The Cure For Death By Lightning by Gail Anderson-dargatz

The Cure For Death By Lightning

byGail Anderson-dargatz

Paperback | September 15, 1998

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"The cure for death by lightning was handwritten in thick, messy blue ink in my mother’s scrapbook, under the recipe for my father’s favourite oatcakes: Dunk the dead by lightning in a cold water bath for two hours and if still dead, add vinegar and soak for an hour more."

So begins Gail Anderson-Dargatz’s extraordinary first novel, a seductive and thrilling book that captures the heart and imagination, as filled with the magic and mystery of life as it is with its lurking evils and gut-wrenching hardships. The Cure for Death by Lightning sold more than a staggering 100,000 copies in Canada alone and became a bestseller in Great Britain, later to be published in the United States and Europe. It was nominated for the Giller Prize, the richest fiction prize in Canada, and received a Betty Trask Award in the U.K.

The Cure for Death by Lightning takes place in the poor, isolated farming community of Turtle Valley, British Columbia, in the shadow of the Second World War. The fifteenth summer of Beth Weeks’s life is full of strange happenings: a classmate is mauled to death; children go missing on the nearby reserve; an unseen predator pursues Beth. She is surrounded by unusual characters, including Nora, the sensual half-Native girl whose friendship provides refuge; Filthy Billy, the hired hand with Tourette’s Syndrome; and Nora’s mother, who has a man’s voice and an extra little finger. Then there’s the darkness within her own family: her domineering, shell-shocked father has fits of madness, and her mother frequently talks to the dead. Beth, meanwhile, must wrestle with her newfound sexuality in a harsh world where nylons, perfume and affection have no place. Then, in a violent storm, she is struck by lightning in her arm, and nothing is quite the same again. She decides to explore the dangers of the bush.

Beth is a strong, honest, and compassionate heroine, bringing hope and joy into an environment that is often cruel. The character of Beth’s haunted mother infuses the book with life by means of her scrapbook of recipes scattered throughout, with luscious descriptions of food, gardening, and remedies, both practical and bizarre. Seen through Beth’s eyes, the West Coast landscape is full of beauty and mysteries, with its forests and rivers, and its rich native culture.

The Globe and Mail commented that The Cure for Death by Lightning was "Canadian to the core," with hints of Susannah Moodie and Margaret Atwood and Alice Munro. Anderson-Dargatz’s vision of rural life has drawn comparisons with William Faulkner and John Steinbeck. A magic realism reminiscent of Latin American literature is also present, as flowers rain from the sky, and men turn into animals. Yet the style of The Cure for Death by Lightning, which the Boston Globe called "Pacific Northwest Gothic," is wholly original. Launched in a year with more than the usual number of excellent first novels (1996 was also the year of Fall On Your Knees by Ann-Marie MacDonald and Fugitive Pieces by Anne Michaels), this book with its assured voice heralds a worthy successor to Margaret Atwood, Carol Shields, Margaret Laurence and Alice Munro.

About The Author

Turtle Valley is the fifth book to come from talented Canadian author Gail Anderson-Dargatz, whose novels have been published in several languages worldwide. Her first novel The Cure For Death By Lightning met with terrific acclaim and garnered her the UK’s Betty Trask Award and a nomination for Canada’s Giller Prize. A Recipe For Bees...
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Details & Specs

Title:The Cure For Death By LightningFormat:PaperbackDimensions:304 pages, 8 × 5.2 × 0.8 inPublished:September 15, 1998Publisher:Knopf CanadaLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0394281802

