throughout the novel Joseph remembers his father promising him and Solomon "a golden country," and Frances recalls how "[a]ll the men seemed to walk burdened by that horrible weight of promises made to their children . . . [she] imagined that somehow it was the children who were meant to lift the heaviness" (p. 47). Discuss the complicated relationship between the parents’ expectations of their own lives and their children’s lives.
Q. How do they and their children both carry the burden of creating a better life in a new country? How do Joseph, Esther, Seymour, and Sarah force their own desires onto their children?
Q. What is your opinion of Sarah? Is she mentally ill or a product of her background and the time in which she lives? How is she different from all the other characters in the novel? Did you sympathize with her? What does Sarah represent?
Q. What is the novel’s attitude toward love and marriage? Consider the different pairs: Esther and Joseph, Sarah and Seymour, Frances and Vladimir, Miriam and David and the generations of parents and grandparents before them. Compare and contrast the different relationships. Why do you think these couples were drawn to each other?
Q. When Joseph spots Irving Berlin at Miriam’s wedding he wonders, "Do lives lived parallel make you look the same? . . . Or do our looks inform our parallel lives" (p. 223)? Discuss the recurring theme of physical appearance. Consider Esther’s obsession with Miriam’s nose, the way Seymour’s good looks help him in the gangster world and the divergent lives of Frances and Pauline. What do looks represent to these characters? Which character seems the most at home in his/her own skin?
Q. Describing the gang Seymour and the Terrier belong to, Gilmore writes "Everything was connected, as intertwined as family, as ivy, as roses: punch someone in the gut here, over there, across the river, someone else bends over from the pain" (p. 93). Discuss how this statement is reflected within each of the three families in the novel. Is the nature of family ties altered over generations?
Q. Gilmore writes, "Destiny is destiny. Either one stumbles upon it or it is completely elusive" (p. 130). What does she mean by this?
Q. Golden Country is full of references and events relating to destiny, from Joseph’s discovery of Essoil the night Miriam submerges herself in cleaning solution, to David and Miriam’s first meeting at the World’s Fair, to the closing of Seymour’s first Broadway show after a number of unforeseen incidents. Why does destiny tend to figure so prominently in stories of the immigrant experience? Why is it so important to the characters in this novel?
Q. When Joseph dies, all of the members of the three families, even Pauline, are brought together. In what other ways is Joseph the link that joins all of the characters? What does his story represent? Do you consider Joseph the main character, or do you think someone else is? Do you think there is a main character at all?
Q. In what ways is Golden Country not only a story of Jewish immigrant life in America, but also a universal story about love and family? To what other novels about immigrant families can you compare Golden Country?
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