Loneliness is the human condition. Cultivate it. The way it tunnels into you allows your soul room to grow. Never expect to outgrow loneliness. Never hope to find people who will understand you, someone to fill that space. An intelligent, sensitive person is the exception, the very great exception. If you expect to find people who will understand you, you will grow murderous with disappointment. The best you’ll ever do is to understand yourself, know what it is that you want, and not let the cattle stand in your way.
White Oleander, by Janet Fitch
A few years ago, I read Twilight, mostly out of curiosity. It was insanely popular at the time, as well as derided, so I wanted to form my own opinion of it. I found it dull, somewhat problematic, but not terribly offensive. One aspect of it that was particularly memorable to me (that I’ve since encountered in countless other young adult novels) was the heroine’s utter lack of personality. I thought this was simply due to the author’s lack of talent (Twilight is certainly lacking in many ways), but it’s an intentional move in much of YA literature. The hero or heroine is drawn without any distinguishing personality traits, so that the reader can insert themselves as the protagonist.
White Oleander is a novel about a young woman, but it’s far from YA fiction. When Astrid Magnussen’s mother, Ingrid, is imprisoned for murder, she becomes a part of the foster care system. White Oleander follows Astrid as she transitions from home to home, questioning her relationship with her mothers, learning to adapt to each situation, and suffering terrifying abuse. It’s an eye-opening look into life as a child in the foster care system, which I personally had little foreknowledge of.
Initially, it appears that Astrid is somewhat like your average YA heroine. It’s difficult to determine what her personality is, exactly. But as time goes on, it becomes clear that Astrid’s personalities change depending on her current environment – as she moves to each foster family. My favorite chapters were those detailing her life with Claire, who provides the resources for Astrid’s artistic ability to flourish, while still providing an example of how dysfunction still exists in an upper-class environment. Astrid is a layered, believable, and sympathetic character whose story I could not stop reading.
In addition to the detailed and realistic characterization, White Oleander is written in a lovely, poetic prose. There are some poems included as part of the novel, since Astrid’s mother, Ingrid, is a famed poet. I generally skim over poems and songs when an author chooses to include them, but I found myself genuinely intrigued by Ingrid’s (and, therefore, Fitch’s) use of words and ideas, even for such ugly ends. While Astrid does not comment on her own writing style, the narration is similarly lovingly crafted, poetic and elegant. The novel is also surprisingly easy to read. Even with the constant revolving door of characters, it’s surprisingly easy to keep track of who’s who.
My only problem with this novel is the ending, which I wasn’t entirely satisfied by. (But are any of us fully satisfied by any ending?) It seemed a bit contrived, and a tad unrealistic compared to the rest of the plot. Although, I suppose, White Oleander leaves Astrid’s life in a spot of uncertainty, which I suppose is true to the rest of the novel. I was, however, satisfied by the character development Astrid goes through, and the agency that the ending allows for her.
YES OR NO?: YES. This book was selected for Oprah’s book club in 1999. When I mentioned this to an acquaintance, he jokingly said, “Well, if Oprah liked it, it must be good, right?”…but I can’t see how this book is not worth a read. I picked this book up on a whim but was immediately engrossed. I would highly recommend this book for its plot, prose, and characters.