Divisadero by Michael OndaatjeDivisadero by Michael Ondaatje


byMichael Ondaatje

Hardcover | April 17, 2007

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From the celebrated author of The English Patient and In the Skin of a Lion comes a remarkable new novel of intersecting lives that ranges across continents and time.

In the 1970s in northern California, near Gold Rush country, a father and his teenage daughters, Anna and Claire, work their farm with the help of Coop, an enigmatic young man who makes his home with them. Theirs is a makeshift family, until it is riven by an incident of violence — of both hand and heart — that sets fire to the rest of their lives.

Divisadero takes us from the city of San Francisco to the raucous backrooms of Nevada’s casinos, and eventually to the landscape of south central France. It is here, outside a small rural village, that Anna becomes immersed in the life and the world of a writer from an earlier time — Lucien Segura. His compelling story, which has its beginnings at the turn of the century, circles around “the raw truth” of Anna’s own life, the one she’s left behind but can never truly leave. And as the narrative moves back and forth in time and place, we discover each of the characters managing to find some foothold in a present rough-hewn from the past.

Breathtakingly evoked and with unforgettable characters, Divisadero is a multi-layered novel about passion, loss, and the unshakable past, about the often discordant demands of family, love, and memory. It is Michael Ondaatje’s most intimate and beautiful novel to date.
Michael Ondaatje is the author of the novels In the Skin of a Lion, The English Patient, and Anil’s Ghost. His other books include Running in the Family, Coming Through Slaughter, The Cinnamon Peeler, and Handwriting. He lives in Toronto.
Title:DivisaderoFormat:HardcoverDimensions:288 pages, 8.64 × 5.74 × 1.08 inPublished:April 17, 2007Language:English

The following ISBNs are associated with this title:

