Ellen Foster
Announced on October 27, 1997
About the Book
Ellen's first eleven years are a long fight for survival. Her invalid, abused mother commits suicide, leaving Ellen to the mercies of her daddy, a drunken brute who either ignores her or makes sexual threats. Through her intelligence and grit Ellen is able to provide for herself, but her desperate attempts to create an environment of order and decorum within her nightmarish home are repeatedly foiled by her father. After his death, a judge awards Ellen's custody to her mother's mother, a bitter and vengeful woman who hated her son-in-law for ruining her own daughter's life and who hates the child Ellen for her physical resemblance to him.

Against all odds, Ellen never gives up her belief that there is a place for her in the world, a home which will satisfy all her longing for love, acceptance, and order. Her eventual success in finding that home and courageously claiming it as her own is a testimony to her unshakable faith in the possibility of good. She never loses that faith, and she never loses her sense of humor. Ellen Foster, like another American classic, Huckleberry Finn, is for all its high comedy ultimately a serious fable of personal and collective responsibility.

Learn more about Ellen Foster
Kaye Gibbons
About the Author
Kaye Gibbons was born in Nash County, North Carolina, in 1960. She graduated from Rocky Mount High School and continued her studies at the University of North Carolina at Chapel Hill. While studying American literature at Chapel Hill, she wrote her first novel, Ellen Foster, which reviewers and fans praised as an extraordinary debut. Eudora Welty said that "the honesty of thought and eye and feeling and word" mark the work of this talented writer, and Walker Percy said, "Ellen Foster is a southern Holden Caufield, tougher perhaps, as funny…A breathtaking first novel".

Ellen Foster went on to win the Sue Kaufman award for First Fiction from the academy of Arts and Letters, A Special Citation from the Ernest Hemingway Foundation, and the Louis Rubin Writing Award from the University of North Carolina. The book has been widely translated and is studied as part of the canon of French literature.

Her second novel, A Virtuous Woman, was published in 1989 and also received wide praise in the United states and abroad. The San Francisco Chronicle called the book "a perfect little gem."

In 1989, Gibbons received a grant from the National Endowment for the Arts to write a third novel, A Cure for Dreams, which was published in 1991. This novel won the 1990/PEN Revson Award for the best work of fiction published by a writer under thirty five years of age, as well as the Heartland Prize for Fiction from The Chicago Tribune and the North Carolina Sir Walter Raleigh Award. At that time, Gibbons also won the University of North Carolina Distinguished Alumnus Award.

In March 1993, G.P. Putnam's Sons published her fourth novel, Charm for the Easy Life, which became a New York Times bestseller, and prompted a Time magazine review to say, "Some people might give up their second-born to write as well as Kaye Gibbons." In 1995, G.P. Putnam's Sons published Sights Unseen, which became a national bestseller. In 1996, Kaye Gibbons was the youngest writer ever to receive the Chevalier De L'Ordre Des Arts Et Des Lettres, a French Knighthood recognizing her contribution to French literature. On December 14, 1997 Hallmark Hall of Fame presented Ellen Foster, starring Julie Harris, on CBS.

Her next novel, On the Occasion of My Last Afternoon, was published in the summer of 1998.
Ellen Foster
Reading Group Discussion Questions
View printable version

