“This book, this writer, are magnificent.”—Ann Patchett
Winner of The Story Prize • A Washington Post and New York Times Notable Book • One of USA Today’s top 10 books of the year
Recalling Olive Kitteridge in its richness, structure, and complexity, Anything Is Possible explores the whole range of human emotion through the intimate dramas of people struggling to understand themselves and others.
Here are two sisters: One trades self-respect for a wealthy husband while the other finds in the pages of a book a kindred spirit who changes her life. The janitor at the local school has his faith tested in an encounter with an isolated man he has come to help; a grown daughter longs for mother love even as she comes to accept her mother’s happiness in a foreign country; and the adult Lucy Barton (the heroine of My Name Is Lucy Barton, the author’s celebrated New York Times bestseller) returns to visit her siblings after seventeen years of absence.
Reverberating with the deep bonds of family, and the hope that comes with reconciliation, Anything Is Possible again underscores Elizabeth Strout’s place as one of America’s most respected and cherished authors.
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|Publisher:||Random House Publishing Group|
|Product dimensions:||5.20(w) x 8.00(h) x 0.70(d)|
About the Author
Hometown:Brooklyn, New York
Date of Birth:January 6, 1956
Place of Birth:Portland, Maine
Education:B.A., Bates College, 1977; J.D., Syracuse College of Law, 1982
Read an Excerpt
Tommy Guptill had once owned a dairy farm, which he’d inherited from his father, and which was about two miles from the town of Amgash, Illinois. This was many years ago now, but at night Tommy still sometimes woke with the fear he had felt the night his dairy farm burned to the ground. The house had burned to the ground as well; the wind had sent sparks onto the house, which was not far from the barns. It had been his fault—he always thought it was his fault—because he had not checked that night on the milking machines to make sure they had been turned off properly, and this is where the fire started. Once it started, it ripped with a fury over the whole place. They lost everything, except for the brass frame to the living room mirror, which he came upon in the rubble the next day, and he left it where it was. A collection was taken up: For a number of weeks his kids went to school in the clothes of their classmates, until he could gather himself and the little money he had; he sold the land to the neighboring farmer, but it did not bring much money in. Then he and his wife, a short pretty woman named Shirley, bought new clothes, and he bought a house as well, Shirley keeping her spirits up admirably as all this was going on. They’d had to buy a house in Amgash, which was a run-down town, and his kids went to school there instead of in Carlisle, where they had been able to go to school before, his farm being just on the line dividing the two towns. Tommy took a job as the janitor in the Amgash school system; the steadiness of the job appealed to him, and he could never go to work on someone else’s farm, he did not have the stomach for that. He was thirty-five years old at the time.
The kids were grown now, with kids of their own who were also grown, and he and Shirley still lived in their small house; she had planted flowers around it, which was unusual in that town. Tommy had worried a good deal about his children at the time of the fire; they had gone from having their home be a place that class trips came to—each year in spring the fifth-grade class from Carlisle would make a day of it, eating their lunches out beside the barns on the wooden tables there, then tromping through the barns watching the men milking the cows, the white foamy stuff going up and over them in the clear plastic pipes—to having to see their father as the man who pushed the broom over the “magic dust” that got tossed over the throw-up of some kid who had been sick in the hallways, Tommy wearing his gray pants and a white shirt that had Tommy stitched on it in red.
Well. They had all lived through it.
This morning Tommy drove slowly to the town of Carlisle for errands; it was a sunny Saturday in May, and his wife’s eighty-second birthday was just a few days away. All around him were open fields, the corn newly planted, and the soybeans too. A number of fields were still brown, as they’d been plowed under for their planting, but mostly there was the high blue sky, with a few white clouds scattered near the horizon. He drove past the sign on the road that led down to the Barton home; it still said SEWING AND ALTERATIONS, even though the woman, Lydia Barton, who did the sewing and alterations had died many years ago. The Barton family had been outcasts, even in a town like Amgash, their extreme poverty and strangeness making this so. The oldest child, a man named Pete, lived alone there now, the middle child was two towns away, and the youngest, Lucy Barton, had fled many years ago, and had ended up living in New York City. Tommy had spent time thinking of Lucy. All those years she had lingered after school, alone in a classroom, from fourth grade right up to her senior year in high school; it had taken her a few years to even look him in the eye.