ISBN - 10:0771068727

ISBN - 13:9780771068720


Rated 1 out of 5 by from Not for me. I just couldn't get into it. I lost track of the characters...constantly going back to other chapters to remember who I was reading about.
Date published: 2018-05-01
Rated 3 out of 5 by from Not Ondaatje's best This was not the strongest outing for Ondaatje. I would still recommend this to a friend because I believe in reading an author's complete body of work when they are as great as Ondaatje. Give this a shot but if it's your first time reading Ondaatje I'd suggesting starting with In the Skin of a Lion.
Date published: 2017-04-09
Rated 3 out of 5 by from Divisadero This is the first novel by Michael Ondaatje that I have read. I am charmed by his style which is both lyrical and poetic. He writes about a family in California whose life in some ways parallels the life of a French poet and writer, Lucien Segura, whom the daughter Anna is studying and researching. Perhaps his life becomes a substitute for her own experience with her family whom she has never seen again after a violent incident. The people we meet in Divisadero are unusual, more marginal characters so different and less predictable.
Date published: 2010-04-11
Rated 4 out of 5 by from An Escape For Me, Maybe Not For You Divisadero is not a story about the things that happened; it is a story about the things that were felt, and there is no living author better at telling a tale of feelings than Michael Ondaatje. Ondaatje's prose is poetry, and for me, his poetry is lyrically sublime, in the romantic sense of the word. I am awed by what he does, and I long to do it in my own prose. I don't care whether Anna and Coop and Claire ever find each other through the divisions of solitude they've embraced, and I don't feel at all cheated by never knowing. I don't care how Roman disappeared, where Astolphe comes from, what happens to Anna and Raphael, nor when Marie-Neige died because Ondaatje makes me care more about what they are feeling in the short, intoxicatingly brief moments that he lets me share with them. But more than all of these wonderfully realized characters, I love Lucien. One-eyed, desolate, literary, simple yet complex, war ravaged, marriage ravaged, love ravaged but rich in love, sensuous, sensual, paternal in spite of himself, childlike, needy, giving and other things I am certain I have missed. His story is Divisadero to me, in much the same way that Carravagio was The English Patient. And though his story is inextricably bound to the life of Anna, his literary biographer, illuminating the events of her life and the shattering moment that thrust her old life into the new, it is his love for his mother, his daughter, Marie-Neige, and Raphael that tell the story that reaches me most deeply. I get Lucien in a way I don't get the others, or maybe it is simply that my own internal world most closely resembles his. Whichever it is, I am sad that my time with Lucien Segura -- poet, adventure novelist, lover, soldier, possible madman -- is over. And oh, how I wish I could read his poems and novels. Those fictional works of fiction sound marvelous, but it is not to be, and I imagine the best I can do is return to the pages of [book:Divisadero] when I need to connect with Lucien again. I am afraid that won't be enough, but it will have to do. I had intended to write a review about Ondaatje's use of time and space, his skill with multiple perspectives, his intertextuality, his prose technique, his wide ranging settings, but my review became something other, which is fine by me. And I hope it is fine by you too. But I must add a note of warning for anyone interested in reading Divisadero -- do not expect a classic story with easily wrapped up plot lines and linear movement of action. That is not, and has never been, how Ondaatje works. Come to Divisadero to lose yourself in the lives of fascinating people, to feel what they feel for just a moment. If you're looking for anything else you would be doing yourself a favour by staying away.
Date published: 2009-07-17
Rated 5 out of 5 by from One of my favourites of 2007 A close runner-up for my favourite book in 2007 was Divisadero. Another sublime read by Ondaatje that, as the title implies, examines the divisions (intentional, unintentional, emotional, physical, and geographical, among others) within the interweaving lives of seemingly disparate characters. Ondaatje’s elegant prose is the highlight, providing just enough illumination while leaving room for open-ended interpretations
Date published: 2008-11-11
Rated 3 out of 5 by from Greatness Gone Astray A moving account of a family torn apart by illicit love and desire and how that theme carries on from the past through the present to the future. Ondaatje's writing is indeed powerful, particularly in the overwhelming images he conjures up with his words. But this is not his best novel. The narrative actually loses strength in its progression because Ondaatje lets it get too fragmented, spinning a whole new yarn half-way through without ever tieing up the story as a whole by the end. This is truly unfortunate because it is the account in the first half that commands the most intrigue but is ultimately blown off and leaves us wondering what has become of the characters (especially one) that we have invested so much of our heartfelt sympathy into.
Date published: 2008-07-29
Rated 3 out of 5 by from Love your writing, Mike, but..... I have become a fan of Michael Ondaatje's writing. I love his style, the nuances, the rhythms, the relationships he builds. I was excited to start this book, and it started out great. What happened to Claire and Coop?
Date published: 2008-07-15
Rated 1 out of 5 by from To many books in One There were way too many stories in one book. Only one contained characters I actually cared about. The last HALF of the book did nothing but circle around and around four different characters. Everytime you got engaged in a story a new one started! It seemed to me Micheal Ondaatje had started five short stories and then just stuck them all in one novel. A very disappointing buy.
Date published: 2008-06-21
Rated 2 out of 5 by from The Lives of Friends and Lovers. (thebookblog.ca) Divisadero is the name of the street where Anna, Claire, their father and adopted farmhand Coop (Cooper) begin the tale. Theirs is not the conventional family. Anna’s mother died giving birth to her, and Claire was adopted to keep the former company. Coop was hired to take care of the land the father owned, and yet the four of them created this unusual, comfortable home. It begins in childhood when the two girls are intimately close until the point when a youthful summer affair sends each member spinning in every direction, damaged and wounded. The prose is lovely, quiet, and thoughtful. It reminds me of the way one’s mind works after spending an afternoon lazing around in the sun. The book itself is surprisingly short for its number of pages, maybe due to the inconclusive way it ended. It does the popular Canadian fiction thing, flowing slowly from one thing into another until the tale is decidedly over. I need to get used to this style, since I much prefer the tales where there is a conflict which concludes with a resolution. While stuff does happen in Divisadero, it just appears that little of it means anything. This could be frustrating to a reader, but in this way it emulates life. Maybe what we go through has a meaning, and maybe it’s all just random decisions that eventually lead us to where they are. Think about what this means to you and if you might want to read it.
Date published: 2008-04-15
Rated 3 out of 5 by from Not exactly my cup of tea A bestseller and a widely featured novel written by an award winning author - nothing should go amiss, right? Beautifully descriptive, but I find it a bit lengthy in narrative. It's a book that would attract a big fan base - just so it's not exactly my cup of tea.
Date published: 2008-02-01
Rated 4 out of 5 by from Brilliant This book is quite the read. I had to read it a couple of times to understand the nuances fully. Reading it once or reading it three times there is always a certain enjoyment from reading Michael's work. Another winner of a book.
Date published: 2008-01-19
Rated 1 out of 5 by from Obtuse Literature Divisadero held great promise for me. I had enjoyed other stories by this author. Michael Ondaatje has been elevated to a level of the literati where his writing is too obtuse for the consumer. Creeping "Atwoodism " at its worst! There are no cirlcles of stories as the publisher proclaims, only unfinished unsatisfying arcs. I bought this book to read on vacation. I will leave it here. Why waste the space and fuel to carry it home?
Date published: 2007-11-22

