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Overview
The award-winning debut novel from Jennifer Haigh, author of BakerTowers, The Condition, and Faith, tells the story of Birdie, Joan,and Dinah, three women who marry the same charismatic, predatory, and enigmaticopportunist: Ken Kimble. Resonating with emotional intensity and narrativeinnovation reminiscent of Ann Patchett’s Bel Canto, Barbara Kingsolver’s The Poisonwood Bible, and Zora Neale Hurston’s TheirEyes Were Watching God, Haigh’s Mrs. Kimble is a timeless story ofgrief, passion, heartache, deception, and the complex riddle of love.
Product Details
| ISBN-13: | 9780061749858 |
|---|---|
| Publisher: | HarperCollins |
| Publication date: | 10/13/2009 |
| Sold by: | HARPERCOLLINS |
| Format: | eBook |
| Pages: | 416 |
| Sales rank: | 498,766 |
| File size: | 850 KB |
About the Author
Jennifer Haigh is the author of the short-story collection News from Heaven and six bestselling and critically acclaimed novels, including Mrs. Kimble, Faith and Heat and Light, which was named a Best Book of 2016 by the New York Times, The Washington Post, the Wall Street Journal and NPR. Her books have won the PEN/Hemingway Award, the Massachusetts Book Award and the PEN New England Award in Fiction, and have been translated widely. She lives in New England.
Hometown:
Boston, MassachusettsDate of Birth:
October 16, 1968Place of Birth:
Barnesboro, PennsylvaniaEducation:
B.A., Dickinson College, 1990; M.F.A., Iowa Writers' Workshop, 2002Read an Excerpt
Birdie
Virginia
1969
Charlie's mother sat cross-legged on the living room floor, her nightgown pulled over her knees, a spill of photographs scattered across the faded carpet. Years later he would remember the sound of the scissors' blades gnawing into the glossy paper, his little sister Jody wailing in the background, the determined look on their mother's face.
She had been drinking; her teeth were stained blue from the wine. She worked methodically, the tip of her tongue peeping out the corner of her mouth. The defaced photos she stacked in a neat pile: Christmases, family picnics, Fourths of July, each with a jagged oval where his father's face had been. One by one she slid the photos back into their frames. She climbed unsteadily to her feet and placed the frames back on the mantelpiece, the sideboard table, the naked hooks dotting the cracked plaster wall.
"Better," she said under her breath. She took Jody by the hand and led her into the kitchen. Charlie dropped to his knees and picked through the pile of trash on the floor. He made a pile of his father's heads, some smiling, some wearing a cap or sunglasses. He filled his pockets with the tiny heads and scrabbled out the back door.
His father was there and then he wasn't. A long time ago he'd taken them to church. Charlie could remember being lifted onto the hard pew, the large freckled hand covering his entire back. He remembered playing with the gold watchband peeking out from under his father's sleeve, and the red imprint it left on the skin underneath.
His father had a special way of eating. He rolled back the cuffs of his shirt, then buttered two slices of bread and placed them on either side of the plate. Finally he mixed all his food into a big pile -- peas, roast, mashed potatoes -- and ate loudly, the whole meal in a few minutes. Charlie had tried mixing his own food together, but found himself unable to eat it; the foods disgusted him once they touched, and his mother got mad at the mess on his plate.
His father made pancakes, and sucked peppermints, and whistled when he drove them in the car. On the floor of his closet, he kept a coffee can full of change. Each night lying in bed, Charlie would wait for the sound of his father emptying his pockets into the can, nickels and dimes landing with recognizable sounds, some tinny, some dry and dusty. It was always the last thing that happened. Once he heard the coins fall, Charlie would go to sleep.
Birdie was unwell. It was mid-morning when she opened her eyes, the room filled with sunlight. She rolled over and felt a sharp pain over her right eye. The other side of the bed was still made, the pillow tucked neatly under the chenille spread. She had remained a considerate sleeper, as if her sleeping self hadn't yet figured out that the whole bed was hers alone.
She lay there a moment, blinking. She had been dreaming of her childhood. In the dream she was small, younger than Charlie; she and Curtis Mabry, the housekeeper's son, had hidden in the laundry hampers. "You nearly give me a heart attack," said the housekeeper when she discovered them. "You're lucky I don't tell your mother."