But now Tommy was driving past the area where his farm had been—these days it was all fields, not a sign of the farm was left—and he thought, as he often thought, about his life back then. It had been a good life, but he did not regret the things that had happened. It was not Tommy’s nature to regret things, and on the night of the fire—in the midst of his galloping fear—he understood that all that mattered in this world were his wife and his children, and he thought that people lived their whole lives not knowing this as sharply and constantly as he did. Privately, he thought of the fire as a sign from God to keep this gift tightly to him. Privately, because he did not want to be thought of as a man who made up excuses for a tragedy; and he did not want anyone—not even his dearly beloved wife—to think he would do this. But he had felt that night, while his wife kept the children over by the road—he had rushed them from the house when he saw that the barn was on fire—as he watched the enormous flames flying into the nighttime sky, then heard the terrible screaming sounds of the cows as they died, he had felt many things, but it was just as the roof of his house crashed in, fell into the house itself, right into their bedrooms and the living room below with all the photos of the children and his parents, as he saw this happen he had felt—undeniably—what he could only think was the presence of God, and he understood why angels had always been portrayed as having wings, because there had been a sensation of that—of a rushing sound, or not even a sound, and then it was as though God, who had no face, but was God, pressed up against him and conveyed to him without words—so briefly, so fleetingly—some message that Tommy understood to be: It’s all right, Tommy. And then Tommy had understood that it was all right. It was beyond his understanding, but it was all right. And it had been. He often thought that his children had become more compassionate as a result of having to go to school with kids who were poor, and not from homes like the one they had first known. He had felt the presence of God since, at times, as though a golden color was very near to him, but he never again felt visited by God as he had felt that night, and he knew too well what people would make of it, and this is why he would keep it to himself until his dying day—the sign from God.
Still, on a spring morning as this one was, the smell of the soil brought back to him the smells of the cows, the moisture of their nostrils, the warmth of their bellies, and his barns—he had had two barns—and he let his mind roll over pieces of scenes that came to him. Perhaps because he had just passed the Barton place he thought of the man, Ken Barton, who had been the father of those poor, sad children, and who had worked on and off for Tommy, and then he thought—as he more often did—of Lucy, who had left for college and then ended up in New York City. She had become a writer.
Driving, Tommy shook his head slightly. Tommy knew many things as a result of being the janitor in that school more than thirty years; he knew of girls’ pregnancies and drunken mothers and cheating spouses, for he overheard these things talked about by the students in their small huddles by the bathrooms, or near the cafeteria; in many ways he was invisible, he understood that. But Lucy Barton had troubled him the most. She and her sister, Vicky, and her brother, Pete, had been viciously scorned by the other kids, and by some of the teachers too. Yet because Lucy stayed after school so often for so many years he felt—though she seldom spoke—that he knew her the best. One time when she was in the fourth grade, it was his first year working there, he had opened the door to a classroom and found her lying on three chairs pushed together, over near the radiators, her coat as a blanket, fast asleep. He had stared at her, watching her chest move slightly up and down, seen the dark circles beneath her eyes, her eyelashes spread like tiny twinkling stars, for her eyelids had been moist as though she had been weeping before she slept, and then he backed out slowly, quietly as he could; it had felt almost unseemly to come upon her like that.
But one time—he remembered this now—she must have been in junior high school, and he’d walked into the classroom and she was drawing on the blackboard with chalk. She stopped as soon as he stepped inside the room. “You go ahead,” he said. On the board was a drawing of a vine with many small leaves. Lucy moved away from the blackboard, then she suddenly spoke to him. “I broke the chalk,” she said. Tommy told her that was fine. “I did it on purpose,” she said, and there was a tiny glint of a smile before she looked away. “On purpose?” he asked, and she nodded, again with the tiny smile. So he went and picked up a piece of chalk, a full stick of it, and he snapped it in half and winked at her. In his memory she had almost giggled. “You drew that?” he asked, pointing to the vine with the small leaves. And she shrugged then and turned away. But usually, she was just sitting at a desk and reading, or doing her homework, he could see that she was doing that.
He pulled up to a stop sign now, and said the words aloud to himself quietly, “Lucy, Lucy, Lucy B. Where did you go to, how did you flee?”
He knew how. In the spring of her senior year, he had seen her in the hallway after school, and she had said to him, so suddenly open-faced, her eyes big, “Mr. Guptill, I’m going to college!” And he had said, “Oh, Lucy. That’s wonderful.” She had thrown her arms around him; she would not let go, and so he hugged her back. He always remembered that hug, because she had been so thin; he could feel her bones and her small breasts, and because he wondered later how much—how little—that girl had ever been hugged.
