My Sister's Keeper
A Novel
by Jodi Picoult
List Price: $14.00
Pages: 448
Format: Paperback
ISBN: 0743454537
Publisher: Atria
Jodi Picoult received an A.B. in creative writing from Princeton and a master's degree in education from Harvard. The recipient of the 2003 New England Book Award for her entire body of work, she is the author of ten previous novels, including Second Glance, Perfect Match, and Salem Falls. She lives in New Hampshire with her husband and three children.
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Q: Your novels are incredibly relevant because they deal with topics that are a part of the national dialogue. Stem cell research and "designer babies" are issues that the medical community (and the political community) seems to be torn about. Why did you choose this subject for My Sister's Keeper? Did writing this novel change any of your views in this area?
JP: I came about the idea for this novel through the back door of a previous one, Second Glance. While researching eugenics for that book, I learned that the American Eugenics Society -- the one whose funding dried up in the 1930s when the Nazis began to explore racial hygeine too -- used to be housed in Cold Spring Harbor, NY. Guess who occupies the same space, today? The Human Genome Project...which many consider "today's eugenics". This was just too much of a coincidence for me, and I started to consider the way this massive, cutting edge science we're on the brink of exploding into was similar...and different from...the eugenics programs and sterilization laws in America in the 1930s. Once again, you've got science that is only as ethical as the people who are researching and implementing it -- and once again, in the wake of such intense scientific advancement, what's falling by the wayside are the emotions involved in the case by case scenarios. I heard about a couple in America that successfully conceived a sibling that was a bone marrow match for his older sister, a girl suffering from a rare form of leukemia. His cord blood cells were given to the sister, who is still (several years later) in remission. But I started to wonder...what if she ever, sadly, goes out of remission? Will the boy feel responsible? Will he wonder if the only reason he was born was because his sister was sick? When I started to look more deeply at the family dynamics and how stem cell research might cause an impact, I came up with the story of the Fitzgeralds. I personally am pro stem-cell research - there's too much good it can to do simply dismiss it. However, clearly, it's a slippery slope...and sometimes researchers and political candidates get so bogged down in the ethics behind it and the details of the science that they forget completely we're talking about humans with feelings and emotions and hopes and fears...like Anna and her family. I believe that we're all going to be forced to think about these issues within a few years...so why not first in fiction?
Q: In Jesse, you've done an amazing job of bringing the voice of the "angry young man" alive with irreverent originality. Your ability to transcend gender lines in your writing is seemingly effortless. Is this actually the case, or is writing from a male perspective a difficult thing for you to do?
JP: I have to tell you - writing Jesse is the most fun I've had in a long time. Maybe at heart I've always wanted to be a 17 year old juvenile delinquent...but for whatever reason, it was just an absolute lark to take someone with so much anger and hurt inside him and give him voice. It's always more fun to pretend to be someone you aren't, for whatever reason -- whether that means male, or thirteen, or neurotic, or suicidal, or any of a dozen other first person narrators I've created. Whenever I try on a male voice - like Jesse's or Campbell's or Brian's - it feels like slipping into a big overcoat. It's comfortable there, and easy to get accustomed to wearing...but if I'm not careful, I'll slip and show what I've got on underneath.
Q: On have to tell you - writing Jesse is the most fun I've had in a long time. Maybe at heart I've always wanted to be a 17 year old juvenile delinquent...but for whatever reason, it was just an absolute lark to take someone with so much anger and hurt inside him and give him voice. It's always more fun to pretend to be someone you aren't, for whatever reason -- whether that means male, or thirteen, or neurotic, or suicidal, or any of a dozen other first person narrators I've created. Whenever I try on a male voice - like Jesse's or Campbell's or Brian's - it feels like slipping into a big overcoat. It's comfortable there, and easy to get accustomed to wearing...but if I'm not careful, I'll slip and show what I've got on underneath.
JP: Well, that's exactly why it has to be Jesse who says it. To Jesse, whatever injustices he thinks he's suffered growing up will always pale to the Great Injustice of his sister being sick. He can't win, plain and simple...so he doesn't bother to try. When you read Jesse, you think you see exactly what you're getting: a kid who's gone rotten to the core. But I'd argue that in his case, you're dealing with an onion...someone whose reality is several layers away from what's on the surface. The question isn't whether Jesse's bad...it's what made him that way in the first place...and whether that's really who he is, or just a facade he uses to protect a softer self from greater disappointment.
Q: How did you choose which quotes would go at the beginning of each section? Milton, Shakespeare, D.H. Lawrence -- are these some of your favorite authors, or did you have other reasons for choosing them?
JP: I suppose I could say that all I ever read are the Masters...and that these quotes just popped out of my memory...but I'd be lying! The bits I used at the beginning of the sections are ones that I searched for, diligently. I was looking for allusions to fire, flashes, stars -- all imagery that might connect a family which is figuratively burning itself out.
Q: Sisterhood, and siblinghood for that matter, is a central concept in this work. Why did you make Isobel and Julia twins? Does this plot point somehow correspond with the co-dependence between Kate and Anna? What did you hope to reveal about sisterhood through this story?
JP: I think there is a relationship between sisters that is unlike other sibling bonds. It's a combination of competition and fierce loyalty, which is certainly evident in both sets of sisters in this book. The reason Izzy and Julia are twins is because they started out as one embryo, before splitting in utero...and as they grew their differences became more pronounced. Kate and Anna, too, have genetic connections...but unlike Izzy and Julia, aren't able to separate from each other to grow into distinct individuals. I wanted to hold up both examples to the reader, so that they could see the difference between two sisters who started out as one and diverged; and two sisters who started out distinct from each other, and somehow became inextricably tangled.