Through the thin walls she heard movement, the bright tinkling music of morning cartoons. She lifted herself out of bed, her nylon nightgown clinging to her back. In the living room the children looked up from the television.
"Mummy," Jody squealed, springing off the couch and running to hug her leg. She wore shortie pajamas, printed with blue daisies.
Birdie wondered for a moment who'd dressed the child for bed. She couldn't remember doing it herself.
"Can I go outside?" said Charlie. He lay sprawled on the rug, too close to the television.
"May I go outside please," she corrected him. "Yes, you may."
He scrambled to his feet, already in socks and sneakers. The screen door spanked shut behind him. Birdie unwrapped Jody's small arms from her leg. "Let me get you some breakfast," she said. The children seemed to lie in wait for her, to ambush her the moment she crawled out of bed, full of energy and raging needs. At such times it could be altogether too much -- her stomach squeezed, the sign of a rough morning ahead -- for one person.
She took Jody into the kitchen. It was a point of pride for Birdie: her kitchen was always immaculate. The room simply wasn't used. She hadn't cooked in weeks, hadn't shopped except for brief trips to Beckwith's corner store, to buy wine and overpriced loaves of bread.
She found the box in the cupboard and poured the cereal into Jody's plastic bowl, decorated with pictures of a cartoon cat. She opened the refrigerator and a sour smell floated into the kitchen. The milk had spoiled.
"Oops," she said, smiling brightly. She ought to pour it down the drain, but the very thought of sour milk turned her stomach; she left the carton where it was. She eyed the wine bottle corked with a paper napkin. Beside it an unopened bottle, the one she hadn't got to last night. She closed the door.
"Looks like it's toast for us," she said. She put two slices of bread in the toaster. She hadn't finished the bottle, so why did she feel so wretched? On Sunday night she'd had two full bottles, and not so much as a headache when she woke the next morning.
The toast popped, the sound a jolt to her heart. Perhaps she hadn't overindulged, just consumed unwisely. She'd already learned that red wine hit her hardest, that a small meal -- toast or crackers -- cushioned the stomach and allowed her to drink more. Beyond that, the workings of alcohol were still a mystery. It seemed to hit her harder at certain times in her monthly cycle; why, she couldn't imagine. She wondered if this were true for other women. She had no one to ask. Her mother was dead, and anyway had never touched anything stronger than lemonade. Her father's new wife probably did drink, but Birdie couldn't imagine talking to Helen about this or anything else.
"Butter?" Jody asked.
"Sorry, button." Birdie spread the bread with grape jelly and thought of the wine.
She would have been married eight years that Tuesday.
Reading Group Guide
Our Book Club Recommendation
Jennifer Haigh’s Mrs. Kimble is a book about illusions, about the secrets we keep from one another, and the consequences of that secrecy. Through portraits of three women, each married in turn to the same mysterious man, the author explores what happens when a seemingly ordinary person maintains a double life – and the sometimes explosive results when secrets come out. While Haigh’s tale has elements in common with a conventional mystery or thriller, her interest is in the emotional world of those who discover -- sometimes too late -- that a loved one is not at all what he seems.
Mrs. Kimble is first and foremost about the consequences of deception in marriage, the seductive powers of Ken Kimble’s ever-shifting persona, and the consequences for each wife, as she begins to see beneath the appealing surface he crafts for her. Each story provides opportunity to discuss this portrait of the secretive personality, why it is that Kimble can so easily -- and believably -- transform himself to meet different women’s ideals.
Haigh’s novel also raises larger questions about how much self-deception can play a part in the making of a relationship. In each of the marriages portrayed in Mrs. Kimble, the wife subtly participates in the maintenance of silence about the husband’s past -- and sometimes about much of his present life. Without blaming them for his actions, the author offers us something more complex than mere villainy on the part of a selfish man.