ISBN - 13:9780394281803

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THE CURE for death by lightning was handwritten in thick, messy blue ink in my mother's scrapbook, under the recipe for my father's favorite oatcakes:Dunk the dead by lightning in a cold water bath for two hours and if still dead, add vinegar and soak for an hour more.Beside this, some time later, my mother had written Ha! Ha! in black ink. The same page contained a tortoiseshell butterfly, pressed flat beside the cure for death so the wings left smudges of burgundy and blue on the back of the previous page. The bottom of one wing was torn away. My mother said that she'd caught the butterfly and pressed it between the pages of her scrapbook because of this torn wing. "Wonderful," she told me. "That it could still fly. It's a reminder to keep going."The scrapbook sat on my mother's rocking chair next to the black kitchen stove and was hers just as the rocking chair was hers. I didn't sit in her chair or touch her scrapbook, at least not whe she was in the room. My mother knew where to find a particular recipe or remedy by the page it was written on, because every page was different. She compiled the scrapbook during the Depression and into the Second World War when paper was at first expensive and then impossible to buy, so she copied her recipes on the backs of letters, scraps of wallpaper, bags, and brown wrapping, and on paper she made herself from the pulp of vegetables and flowers. The cover was red, one of the few bits of red that my father allowed in the house, cut from the carboard of a box of crackers. The book was swollen from years of entries. Pages were dusted with flour, stained with spots of tea, and warped from moisture. Each page had its own scent: almond extract or vanilla, butter or flour, the petals of the rose it was made from, or my mother's perfume, Lily of the Valley.My mother didn't keep the book as a diary. If she kept a diary at all, I never found it. But she wrote brief thoughts along the margins of at the bottom of a page, as footnotes to the recipes and remedies, the cartoons and clippings -- footnotes to the events of the day. She was always adding a new page, and it didn't matter how many times I stole the scrapbook from her chair and pilfered my few minutes with it, there was always some new entry or something I'd missed.I still have my mother's scrapbook. It sits inside the trunk that was her hope chest. I sometimes take out the scrapbook and sit with it at my kitchen table, by the stove that is electric and white. Even now I find new entries in the scrapbook, things I've never seen before, as if my mother still sits each morning before I wake and copies a recipe, or adds a new page made from the pulp of scarlet flax.My name is Beth Weeks. My story takes place in the midst of the Second World War, the year I turned fifteen, the year the world fell apart and began to come together again. Much of it will be hard to believe, I know. But the evidence for everything I'm about to tell you is there, in the pages of my mother's scrapbook, in the clippings describing bear attacks and the Swede's barn fire and the children gone missing on the reserve, in the recipe for pound cake I made the night they took my father away, and in the funeral notices of my classmate Sarah Kemp and the others. The scrapbook was my mother's way of setting down the days so they wouldn't be forgotten. This story is my way. No one can tell me these events didn't happen, or that it was all a girl's fantasy. The reminders are there, in that scrapbook, and I remember them all.Excerpted from The Cure for Death By Lightning by Gail Anderson-Dargatz.

Bookclub Guide

1. “Dunk the dead by lightning in a cold water bath for two hours and if still dead, add vinegar and soak for an hour more.” (p. 1) In this opening passage, how is Beth’s mother revealed through her scrapbook, through her gallows humour and her rather brutal method of remembering the fragile determination of a butterfly? What does it say about the circumstances of Beth’s childhood?2. “The scrapbook was my mother’s way of setting down the days so they wouldn’t be forgotten. This story is my way.” (p. 2) How is Beth’s approach to memory-keeping different from her mother’s?3. “When it came looking for me I was in the hollow stump by Turtle Creek . . .” (p. 3). What is this “it,” also variously referred to by Beth as “the thing,” or as Coyote? How does Beth’s attitude to “it”/Coyote change through the course of her story? Who ultimately wins, and how?4. In this threatening landscape, women and livestock are closely guarded from dangers both real and perceived. Bells are tied around the necks of the livestock to keep track of them. Bells are given as love tokens. And Nora, too, wears bells. When Beth hears the bells tinkle, what does it often mean? What is their association for her?5. Bertha describes Coyote as a complex devil figure, linked to the madness of world events. “Of course the old men here wouldn’t agree with that,” she says. (p. 170) Consider Bertha’s description of Coyote, of the mix of good and evil that he brings and of his sorrow and regret. What does this say about her worldview? Do you see this version of Coyote reflected in any of the characters in the novel?6. Beth’s mother remains generally distant, only revealing herself through the pages of her scrapbook, which she guards from Beth, and in her mutterings to her own dead mother. She appears to have a wish to protect Beth, yet continually places her in jeopardy, and it’s unclear if she’s aware of the extremity of Beth’s trauma. What is Beth’s perspective on her mother? Do you think she will forgive her? Could you?7. The colour red – the colour of berries, of beet wine, of lipstick and of blood – carries great significance in the novel. Do you see a pattern in its associations, for example with sexuality, with violence, with nature and with the lives of women?8. When Bertha hears of Beth’s lightning arm, she tells Beth the story of Lightning and Mosquito who were both attracted to the sweet blood of a young girl. (p. 171) What do you think the lightning strike means to Beth in light of Bertha’s narrative?9. Beth feels pulled by the desire coming from Dennis, from Nora and from Billy. How do the three differ in who they are and what they want from Beth? How are they similar? What is it about each of them that attracts Beth?10. Men do not have the fear of Coyote that women, children and livestock share. The only exception is Billy. Why is he pursued by Coyote? What is their relationship?11. Why doesn’t Beth leave? What is really keeping her on the farm?12. Some characters have totem animals associated with them; for instance Coyote Jack and Bertha with the birds. Do you see any other totem animals in the novel? What do they mean to Beth?13. There are many recipes and anecdotes from Mrs. Weeks’ scrapbook reproduced in Beth’s story. What do they lend to the narrative? Will you try any of the recipes? Are there any scrapbooks or recipes passed down through your family? What do they mean to you?