Q: Anyone who has watched a loved one die (and anyone with a heart in their chest) would be moved by the heartfelt, realistic and moving depiction of sickness and death that is presented in this story. Was it difficult to imagine that scenario? How did you generate the realistic details?
JP: It's always hard to imagine a scenario where a family is dealing with intense grief, because naturally, you can't help but think of your own family going through that sort of hell. When researching the book, I spoke to children who had cancer, as well as their parents -- to better capture what it felt like to live day by day, and maintain a positive attitude in spite of the overwhelming specter of what might be just around the corner. To a lesser extent, I also drew on my own experience, as a parent with a child who faced a series of surgeries: when my middle son Jake was 5, he was diagnosed with bilateral cholesteatomas in his ears -- benign tumors that will eventually burrow into your brain and kill you, if you don't manage to catch them. He had ten surgeries in three years, and he's tumor free now. Clearly, I wasn't facing the same urgent fears that the mom of a cancer patient faces...but it's not hard to remember how trying those hospitalizations were. Every single time I walked beside his gurney into the OR, where I would stay with him while he was anesthetized, I'd think, "Okay, just take my ear; if that keeps him from going through this again." That utter desperation and desire to make him healthy again became the heart of Sara's monologues...and is the reason that I cannot hate her for making the decisions she did.
Q: Sara is a complicated character, and readers will probably both criticize and empathize with her. How do you see her role in the story?
JP: Like Nina Frost in Perfect Match, Sara's going to generate a bit of controversy, I think. And yet, I adore Nina...and I really admire Sara too. I think that she's the easy culprit to blame in this nightmare...and yet I would caution the reader not to rush to judgment. As Sara says at the end of the book, it was never a case of choosing one child over the other - it was a case of wanting BOTH. I don't think she meant for Anna to be at the mercy of her sister...I think she was only intent on doing what had to be done to keep that family intact. Now...that said...I don't think she's a perfect mom. She lets Jesse down - although she certainly was focused on more pressing emergencies, it's hard for me to imagine giving up so completely on a child, no matter what. And she's so busy fixating on Kate's shaky future that she loses sight of her family in the here and now -- an oversight, of course, that she will wind up regretting forever at the end of the book.
Q: The point of view of young people is integral in your novels. In fact, more wisdom, humor and compassion often comes from them than anywhere else. What do you think adults could stand to learn from children? What is it about children that allows them to get to the truth of things so easily?
JP: Kids are the consummate radar devices for screening lies. They instinctively know when someone isn't being honest, or truthful, and one of the really hard parts about growing up is learning the value of a white lie...for them, it's artifice that has to be acquired...remember how upset Holden Caulfield got at all the Phonies? Anna sees things the way they are because mentally she's still a kid - in spite of the fact that she's pretty much lost her childhood. The remarkable thing about adolescents, though, that keeps me coming back to them in fiction...is that even when they're on the brink of realizing that growing up means compromising and letting go of those ideals, they still hold fast to hope. They may not want to admit to it (witness Jesse!) but they've got it tucked into their back pockets, just in case. It's why teens make such great and complicated narrators.
Q: The ending of My Sister's Keeper is surprising and terribly sad. Without giving too much away, can you share why you choose to end the novel this way? Was it your plan from the beginning, or did this develop later on, as you were writing?
JP: Let me tell you a story: My Sister's Keeper is the first book one of my own kids has read. Kyle, who's twelve, picked it up and immediately got engrossed in it. The day he finished the book, I found him weeping on the couch. He pushed me away and went up to his room and told me that he really didn't want to see me or talk to me for a while - he was THAT upset. Eventually, when we did sit down to discuss it, he kept asking, "Why? Why did it have to end like that?" The answer I gave him (and you) is this: because this isn't an easy book, and you know from the first page, that there are no easy answers. Medically, this ending was a realistic scenario for the family -- and thematically, it was the only way to hammer home to all the characters what's truly important in life. Do I wish it could have had a happy ending? You bet -- I even gave a 23rd hour call to a oncology nurse to ask if there was some other way to end the book -- but finally, I came to see that if I wanted to be true to the story, this was the right conclusion.
Q: All of your books to date have garnered wonderful press. In what ways, if any, does this change your writing experience?
JP: Um, are you reading the same reviews that I am?!? I'm kidding - well, a little. I've had overwhelmingly good reviews, but I think the bad reviews always stick with you longer, because they sting so much (no matter how many times I tell myself I'm going to ignore them, I read them anyway). I am fortunate to write commercially marketed books that still manage to get review coverage -- too often in this industry books are divided by what's reviewed and literary, or what's advertised and commercial. It's incredibly fun to have a starred review in a magazine -- photographers come out and take fancy pictures of you, and people are forever seeing your face and a description of your novel when they hang out in doctor's and dentist's waiting rooms. But the best thing about good press is that it makes people who might not otherwise have a clue who you are want to go and pick up your book. I never write a book thinking of reviewers (in fact, if I did, I'd probably just hide under my desk and never type another letter!) but I certainly think about whether it will hold the interest of a reader as well as it's holding my own.
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Excerpted from My Sister's Keeper © Copyright 2008 by Jodi Picoult. Reprinted with permission by Atria. All rights reserved.
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