In their pursuit of what is perhaps a false notion of love, these three women choose to look past danger signs, not merely about Ken Kimble but also about themselves. Haigh invites us to talk about how it is that our fears and shame are exacerbated by silence, and how our illusions about ourselves can stand between us and the reality of life, and of love. (Bill Tipper)
From the Publisher
Introduction
Deftly exploring the poignant landscape of longing, Mrs. Kimble traces the lives of three women who marry the same opportunistic man, a chameleon named Ken Kimble. He seduces each of them with sensitivity and generosity, and with his obsessively perfected physique. But marriage reveals Ken's true persona--elusive, workaholic, and hungry for extramarital affairs. All three of his wives are sustained by the hope that he will once again become the hero they fell in love with. For Ken's children, the reality of their father's absence is at once devastating and indelible. And for Ken himself, the price of maintaining illusions appears to be negligible.
Discussion Topics
1. Consider the similarities and differences among Birdie, Joan, and Dinah. Is there a common thread that attracts Ken to each of them?
2. Joan and Dinah have physical traits that cause them to feel self-conscious and prone to rejection. Do you consider Birdie's vulnerabilities to be equally physical in nature, or are they purely emotional?
3. What motivates Ken? In your opinion, what enables him to so suddenly shift from being charming to vapid? To what do you attribute his compulsive dishonesty?
4. The novel's title reflects the tradition of taking a husband's surname after marriage. All of Ken's wives change their last names and become Mrs. Kimble. What does this indicate about the tradition, gender, power, and identity in Ken's marriages?
5. Birdie appears in all three parts of the novel. What were your initial impressions of her? Did your opinion of her shift as her life story unfolded?
6. American society experienced significant changes between the 1960s and the 1990s. Did this appear to affect Ken's various marriages, or was his behavior consistent across the mores of all decades?
7. How might Birdie's life have been different had her father not interfered with her attraction to Curtis Mabry? What is the effect of the Mabry family's presence in the novel?
8. Though the novel's characters are for the most part indifferent to spirituality, religion provides a frequent backdrop in Mrs. Kimble. What is the significance of Ken's Bible school past? How did you react when he convinced Joan of his Jewish heritage?
9. Do you believe that Ken's abandonment of Birdie was the sole cause of her emotional breakdown? How might her life have played out if he hadn't left her?
10. How does Ken's departure affect his children's attitude toward love? Do their relationships reflect or defy their parents' example?
11. Jennifer Haigh builds the storyline of Mrs. Kimble around brief scenes rather than lengthy, uninterrupted chapters. What is the effect of this technique?
12. Ken is not the only predatory man in the novel; Birdie is exploited by the mechanic she meets as a waitress, for example. Do the novel's characterizations of men and women match your own experience with the opposite sex?
13. With which of Ken's wives were you most able to relate? How would you have responded in each of their situations?
14. Though Ken is the most obviously secretive character in the novel, all of his wives possess a certain degree of secrecy and denial. Do you believe that it's possible to lead a completely honest life -- including self honesty?
15. Ken is an enigma, yet his character is drawn in rich detail. Discuss the significance of his vanity, his attraction to younger women, and his apparent inability to love or show genuine affection. What is the relevance of his conservative childhood, particularly the death of his brother?
16. Food is mentioned throughout the novel, including Charlie's perpetual hunger as a child; Birdie's botched attempts to buy groceries; Ken's aversion to seafood, which causes Joan to tailor her menus; and Dinah's Thanksgiving reunion and culinary expertise. Discuss some of your most meaningful memories regarding food.
17. What makes Ken's cause of death particularly ironic and fitting?
18. While there are clearly three Mrs. Kimbles, are there also three Mr. Kimbles? Does each wife represent a separate identity for Ken?
19. What variations on love (parental, romantic, erotic) are presented in Mrs. Kimble? Which characters appear to experience the most authentic forms of love?
20. The novel closes with Ken's children brought together by Dinah. Charlie embraces his role as Brendan's big brother and father figure. What do you predict for the family after Ken's death?
About the Author:
Jennifer Haigh's short fiction has appeared in Good Housekeeping, Alaska Quarterly Review, The Idaho Review, Global City Review, and elsewhere. She is a graduate of Dickinson College and the Iowa Writers' Workshop, where she was awarded a 2002 James A. Michener Fellowship. Raised in small-town Pennsylvania, she now lives in Boston, Massachusetts.
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