Read from the Book

By our grandfather’s cabin, on the high ridge, opposite a slope of buckeye trees, Claire sits on her horse, wrapped in a thick blanket. She has camped all night and lit a fire in the hearth of that small structure our ancestor built more than a generation ago, and which he lived in like a hermit or some creature, when he first came to this country. He was a self-sufficient bachelor who eventually owned all the land he looked down onto. He married lackadaisically when he was forty, had one son, and left him this farm along the Petaluma road. Claire moves slowly on the ridge above the two valleys full of morning mist. The coast is to her left. On her right is the journey to Sacramento and the delta towns such as Rio Vista with its populations left over from the Gold Rush.She persuades the horse down through the whiteness alongside crowded trees. She has been smelling smoke for the last twenty minutes, and, on the outskirts of Glen Ellen, she sees the town bar on fire–the local arsonist has struck early, when certain it would be empty. She watches from a distance without dismounting. The horse, Territorial, seldom allows a remount; in this he can be fooled only once a day. The two of them, rider and animal, don’t fully trust each other, although the horse is my sister Claire’s closest ally. She will use every trick not in the book to stop his rearing and bucking. She carries plastic bags of water with her and leans forward and smashes them onto his neck so the animal believes it is his own blood and will calm for a minute. When Claire is on a horse she loses her limp and is in charge of the universe, a centaur. Someday she will meet and marry a centaur.The fire takes an hour to burn down. The Glen Ellen Bar has always been the location of fights, and even now she can see scuffles starting up on the streets, perhaps to honour the landmark. She sidles the animal against the slippery red wood of a madrone bush and eats its berries, then rides down into the town, past the fire. Close by, as she passes, she can hear the last beams collapsing like a roll of thunder, and she steers the horse away from the sound.On the way home she passes vineyards with their prehistoric-looking heat blowers that keep air moving so the vines don’t freeze. Ten years earlier, in her youth, smudge pots burned all night to keep the air warm.Most mornings we used to come into the dark kitchen and silently cut thick slices of cheese for ourselves. My father drinks a cup of red wine. Then we walk to the barn. Coop is already there, raking the soiled straw, and soon we are milking the cows, our heads resting against their flanks. A father, his two eleven-year-old daughters, and Coop the hired hand, a few years older than us. No one has talked yet, there’s just been the noise of pails or gates swinging open.Coop in those days spoke sparingly, in a low-pitched monologue to himself, as if language was uncertain. Essentially he was clarifying what he saw–the light in the barn, where to climb the approaching fence, which chicken to cordon off, capture, and tuck under his arm. Claire and I listened whenever we could. Coop was an open soul in those days. We realized his taciturn manner was not a wish for separateness but a tentativeness about words. He was adept in the physical world where he protected us. But in the world of language he was our student.At that time, as sisters, we were mostly on our own. Our father had brought us up single-handed and was too busy to be conscious of intricacies. He was satisfied when we worked at our chores and easily belligerent when it became difficult to find us. Since the death of our mother it was Coop who listened to us complain and worry, and he allowed us the stage when he thought we wished for it. Our father gazed right through Coop. He was training him as a farmer and nothing else. What Coop read, however, were books about gold camps and gold mines in the California northeast, about those who had risked everything at a river bend on a left turn and so discovered a fortune. By the second half of the twentieth century he was, of course, a hundred years too late, but he knew there were still outcrops of gold, in rivers, under the bunch grass, or in the pine sierras.* Now and then our father embraced us as any father would. This happened only if you were able to catch him in that no-man’s-land between tiredness and sleep, when he seemed wayward to himself. I joined him on the old covered sofa, and I would lie like a slim dog in his arms, imitating his state of weariness–too much sun perhaps, or too hard a day’s work.Claire would also be there sometimes, if she did not want to be left out, or if there was a storm. But I simply wished to have my face against his checkered shirt and pretend to be asleep. As if inhaling the flesh of an adult was a sin and also a glory, a right in any case. To do such a thing during daylight would have been unthinkable, he’d have pushed us aside. He was not a modern parent, he had been raised with a few male rules, and he no longer had a wife to qualify or compromise his beliefs. So you had to catch him in that twilight state, when he had ceded control on the tartan sofa, his girls enclosed, one in each of his arms. I would watch the flicker under his eyelid, the tremble within that covering skin that signalled his tiredness, as if he were being tugged in mid-river by a rope to some other place. And then I too would sleep, descending into the layer that was closest to him. A father who allows you that should protect you all of your days, I think.

