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The Dry Grass of August Paperback – April 1, 2011


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Product Details

  • Paperback: 352 pages
  • Publisher: Kensington Publishing Corporation; 1 edition (April 1, 2011)
  • Language: English
  • ISBN-10: 0758254091
  • ISBN-13: 978-0758254092
  • Product Dimensions: 5.7 x 0.9 x 8.4 inches
  • Shipping Weight: 5.6 ounces (View shipping rates and policies)
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (344 customer reviews)
  • Amazon Best Sellers Rank: #37,517 in Books (See Top 100 in Books)

Editorial Reviews

Amazon.com Review

On a scorching day in August 1954, thirteen-year-old Jubie Watts leaves Charlotte, North Carolina, with her family for a Florida vacation. Crammed into the Packard along with Jubie are her three siblings, her mother, and the family's black maid, Mary Luther. For as long as Jubie can remember, Mary has been there - cooking, cleaning, compensating for her father's rages and her mother's benign neglect, and loving Jubie unconditionally. Bright and curious, Jubie takes note of the anti-integration signs they pass, and of the racial tension that builds as they journey further south. But she could never have predicted the shocking turn their trip will take. Now, in the wake of tragedy, Jubie must confront her parents' failings and limitations, decide where her own convictions lie, and make the tumultuous leap to independence...Infused with the intensity of a changing time, here is a story of hope, heartbreak, and the love and courage that can transform us - from child to adult, from wounded to indomitable.


Author Q&A with Anna Jean Mayhew

Joshua Foer

Q: You're a seventy-one-year-old first-time novelist. What made you decide to write a novel at this age?

A: Actually, I didn't get such a late start; my first national publication was a short story when I was forty-five. That was so thrilling that I decided maybe this writing business was something I should take seriously. Then life happened and it was another two years before I wrote the first paragraph--in 1987--of what became The Dry Grass of August. I joined a group of accomplished writers and quickly realized that I had a lot to learn and that a novel was not something I could dash off while working full time. Eighteen years later I finished it and got a fine agent right away. When he sold it to Kensington, I was almost seventy.

Q: You grew up during the time of Jim Crow laws in the South. What happened in that time that spurred you to write this novel?

A: As a teenager I was aware that I lived in an all-white, mostly Protestant community. But my real consciousness did not start until 1970 (sixteen years after the 1954 decision in Brown v. Board), when forced busing went into effect and my fourth- and fifth-grade children were assigned to an inner-city school. Compared with the nice white elementary a block from our house, the conditions at the formerly all-black school were abysmal, a graphic example of the inequity of the doctrine of separate but equal. I became long-time friends with a young mother of two who was living a life similar to mine, except that I was white and she was black. One summer afternoon in 1972 we took our children to a public swimming pool in Cabarrus County, NC. The owner of the pool stopped us at the gate and said he would close the place down before he'd admit my friend and her children. Almost two decades after the official overturning of Jim Crow laws, social segregation was alive and well.

Q: Your two main characters are 13-year-old Jubie, a white teenager, and 47-year-old Mary, a black domestic. As you wrote the book, was it hard to get inside two such different characters?

A: Yes, at first I had great difficulty capturing Mary's spirit, given how invisible she is in her role as a "colored maid" in a white upper-class southern home. Over time her moral character, her strength, and her commitment to Jubie emerged. In Chapter Six, she's been working for the family a year or so, and Jubie is beginning to be aware of what a difference Mary makes to the peace in the home. That's when I began to see those things myself and to realize Mary's true importance to the family. Jubie matured as I wrote the book; at first I had her as being quite innocent, emotionally younger than her actual age. I began to pay close attention to 13-year-old girls, to really listen to them. Jubie turned out to be far more mature and much wiser than my initial conception of her. Her wisdom and curiosity surfaced when I let her have her head.

Q: In an early critique someone told you that Mary Luther comes across as a female Uncle Tom. What was your reaction to that?

A: An African American teenager made that comment. I was grateful when she agreed to read the manuscript, and taken aback when she said that she didn't like or believe in the character of Mary, who she saw as a female Uncle Tom. But when I got to thinking about it, I realized that my young friend--born in 1989--had no frame of reference for Mary's timidity around whites, for the way she won't look a white person in the eye, and for the way she nods and says, "Yes, ma'am" and "Yes, sir." Ultimately I was pleased by my teenaged friend's observation. Her comment confirmed that I had succeeded in capturing the realities of Mary's life as a black domestic in the South in the mid-1950s.

Q: Do you believe in the possibility of a positive future for William Watts, Jubie's father, a hope that he can make a new life for himself?

A: I do. I might not have felt so strongly when I was younger, but I've seen many people turn their lives around. And in his last scene with Jubie, he is genuinely contrite; he admits that he's been wrong. But I temper my response: he can make a new life for himself if he's willing to question his attitudes and preconceptions, and to grapple, finally, with his alcoholism.