The questions and discussion topics that follow are intended to enhance your group's reading of Kaye Gibbons' Ellen Foster. We hope they will give you a number of interesting angles from which to approach this harrowing yet often hilarious story of an abandoned child's search for her place in the world.
  1. Ellen is searching for a home. How does she define home at the beginning of the novel, and how does she refine her definition during the course of the narrative? What examples of family life and of parenthood has she had to guide her? How do the various parents she observes measure up? What message does Ellen receive during the course of the book about parents and parenthood? Is Gibbons's point that, in the end, family members are unreliable? That one can rely on no one but oneself?
  2. Ellen is a person who is inclined to make lists; she is very concerned with order. What attempts does she make to introduce order into her own life? What is the source of this need for order and what light does it shed on Ellen's instinct for survival? How does the theme of control and personal responsibility come up in relation to the novel's other characters? How does it relate to the deaths of Ellen's mother and grandmother?
  3. Why have none of the concerned adults in Ellen's life--her teachers, Starletta's parents, Julia and Roy, Mavis--been able to rescue her from the dreadful and dangerous life she leads within her own family? How does this failure reflect upon the nature of Ellen's society? What is it about the life even of a small and inter-connected community that keeps people from being able to help a desperate child? Is the legal system at fault? The social one?
  4. "People say they do not try to be white" (p.29), Ellen says about Starletta's parents. What does this tell us about the society they live in? What does Ellen's initial description of Starletta's home reveal about Ellen herself? What details in her narrative expose her assumptions about black people? By extension, what do they show about her own vision of herself and her family? How do these assumptions change, and what causes then to do so? How does Ellen's observation of Mavis and her family contribute to her changing attitudes? Ellen's grandmother said she would learn something from picking cotton. What, in fact, does she learn?
  5. "Nobody but a handful of folks I know pays attention to rules about how to treat somebody anyway," Ellen reflects. "But as I lay in that bed and watch my Starletta fall asleep I figure that if they could fight a war over how I'm supposed to think about her then I'm obligated to do it" (p.126). What discovery has Ellen made here? Why is Starletta's weekend visit to significant to Ellen? Do you think the author is saying that Ellen is now a person without prejudice?
  6. The South's violent history of slavery, war and racial hatred is the unstated background for this story. How does Gibbons make us aware of its silent presence? To what degree is Ellen herself aware of it? Is the contemporary black experience as she observes it still based upon the fact of slavery, paid or unpaid? What is Ellen's way of personally coping with this tragic history?
  7. The judge who awarded Ellen's custody to her grandmother expresses the common idea that a child should be with her own family, but Ellen rejects. "What do you do when the judge talks about he family society's cornerstone but you know yours was never a Roman pillar but is and always has been a crumbly old brick?" [p. 56] she asks herself. Does Gibbons imply that a child's being with its biological family is not, after all, that important? Which is more important, the family you choose or the family you are born into?
  1. Ellen does not believe in the church's version of God. "Chickenshit is what I would say" [p. 96], she says of Nadine's version of Heaven. But she does have her own version of God, and speaks to him on occasion. What sort of relationship does she have with the deity? What kind of deity is he--fair or strict? Accessible or inaccessible? Forgiving or unforgiving? How much of his character derives from the traditional God about whom the church has taught her?
  2. The society around--particularly her mother's family--tries to make her feel guilty about many of her actions, even, in the case of her mama's mama, about her very existence. To what degree does Ellen share the feeling that she herself is guilty? Are the acts she feels guilty about the same ones she is blamed for by the people around her? She seems deeply concerned with the idea of personal atonement. What are her feelings about atonement and how does she herself atone by the end of the novel?
  3. Money and the good and bad effects of having it or not having it are a recurring issue in Ellen Foster. Ellen boldly states, "All I really cared about accumulating was money. I saved a bundle." In the book, economic status is often integrated into characters descriptions or included in the rationale for characters' actions. How does Gibbons depict money as a force in people's lives? Is money, in and of itself, deemed to be either good or evil?
  4. In Ellen Foster, Kaye Gibbons has chosen not to use quotation marks for dialogue. Look at passages like the ones on pages 32, 47 and 48, and 112. How do you know who is speaking? Are we listening only to Ellen, or listening in on a private question? How does the author's decision not to use quotation marks affect the reading experience?
  5. "Dora, let me tell you a thing or two," Ellen says. "There is no Santa Claus" (p. 107). Yet, on Christmas Eve, Ellen longs to hear something landing on the roof. Having been deprived of her own childhood illusions, she hates Dora for retaining all of hers, but in spite of Starletta's happy Christmas and her toys, Ellen does not hate Startletta. What is the difference between Dora's and Starletta's innocent belief in Santa Claus? What does the Christmas scene as a whole say about the characters of Dora and Nadine? What does it say about family, childhood, innocence and celebration?
  6. What does Ellen's encounter with the school physciatrist tell us about Ellen? What does it tell us about the psychiatrist and the kind of therapy he practices? How effective is the therapy as a tool for dealing with children like Ellen? Is it the psychiatrist's personal defects that keep it from working with Ellen, or would it be equally ineffective no matter who the practitioner was?
  7. Two of the primary metaphors that recur throughout the novel are the magician and the microscope. What do you think each symbolizes? Who is the magician? How do his "appearances" after the deaths of Ellen's mother and father affect her internalization of the events? Why does the novel's diction change so markedly during these passages?
  8. Why has Gibbons chosen the quotation from Emerson's Self-Reliance to begin her novel? How does the quotation relate to the text, to the character of Ellen, and to Gibbon's stated and implied themes? What has the novel itself to say about the attribute of American literature? What other American novels does Ellen Foster echo? If you have read Mark Twain's Huckelberry Finn, can you compare the two novels? Would it be fair to say that Ellen Foster is a female version of that very masculine story? How does the concept of "self reliance" mold both books?
Ellen Foster
Book Reviews
"It's the real thing. Which is to say: a lovely, breathtaking, some-times heart-wrenching first novel. Old Ellen she call herself, and she is—an eleven-year-old ancient, as much a part of the back-wood South as a Faulkner character--and a good deal more endearing."
— Walter Percy

"A captivating, often hilarious mix of Victorian fairy tale and fresh American lingo, told by an eleven-year-old orphan driven to desperation by the wickedest relatives in literature since King Lear: She saves herself and enchants the reader by recounting her story; line by line, in a style primitive, saucy, and exhilarating."
— Alfred Kazin

"Original, compelling, and frighteningly real, the voice of Ellen Foster makes the reader know her story in her own terms. I was absorbed and moved. Kaye Gibbons is a new writer of great force. She knows how to speak to our hearts." — Elizabeth Spencer

"Look out for Kaye Gibbons! For she is on the prowl for you. And when she corners you (oh, she will corner you), she is going to snatch the heart right out of your chest."
— Gordin Lish


Next Story