Fall on Your Knees

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Fall on Your Knees

by Ann-marie Macdonald

Knopf Canada | December 6, 1998 | Trade Paperback

Fall on Your Knees is rated 4.18852459016393 out of 5 by 122.
Winner of the Commonwealth Writers' Prize for Best Book

Following the curves of history in the first half of the twentieth century, Fall On Your Knees takes us from haunted Cape Breton Island, Nova Scotia, through the battle fields of World War One, to the emerging jazz scene of New York city and into the lives of four unforgettable sisters. The mythically charged Piper family--James, a father of intelligence and immense ambition, Materia, his Lebanese child-bride, and their daughters: Kathleen, a budding opera Diva; Frances, the incorrigible liar and hell-bent bad girl; Mercedes, obsessive Catholic and protector of the flock; and Lily, the adored invalid who takes us on a quest for truth and redemption--is supported by a richly textured cast of characters. Together they weave a tale of inescapable family bonds, of terrible secrets, of miracles, racial strife, attempted murder, birth and death, and forbidden love. Moving and finely written, Fall On Your Knees is by turns dark and hilariously funny, a story--and a world--that resonate long after the last page is turned.

Format: Trade Paperback

Dimensions: 576 pages, 8 × 5.2 × 1.2 in

Published: December 6, 1998

Publisher: Knopf Canada

Language: English

The following ISBNs are associated with this title:

ISBN - 10: 0394281780

ISBN - 13: 9780394281780

Found in: Literary

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Reviews

– More About This Product –

Fall on Your Knees

Fall on Your Knees

by Ann-marie Macdonald

Format: Trade Paperback

Dimensions: 576 pages, 8 × 5.2 × 1.2 in

Published: December 6, 1998

Publisher: Knopf Canada

Language: English

The following ISBNs are associated with this title:

ISBN - 10: 0394281780

ISBN - 13: 9780394281780

Read from the Book

Silent PicturesThey're all dead now.Here's a picture of the town where they lived. New Waterford. It's a night bright with the moon. Imagine you are looking down from the height of a church steeple, onto the vivid gradations of light and shadow that make the picture. A small mining town near cutaway cliffs that curve over narrow rock beaches below, where the silver sea rolls and rolls, flattering the moon. Not many trees, thin grass. The silhouette of a colliery, iron tower against a slim pewter sky with cables and supports sloping at forty-five-degree angles to the ground. Railway tracks that stretch only a short distance from the base of a gorgeous high slant of glinting coal, towards an archway in the earth where the tracks slope in and down and disappear. And spreading away from the collieries and coal heaps are the peaked roofs of the miners' houses built row on row by the coal company. Company houses. Company town.Look down over the street where they lived. Water Street. An avenue of packed dust and scattered stones that leads out past the edge of town to where the wide, keeling graveyard overlooks the ocean. That sighing sound is just the sea.Here's a picture of their house as it was then. White, wood frame with the covered veranda. It's big compared to the miners' houses. There's a piano in the front room. In the back is the kitchen where Mumma died. Here's a picture of her the day she died. She had a stroke while cleaning the oven. Which is how the doctor put it. Of
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From the Publisher

Winner of the Commonwealth Writers' Prize for Best Book

Following the curves of history in the first half of the twentieth century, Fall On Your Knees takes us from haunted Cape Breton Island, Nova Scotia, through the battle fields of World War One, to the emerging jazz scene of New York city and into the lives of four unforgettable sisters. The mythically charged Piper family--James, a father of intelligence and immense ambition, Materia, his Lebanese child-bride, and their daughters: Kathleen, a budding opera Diva; Frances, the incorrigible liar and hell-bent bad girl; Mercedes, obsessive Catholic and protector of the flock; and Lily, the adored invalid who takes us on a quest for truth and redemption--is supported by a richly textured cast of characters. Together they weave a tale of inescapable family bonds, of terrible secrets, of miracles, racial strife, attempted murder, birth and death, and forbidden love. Moving and finely written, Fall On Your Knees is by turns dark and hilariously funny, a story--and a world--that resonate long after the last page is turned.