Q: Out-takes are a favorite feature of movie-goers. Are there out-takes from your novel, scenes or characters that didn't make the final version?

A: My penultimate manuscript was 94,000 words long. The book in print is 74,000 words. I cut several chapters after my writing group persuaded me that while those sections were entertaining, well written, delicious and delightful, they did not deepen the characters or further the plot. I cried, then cut them. In one such chapter--about fifteen pages--Jubie visits Meemaw and the old woman tries to teach her deportment. The lessons, though futile, were quite funny. I love to make people laugh, so cutting that chapter was painful for me. Linda Gibson, the buxom grass widow who lives next door to the Watts family, was at one time much more fleshed out--so to speak--than she is in the final. Jubie's cousin Sarah had a younger brother who just had to go, because he didn't carry his weight. Most of the cuts were made after I thought I'd finished the book.

Q: Two characters appear briefly in Chapter 23, Mr. and Mrs. Ezra Travis, a black attorney and his wife. They are atypical, not what readers might expect in a book set in the South in 1954. Why did you include that couple?

A: Most of the people of color in my book are working class, poorly educated. But of course there were black professionals like the Travises in the mid-fifties South. Also I wanted Jubie to be with someone strongly sympathetic when she heard the news about Mary. One almost eerie thing: I had already named Ezra Travis when I learned that his given name means "helper" and his surname means "from the crossroads."

Q: At the book's end in January of 1955, Paula Watts, Jubie's mother, is a forty-something mother of four, who will soon be divorced. Where do you imagine she'll be in fifteen years when her children have left home?

A: Paula was an enigma to me for most of the book, especially in Chapter 19, when she seems to sell herself back to Bill for a bottle of perfume. But after awhile I realized that she'd become weary of the enmity between her and Bill, and that forgiving his infidelity was simply easier than continuing to be angry and self-righteous. Paula is the character who changes the most in the course of the novel. When it's clear that Bill is out of her life, she squares her shoulders, gets a job, snaps out of her deep depression, and finally becomes the parent her children need. Maybe she'll re-marry, maybe she won't, but regardless, she'll never again let anyone tell her how to live. I'd like to think she'll be much less concerned about appearances.

Q: Jubie suffered serious abuse as a child. What sort of future do you imagine for her?

A: Jubie's a survivor. It might take her some time, but she'll make a good life for herself. She will be okay and she'll never forget Mary or Leesum.

Q: What can you tell us about your next novel?

A: It's set in 1970, fifteen years after Dry Grass, during the first year of public school integration in Charlotte, at a time when the city was involved in urban renewal, clearing out of inner-city neighborhoods that occupied valuable land. Two characters are talking to me now, and I'm writing down what they say. Their paths will cross. Things will happen. In a couple of years you can buy the book and we'll both know what it's about.

From Publishers Weekly

A girl comes of age in the tumultuous 1950s South in Mayhew's strong debut. When 13-year-old Jubie Watts goes on a Florida vacation with her family in 1954, Mary, the family's black maid who's closer to Jubie than her own mother, comes along, and though the family lives in North Carolina, Jubie notices the changing way Mary's received the further south they travel. After a tragedy befalls the family, Jubie's eyes are opened to the harsh realities of racism and the importance for standing up for one's beliefs—though this does little to help her when her father's failures in business and marriage lead to the family falling apart. In Jubie, Mayhew gives readers a compelling and insightful protagonist, balancing Jubie's adolescence with a racially charged plot and other developments that are beyond her years. Despite a crush of perhaps unwarranted late-book suffering, Mayhew keeps the story taut, thoughtful, and complex, elevating it from the throng of coming-of-age books. (Apr.)
(c) Copyright PWxyz, LLC. All rights reserved.

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Customer Reviews

The characters were very well developed and I felt it was historically accurate.
Miriam R. Murray
I thought this book was very well written, very engaging, and the characters were well developed.
Jean Turicik
I just (sadly because I didn't want it to end) finished reading this beautiful book.
Kathleen Hannan

Most Helpful Customer Reviews

201 of 206 people found the following review helpful By A. Rochester on March 31, 2011
Format: Paperback
I try to read as many first novels as possible. I believe debut writers have a story in their heart-and they need to put on paper. I was not disappointed. I am stingy with my "five star" reviews, I gladly give "The Dry Leaves of August" five stars. Anna Jean Mayhew tells this story of family life in the '50 with just the right pace. This is NOT just another story about race relations in the south. It is a beautiful story about a middle class southern family and the intelligent lovely woman who cooked,cleaned and took care of their four children. The personalities of the children, parents and extended family become real. It's as though you crawl into their brains. Some of the characters you like and others you don't like. The story unwinds slowly but the end comes fast--- maybe a little too fast? I haven't decided yet! I hope there is a second novel in the near future.
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84 of 88 people found the following review helpful By southernwriter on March 29, 2011
Format: Paperback
An authentic, truly beautiful, page-turner of a story.