From Our Editors

Some people record the passage of time in diaries while others go by photographs and memories associated with music, food or scent. The Cure for Death by Lightning captures Beth Weeks' story on the pages of her mother's scrapbook of recipes and home remedies. Set against the backdrop of daily life in remote Turtle Valley, B.C., it relates the story of her 15th summer and transition from childhood to adulthood. It was also shortlisted for the Chapters/Books in Canada First Novel Award.

Editorial Reviews

"Superlative … A coming-of-age story like no other, by turns charming, funny and terrifying … Anderson-Dargatz’s prose is lyrical, precise and infused with offbeat humour; she magically – and realistically – paints the details of rural life in wartime British Columbia. Beth Weeks – strong, confused, abused, touched by magic and blasted by lightning – is simply one of the most engaging young heroines in years."—The Globe and Mail"This is a haunting, stunning debut … overlapping the mundane with the extraordinary, Anderson-Dargatz creates a multi-layered tale of considerable power and suspense."—The Toronto Star"Some first novelists tiptoe. Not Gail Anderson-Dargatz. She makes her debut in full stride, confidently breaking the rules to create a fictional style we might call Pacific Northwest Gothic. Its spookiness doesn’t settle like a Southern miasma; it breaks like thunder from a calm sky and rolls invisibly away."—Boston Sunday Globe"Gail Anderson-Dargatz has a noticing eye, a voice as unique as the countryside she writes about, and a heart large enough to love her entire cast of distinct and memorable characters. In The Cure for Death by Lightning she fashions an irresistible song out of the joys and dangers of growing up, the mysteries and wonders of life on a farm, the thrilling terror of trying to outrun the awful unseen force that pursues a growing girl. This novel opens a door to a shining, surprising world."—Jack Hodgins"Those who go hunting for ‘the next Margaret Laurence’ or ‘the next Alice Munro’ might find themselves perusing Gail Anderson-Dargatz … If Margaret Laurence were alive today, she’d be looking over her shoulder – not with worry, but anticipation. Anderson-Dargatz is the real thing."—The Calgary Herald"… As beautiful as it is uplifting. The struggle to find love in such an emotionally barren landscape, and Beth’s dignity in the face of massive dysfunction, make her a remarkable heroine. The novel has culled the best from many fictional worlds – including Márquez’s magical realism, Faulkner’s Gothic claustrophobia, Ondaatje’s lyricism, and Flannery O’Connor’s engaging outcasts – to create a work that is startlingly original."—Quill & Quire"A robust but richly observed coming-of-age story of a complex young woman whose growth and resilience are celebrated without an iota of sentimentality."—Kirkus Reviews"I loved it from the first page. She is fluent and graceful and there’s a passion there, a tension, in fact all I want from a novel. The writing is so powerful and yet holds back, showing a restraint that tightens the whole atmosphere. I was gripped."—Margaret Forster"Like lightning in the distance, Anderson-Dargatz’s novel signals a strong force on the literary horizon."—Maclean’s"Brilliant.... A wonderful and challenging, truly bewitching novel, a unique work by an original voice....[Anderson-Dargatz] gives full reign to an amazing imagination and a compelling sense of time and place.... Like all powerful works of imagination, The Cure for Death by Lightning must be inhabited to be appreciated."—Edmonton Journal"Unusual and stimulating...Intriguing.... The dialogue is excellent, the characters well-drawn. The novel has real depth and integrity of voice. Its world is compelling, unusual and emotionally haunting."—Vancouver Sun"Powerful."—Books in Canada"A truly realized, completely gripping personal reconstruction of history, Salman Rushdie’s Midnight’s Children meets Like Water for Chocolate in this bold addition to the Canadian cannon."—Id Magazine