Tommy pulled away from the stop sign and drove into the town; right there beyond was a parking space. Tommy pulled in to it, got out of his car, and squinted in the sunshine. “Tommy Guptill,” shouted a man, and, turning, Tommy saw Griff Johnson walking toward him with his characteristic limp, for Griff had one leg that was shorter than the other, and even his built-up shoe could not keep him from limping. Griff had an arm out, ready to shake hands. “Griffith,” said Tommy, and they pumped their arms for a long time, while cars drove slowly past them down Main Street. Griff was the insurance man here in town, and he had been awfully good to Tommy; learning that Tommy had not insured his farm for its worth, Griff had said, “I met you too late,” which was true. But Griff, with his warm face, and big belly now, continued to be good to Tommy. In fact, Tommy did not know anyone—he thought—who was not good to him. As a breeze moved around them, they spoke of their children and grandchildren; Griff had a grandson who was on drugs, which Tommy thought was very sad, and he just listened and nodded, glancing up at the trees that lined Main Street, their leaves so young and bright green, and then he listened about another grandson who was in medical school now, and Tommy said, “Hey, that’s just great, good for him,” and they clapped hands on each other’s shoulders and moved on.
In the dress shop, with its bell that announced his entrance, was Marilyn Macauley, trying on a dress. “Tommy, what brings you in here?” Marilyn was thinking of getting the dress for her granddaughter’s baptism a few Sundays from now, she said, and she tugged on the side of it; it was beige with swirling red roses; she was without her shoes, standing in just her stockings. She said that it was an extravagance to buy a new dress for such a thing, but that she felt like it. Tommy—who had known Marilyn for years, first when she was in high school as a student in Amgash—saw her embarrassment, and he said he didn’t think it was an extravagance at all. Then he said, “When you have a chance, Marilyn, can you help me find something for my wife?” He saw her become efficient then, and she said yes, she certainly would, and she went into the changing room and came back out in her regular clothes, a black skirt and a blue sweater, with her flat black shoes on, and right away she took Tommy over to the scarves. “Here,” she said, pulling out a red scarf that had a design with gold threads running through it. Tommy held it, but picked up a flowery scarf with his other hand. “Maybe this,” he said. And Marilyn said, “Yes, that looks like Shirley,” and then Tommy understood that Marilyn liked the red scarf herself but would never allow herself to buy it. Marilyn, that first year Tommy worked as a janitor, had been a lovely girl, saying “Hi, Mr. Guptill!” whenever she saw him, and now she had become an older woman, nervous, thin, her face pinched. Tommy thought what other people thought, it was because her husband had been in Vietnam and had never afterward been the same; Tommy would see Charlie Macauley around town, and he always looked so far away, the poor man, and poor Marilyn too. So Tommy held the red scarf with the gold threads for a minute as though considering it, then said, “I think you’re right, this one looks more like Shirley,” and took the flowery one to the register. He thanked Marilyn for her help.
“I think she’ll love it,” Marilyn said, and Tommy said he was sure she would.
Table of Contents
The Sign 3
The Hit-Thumb Theory 92
Mississippi Mary 115
Dottie's Bed & Breakfast 181
Reading Group Guide
1. Why do you think Elizabeth Strout chose to structure Anything Is Possible as a novel in the form of linked stories? How would your understanding of the book change if it had been written instead as a novel with a single narrative?
2. How does the town of Amgash feature in the text? How does it shape the lives of its residents? If Amgash had its own personality, how would you characterize it?
3. The past plays a strong role in these stories, and many of the characters find themselves struggling to reconcile with it. What are the various ways in which the past shapes them? How do they attempt to deal with their own pasts, and those of the people around them?
4. Strout deals with many different types of family relationships in the book—between parents and children, between spouses, among siblings. How are these different types of relationships treated? What are the differences and similarities in the ways the characters navigate these relationships? Which ones resonated most with you, and why?
5. An emotion that Strout addresses throughout Anything Is Possible is shame. What are the different roles shame plays for the various characters in these stories? How are they motivated, propelled, or hindered by shame? What effects does shame have on these characters’ sense of self and their relationships with others?
6. Lucy Barton’s legend looms large in Amgash. How do we perceive her through the eyes of the characters in each of these stories? How do these impressions of her differ? When Lucy makes an appearance in “Sister,” did your perception of her change as Strout reveals the impact of Lucy’s absence on her siblings?
7. Strout portrays wealth and/or poverty through the changing circumstances of several of her characters: Linda Peterson-Cornell; Abel Blaine; Abel’s sister, Dottie; Tommy Barton and his sister Vicky. How do these characters react to their economic circumstances? How do these circumstances shape their relationships to those around them, and how they are perceived?
8. Many of the characters in these stories overcome adverse circumstances to experience moments of grace—Abel Blaine, Patty Nicely, and Angelina Mumford, for example. How do these moments of grace present themselves? Why do you think Strout decided to give her characters these opportunities for grace? How did this shape your understanding of these stories and characters?
9. Was there a character or story that affected you more than the others? Which, and why?
10. How did you interpret Strout’s choice of Anything Is Possible as a title, and how do you think this concept resonated with Abel Blaine in the last chapter of the book?