Jubie's is like a lot of white families in the segregated South of the times. Her beloved maid cares for them, cooks for them, even travels with them. Long days at the pool, a well-run house, a beach vacation--her summer is safe. But her father's shadow life and her mother's distance confound thirteen-year-old Jubie Watts. As the young teen watches her world unravel, the black woman who holds the family together becomes a much-loved confidant.

The young narrator's voice is perfect, not so innocent that the events around her are missed. But so much of what happened in that part of the country (my home, FYI) was just plain hard to figure out for anyone. What at first glance might seem like another "Help" knock-off, is far from it. A lot happens to this family, in deep denial that anything is wrong. A summer trip to the beach has many layers, the characters are so real, the story, ultimately, heartbreaking. You'll want to read this more than once.

Although some of the events are certainly sensational and remarkable, they are never sensationalized. Just a terrifically told story about race, family, first love and so much more, set in troubling times.
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66 of 69 people found the following review helpful By Pat French on April 13, 2011
Format: Paperback
The Dry Grass of August tells the deceptively simple story of Jubie, a privileged white Southern teen whose eyes are beginning to open to the reality of 1950s racism. Although parallels might be drawn between this novel and, say, To Kill a Mockingbird, The Dry Grass of August offers broader and deeper examinations of class differences and family dynamics, enriching the story considerably. It is at once a story of segregation, a chronicle of a family's disintegration, and a record of the coming of age of Jubie, her mother, and the country as a whole. Brava.

The author has completely captured the language of the time and created a sense of place so realistic that one almost feels compelled to swat at the mosquitoes that surely must be nearby.

To me, a good book is one I can reread multiple times and discover something new each time. By this measure, the Dry Grass of August is a very good book indeed.
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25 of 25 people found the following review helpful By Dera R Williams VINE VOICE on May 3, 2011
Format: Paperback
Some people feel black people have no rights. That pretty much sums up the feelings of many white citizens of the southern states in 1954. In The Dry Grass of August by Anna Jean Mayhew, readers are taken back to a time and place in our country when African Americans had little control over their lives and were considered second-class citizens.

Jubie Watts is a 13 year-old girl who lives a comfortable life in Charlotte, North Carolina but her angst at being tall and gangly, standing in her sisters' shadow, and worrying about her parents' strained marriage is a burden from which she wants to escape. The light in Jubie's life is the steadfast relationship she has with the family maid, Mary Luther, a black woman who is full of wisdom and encouragement. Hovering on the horizon is the Brown vs. Board of Education decision which is supposed to end school segregation, bringing with it even more racial tension than usual. In the midst of all of this, Jubie, her mother, older sister, younger sister, little brother and Mary embark on a road trip to Florida to visit her mother's brother. Along the way, when stopping for sleeping accommodations, special arrangements have to be made for Mary; usually out in the back on a cot with an out-house for her facilities. But that is the way it is and everyone plays their role.

While on vacation at the beach near her uncle's home, Jubie swims in the alluring waters of the Pensacola ocean, attends a carnival, meets a new friend in Leesum, a black boy of 15, and makes a discovery that explains her parents' estrangement. Later, traveling through rural areas and small towns in Georgia on the way to the family's next stop on their trip, Pawley's Island, there is an accident which delays their trip and they stay over in Claxton for a few days.
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17 of 18 people found the following review helpful By Luan Gaines HALL OF FAMETOP 500 REVIEWERVINE VOICE on March 29, 2011
Format: Paperback
A study on family dysfunction and racism in the 1950s south and a coming of age story, this tale is narrated in the voice of thirteen-year-old Jubie Watts. What reads like young adult fiction is tainted with an ugly brutality that might require discussion with a teen. The format is much-traveled, a young girl facing the harsh realities of the world she lives in, Jubie Watts no exception, her security unraveling with the increased arguments between Paula and William Watts, William's womanizing and drinking impacting his family destructively. The Watts are a traditional family of the era, four children, non-working mother, a "girl" to help with children and chores. Though Mary Luther, the family's "colored girl", is essential to a functioning household, she remains invisible because of the color of her skin. For Jubie, Mary is the rock on which everything rests, Paula too preoccupied to deal with the concerns of a precocious teenager.

A family driving vacation from Charlotte, North Carolina, to Pensacola, Florida is set against the seminal Supreme Court desegregation decision of Brown v. The Board of Education, Paula and her children packed into the family car, Mary in the back seat. The harsh words exchanged by her parents are soon forgotten as Jubie and her siblings experience the usual excitement and discomforts of the trip, but a tragedy inevitably occurs, completely unmooring Jubie from everything she has believed. The novel runs on two tracks, Jubie's awareness of a crumbling family dynamic and the entrenched racism of the 50s south, an array of signs posting nighttime curfews for "coloreds" (or the more derogatory term), strict enforcement of segregation in public transportation and in motels and the indomitable spirit of people who have endured long and suffered much.
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