Bookclub Guide

1. "The raw truth of an incident never ends," Anna says (p. 1). What might she mean by this, and how is her statement borne out in the course of the novel?2. Setting plays a large role in Divisadero. How does Ondaatje characterize the Northern California countryside of Anna’s childhood? How would you compare it to the French countryside where Segura spends his life and where the grown-up Anna retraces it? To what extent are this novel’s characters connected to their physical environments?3. Anna is an only child, but one with two adoptive siblings. So, for that matter, are Claire and Coop. What is the significance of adoption in this novel? Are its "natural" children necessarily the most favored? Which of these characters becomes an orphan later on, by necessity or by choice? How might losing one’s original family have an effect, for better or for worse? Why do you think Anna is introduced in a chapter titled “The Orphan”? And what might she mean when she observes, "Those who have an orphan’s sense of history love history" (p. 141)?4. Because they were raised together, Anna’s affair with Coop has incestuous overtones. Is that why you think her father reacts so brutally when he finds them together? Might this be what drives her to reject her former life, or do you think there’s another reason? Compare this liaison with the novel’s other quasi-incestuous pairings: the young Lucien Segura and Marie-Neige, who has become a symbolic sister to him; Lucien’s daughter Lucette and her younger sister’s fiancé; Marie-Neige and her husband when they masquerade as brother and sister. How does the author seem to view these relationships? Do they seem to represent a perversion of intimacy or a heightening of it?5. Closely aligned with the theme of incest is that of hidden or mistaken identity, a theme suggested by the Sanskrit term gotraskhalana, which denotes "calling a loved one by a wrong name" (p. 152). Which of Ondaatje’s characters pretends to be someone else? Which of them mistakes one person for another, or is misled into doing so? Which of them sloughs off a name, like the thief who calls himself Liébard and then, suddenly, on a whim, Astolphe? What do these impostures and confusions suggest about the nature of identity? Why might Liébard/Astolphe refuse to be photographed?6. The past — both personal and collective — plays an important role in Divisadero. After turning her back on her childhood, Anna becomes an archivist, cataloguing the past via Lucien Segura's life. After two brutal beatings as a result of his love affairs, Coop forgets his past. How does the past function in these instances, among others? Would you say these characters are trapped in it or sustained by it?7. At what points does history intrude into this novel, and with what effect? Why might Ondaatje have chosen to set one scene involving Coop during the first Gulf War and another on the eve of the 2003 Iraq invasion?8. How is the theme of the past reflected in the novel’s chronological scheme, which moves from the 1970s to 2003, then backward in time to the turn of the last century, then forward once more? Why might Ondaatje have chosen to structure Divisadero this way? How does this affect the novel's sense of suspense, and how might you relate this to the kind of suspense that young Lucien and Marie-Neige find in The Black Tulip?9. Most of Ondaatje's characters are looking for something or someone: Anna for a long-dead writer, Coop for love and treasure (dredged from the river or extracted from the suckers at a card table), Claire for Coop. Discuss the role quests play in Divisadero. How, in particular, do they form a bridge between the novel's present and its multiple pasts? Which of the characters' quests is destructive, and which useful, even vital?10. There are certain key repetitions in the novel. Discuss the doubling (and sometimes more than doubling) of the following: an attack by an animal, a woman nursing an injured man, a father coming upon his daughter making love, a man imparting a skill or craft to a younger one.11. What role does craft play in this novel? Discuss those scenes in which someone learns to, for example, build a cabin, or deal poker, or repair a clock, or write a novel. What — apart from the skill — is being imparted? What distinguishes those characters who have mastered a craft from those who haven't?12. Most of Divisadero’s characters are motivated by love, of various sorts. How does Ondaatje characterize these kinds of love? Which kinds are exalting and which degrading, and why? Compare Anna's love for Coop to the love that Claire feels for him, Coop's love for Anna to that he later feels for Bridget, Rafael’s love of his mother to Segura’s love of his daughter Lucette.13. The novel takes its name from a street in San Francisco where Anna lives for a while. In Spanish the word means both a division and a vantage point (pp. 142–3). Does this double meaning suggest a way of looking at — viewing — the entire novel?14. At least two of this book’s narratives lack an obvious conclusion. Why might Ondaatje have chosen to end them when he does? How is this related to Anna’s aforementioned statement: "The raw truth of an incident never ends"?