About the Author

ANN-MARIE MACDONALD is an author, actor, playwright and broadcaster. She trained as an actor at the National Theatre School of Canada and has appeared in numerous independent Canadian films. She earned a Genie nomination for her role in I’ve Heard the Mermaids Singing, and won a Gemini Award for Where the Spirit Lives. She has performed in theatres across Canada, appearing in the Mirvish Production of Top Girls.

Her first solo-authored play, Goodnight Desdemona (Good Morning Juliet) won the Chalmers Award, the Governor General’s Award, and the Canadian Authors’ Association Award. Her other works for the stage include the libretto for the chamber opera Nigredo Hotel, book and lyrics for the musical Anything that Moves (which garnered several Dora Awards, including Outstanding New Musical), and Belle Moral: A Natural History.

Ann-Marie’s first novel, Fall on Your Knees, was a critically acclaimed international bestseller. It won the Commonwealth Prize, was a finalist for the Giller Prize, and won the People’s Choice Award and the Canadian Booksellers Association Libris Award for Fiction Book of the Year. In 2002 it became an Oprah’s Book Club selection. It has been translated into 19 languages. Her second novel, The Way the Crow Flies, was an international bestseller, a finalist for the Giller Prize, and a Good Morning America Book Club pick. It has been translated into 13 languages.

She lives in Toronto with her partner and their two children.

Author Interviews

1) Can you tell us how you became a writer?
I became a writer through the theatre. As an actor I started collaborating–writing shows collectively until I started writing plays on my own. Then I wrote a book. I started writing it as a play until I got stuck and realized a play was the wrong form.

2) What inspired you to write this particular book? Is there a story about the writing of this novel that begs to be told?
No, I like stories.

3) What is the major theme in this book?
One theme is diversity and truth struggling its way to the surface.

4) Who is your favourite character in this book, and why?
I love them all equally.

5) Are there any tips you would give a book club to better navigate their discussion of your book?
Have a drink. Enjoy. Yell.

6) Do you have a favourite story to tell about being interviewed about your book?
There was a Vietnam veteran in a suburb of Minneapolis who had not read the book. But then he agreed informally to be interviewed by me about his war time experiences.

7) Which authors have been most influential to your own writing?
Charlotte Bronte, The Beatles, Northrope Frye. I love authors and books but I get influenced by life.

From Our Editors

Ann-Marie MacDonald's heroine, Frances Piper, joins Margaret Laurence's Hagar Shipley and Lucy Maud Montgomery's Anne as one of the most fascinating and multifaceted female characters in Canadian fiction. This epic novel was the winner of the Commonwealth Prize for Best First Novel and the Globe and Mail Editors' Choice and Notable Book of the Year Award. Fall On Your Knees is a complex narrative about family secrets and the deeply buried events, memories and motivations behind human relationships. It was also shortlisted for the Chapters/Books in Canada First Novel Award.

Editorial Reviews

#1 National BestsellerWinner of the Commonwealth Writers' Prize for Best First BookOprah's Book of the Month Club Pick, January 2002Winner of the Dartmouth Book AwardWinner of the Canadian Authors' Association AwardWinner of the CBA Libris People's Choice AwardWinner of the CBA Libris Award for Fiction Book of the YearFinals for The International IMPAC Dublin Literary Award Finalist for the Giller PrizeFinalist for the Chapters/Books in Canada First Novel AwardFinalist for the Trillium Book AwardFinalist for The Orange Prize for Fiction "Magnetic… a dizzying leap into a mind so rich and complex you spend almost as much time marvelling how she got there as enjoying the results… Compelling and original… MacDonald succeeds brilliantly in building a world that, at least for the satisfying length of time it takes to finish Fall On Your Knees, gloriously supersedes all else." Financial Post"Beautiful… this big, bold, epic shocker of a novel reads as if John Irving met Joyce Carol Oates. It is history told with a thumping, complex narrative… a host of colourful characters and a great big bow to psychology… Fall On Your Knees is the work of a big talent. It's a wild ride." Chicago Tribune"[MacDonald is] a first-rate novelist.... [She] paints a Cape Breton landscape steeped in human emotion ... She has found the language of the heart that runs below everyday discourse.... There is no resisting this story." The Globe and Mail"Ann-Marie MacDonald — one of Canada's most talented actors a
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Bookclub Guide

1. A cedar box, a diary, a green dress, a scarecrow — examine MacDonald's use of repeated imagery in her exploration of family history. Are her interpretations of memory intended to be naturalistic? How does this square with her use of the spiritual life in this novel? What, for example, does Ambrose 'mean' to Lily and Francis, and why does Pete haunt Kathleen?

