White Oleander - Janet Fitch [188]
Did you worry in writing that character that you were going too far?
No. I think everyone has an aspect of themselves that doesn’t want to care about other people, that just wants the absolute freedom. But we are more compassionate than that, we realize that in the long run, relationships have so much to offer, but you have to give in to that relationship to get anything back. And Ingrid is willing to sacrifice everything for her individual freedom.
What was your biggest challenge in writing about that character?
Oh, I enjoyed writing her character because her language was so beautiful. And strength of will in a character is the most important thing. If the character has strength of will, you’re on the train and they are the locomotive. If your character doesn’t know what they want, and they’re sort of drifting around, then you’re pulling the train yourself, which is a lot more work. I like Ingrid. I understand her. She ’s a monster. She has tremendous flaws, but tremendous intelligence and wit and she expresses a certain unspoken desire of many people. We’re nicer than that, we care more about other people than that, but I think it’s understandable on some level.
White Oleander is a California novel. California plays a peculiar role in the national imagination, and that makes it hard for people from other places to put the idea of literature and California together in their minds.
That started in the ’20s. California was perceived as the locus of hedonism, and how can literature come out of pure hedonism? How can a deeper evaluation of the human condition come out of a place where there is no human condition, and nobody has any problems or worries? Which is, obviously, a complete and utter fantasy. Even in paradise you have daughters and mothers and disappointment, struggle and all the rest.
The complete text of this interview first appeared in Salon.com, at http://www.Salon.com. An online version remains in the Salon archives. Reprinted with permission.
Reading Group Questions and Topics for Discussion
1. Describe the relationship between Astrid and Ingrid early in the book. Why was Astrid fearful that her mother would “fly away” if she mentioned her desires — such as having a father, or going to summer camp or a YWCA program?
2. Astrid chooses to express herself through painting and drawing, rather than through writing. Why do you think Astrid preferred these forms of creative expression? Which do you prefer?
3. Compare the characteristics of the white oleander to those of Ingrid. Do the same with Astrid.
4. Ingrid says, “Isn’t it funny. I’m enjoying my hatred so much more than I ever enjoyed love” (p. 38). How does this statement come back to haunt her?
5. Before the social service agency takes Astrid away, she packs up a few of her mother’s possessions to take with her. What is the significance of the folding knife? Of the kimono?
6. Astrid tells Paul, “I don’t let anyone touch me” (p. 301). Discuss how Claire touched Astrid. When and how else was Astrid touched by others? Discuss the powerful ways in which Astrid touched other people.
7. Why did Astrid chose Rena as her new foster mother over Bill and Ann Greenway? Was Astrid trying to punish herself in some way? Why did she feel she deserved Rena?
8. Discuss Ingrid’s letters to Astrid. At what point did Astrid begin to pull away from her mother emotionally? At what point did this change?
9. Referring to her relationship with Ray, Astrid says, “I was the snake in the garden” (p. 105). How does this phrase relate to Marvel, Claire, and Rena?
10. Why did Astrid wait several hours before