Editorial Reviews

“Genius (there is no other word for a writer of such grace and depth). Ondaatje’s unique gift is that his stories perform an inexorable seduction, impossible to resist. . . . Divisadero shines with an indisputable and incomparable power. . . . A brilliant sleight of hand.”— Globe and Mail“The bewitching, assured Divisadero is the perfect reminder of why Ondaatje deserves to be honoured with his global peers.”— CBC“Gorgeous. . . . It’s Ondaatje’s singular achievement to explore the heavy costs and burdens of colliding human lives with a lightness of touch and clarity of vision that makes for dead-run compelling reading.”— National Post“Michael Ondaatje’s prose is breathtaking. . . . Divisadero is his most beautiful [novel]. . . . [A] luminous book by one of our most thoughtful and erudite writers.”— Charlotte Gray, Ottawa Citizen“Intricate, lyrical, profoundly moving, this brilliantly imagined mediation on love, loss and memory. . . .”— Kirkus Reviews (starred review)“At once powerful and beautiful . . .” — Booklist (starred review)“Michael Ondaatje is the Canadian William Faulkner, writing novels that are visually unforgettable, stylistically inimitable, utterly devoted to the rise and fall of the human heart . . . . Compelling and moving. . . .”— Vancouver Sun“It has the ensemble qualities of early Robert Altman films and the poetic intensity of Ingmar Bergman’s oeuvre. . . . Masterly writing. . . .”— Montreal Gazette“The spare erotics and lucid passions of Divisadero engage readers first and last through Ondaatje’s supple and resonant gifts with language, syntax and style, in the service of stories and voices that resonate far beyond the page. . . . The lives and longings of [his characters] quietly but insistently enter your own, as if you’d known them for an era — and as if their stories should mean something to you. And you have, and they do.”— Winnipeg Free Press“Emotionally riveting. . . . [Divisadero] delivers his trademark seductive prose, quixotic characters and psychological intricacy.”— Publishers Weekly“Ondaatje’s writing is evocative, powerful and deeply intimate. The reader can’t help but care about all of the characters. . . . [who] come to accept the reality of their own lives, and the loss of the ones who meant the most.”— Calgary Herald