2. Examine your sympathies with the family members of this book. Does the author manipulate or confuse the alliances of the reader? How does she handle revelation? Try to define the way in which the narrator relates to the reader. The internal logic of the book is also defined by the ways in which the characters 'decide' to interpret each others' behaviour — are you surprised by the shifts in allegiance throughout the book — where does the force for these changes come from?

3. 'That night, the Virgin Mary tells her what to do.' (p.561) Could you have predicted the course of Mercedes' life? What do you take MacDonald to mean in her use of religion to shape Mercedes, and what do you understand about Mercedes from the ways in which she chooses to respond to events? How closely do the sisters mirror each others' behaviour?

4. 'The knowledge that it is to be a coloured child is most useful in determining its future. First of all, there is now no question of keeping it. Illegitimacy is a terrible but invisible blot, whereas miscegenation cannot be concealed.' (p.393) The book addresses several major themes of conflict in the 20th Century — racial strife and inequality, sexuality, religious oppression and belief, poverty. Is MacDonald successful in her integration of such powerful topics into this intimate family history? What methods does she use to sustain the pace of the narrative throughout the 560-odd pages of the book? Some of the revelations of the character make for uncomfortable reading — is the author consciously trying to alienate the reader, shock them? If so, is she successful, and why do you think she adopted this approach?

5. 'Frances's eyes burst open. She had a dream about Trixie just now.' (p.373) As a plot device, what function does Trixie serve?

6. Frances manifests a particularly brittle variety of humour and resilience. Compare her responses to 'damage' with those of her sisters, mother and father. What do you consider Frances's principal motivations to be, and to what use has the author put these, in her construction of this book? What do you consider the author intends us to understand from her use of illness and affliction in this book?

7. How do you interpret the 'visions' and 'intuition' of the sisters towards each other? What do you consider MacDonald is interested in exploring by this added dimension to the story? Do you think our understanding of the personal histories is intended to change our perception of the 'public' record of War history in Fall On Your Knees? Which characters constitute the most obvious links between the private and public?

8. 'The cave mind has entered into a creative collaboration with the voluntary mind, and soon the two of them will cocoon memory in a spinning wealth of dreams and yarns and fingerpaintings.' (p.151) Memory and its reinvention are central to the sisters' survival techniques in the book; how does the structure of the book assist in our understanding of this?

9. Do the histories, for example, of prohibition, or the miners strikes, serve as functional plot devices or as a metaphor?

10. How precisely imagined is this book? How important is this in the revelation of plot? Consider the book in relation to linear time. How much is this book about Kathleen's history, and how does our understanding of the circumstances of her life reflect on our reading of other characters?

11. Compare the symbolism of this book with the magic realism of Rushdie or Márquez. How does your understanding of 'magic realism' inform your reading of this work, if at all?

12. Consider the roles of Mrs. and Ralph Luvovitz, Leo Taylor, Theresa, Hector and Adelaide, and what light their interior life sheds on that of the Pipers. How does Frances compare with Theresa? Attempt to describe the relationship between the two. Which characters do you consider to be least successful in the story?

13. What do you take the meaning of the title of the book to be? How do the chapter headings, along with the quotes and passages that preface each section of the book serve to enhance your reading?

14. 'Frances has recently revealed a natural talent in the kitchen. She cooks and cooks. Roasts and curries, stews and casseroles. It's mystifying. Frances is like one of those strange persons who awake one morning and play the complete works of Bach with never a lesson.' (p.429) Discuss the roles of books, clothes, music and food in Fall On Your Knees. How many central themes are explored using these symbols?

15. Do you think that the 'real' aspects of the novel — MacDonald's powerful evocation of the trenches, for example — change the way in which we view the fictional lives she explores? Does the juxtaposition of 'known' history give more weight to the author's intent?