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Review

“A masterpiece. . . . One of the few novels that feel as though they have made a difference to the world.”—Colm Tóibín, The New York Times Book Review“A boundary-pushing novel. . . . Like all great literature, it is an act of generosity, opening itself to every human possibility. . . . Grossman invites us to look beneath the shrill headlines, beyond the roadblocks, within the clenched fist—to see Israel’s predicament not as ‘the situation’ but as many situations, one for every person.”—The Washington Post“Enthralling. . . . Unsparing yet compassionate . . . Grossman’s electrifying narrative seems excruciatingly timely. . . . Unforgettable. . . . The unstudied beauty and psychological complexity of Grossman’s language, his deft and lively dialogue, are utterly compelling. . . . Rendered in Jessica Cohen’s exquisite translation, Grossman’s symphonic novel straddles despair and hope, a journey into inner and outer landscapes, delivering stunning rewards.”—The Miami Herald “Magnificent. . . . A powerful meditation. . . . Foremost among Grossman’s achievements is the creation of Ora, a modern-day Scheherazade and icon of the mourning mother.”—The Seattle Times“Grossman’s greatest fictional creation [is] Ora: tender, passionate, angry, funny, self-doubting, intuitive, above all a woman of ‘abundance.’ . . . [Her story] encompasses both the complex fullness of one life and the broader history of Israel’s modern conflicts. . . . This most Israeli of Grossman’s novels is also his most universal.”—George Packer, The New Yorker “A tour de force. . . . Unforgettable. . . . [Grossman’s] best.”—The Star-Ledger “Penetrating. . . . Grossman has produced a sprawling novel that stretches over nearly 35 years of Israeli history. Along with war and peace, life and death, Grossman reckons with the emotional and sexual geometry of Israelis, particularly the secular liberals now in middle age, much like their author.”—Newsday“This is a story of love and friendship, family and society, parents and children, life and death. And war and peace. . . . Whether lushly descriptive, emotive or narrative, Grossman’s writing is both controlled and passionate. . . . Ora’s voice is authentic and true, honed to perfection.”—Chicago Jewish Star “Profound. . . . A reminder of what Israel—what any country—is capable of doing to its sons.”—The Boston Globe “There are some writers in whose words one recognizes the texture of life. David Grossman is such a writer. He is a master of the emotionally accurate and significant. His characters don’t so much lie on the page as rise before the reader’s eyes, in three dimensions, their skin covered in prose that both stabs with insight and shines with compassion.”—Yann Martel, author of Life of Pi “Moving. . . . A convincing portrait of maternal grit and ingenuity in a time and place of relentless challenge. . . . In this powerful book, there are surprising answers of a kind, but the ongoing strife goes on.”—The Washington Times “Very rarely you open a book and when you close it again nothing can ever be the same. Walls have been pulled down, barriers broken, a dimension of feeling has opened in you that was not there before. David Grossman has the ability to look inside a person and discover the unique essence of her humanity; his novels are about what it means to defend this essence against a world designed to extinguish it. To the End of the Land is his most powerful, unflinching story of this defense.”—Nicole Krauss, author of The History of Love“A courageous and powerful antiwar novel.”—Kansas City Star“Grossman’s most ambitious work to date. . . . His imagination is secular, worldly, self-questioning and ironic. The Israel he imagines, beautifully and sorrowfully, is not going to be saved by any divine intervention.”—The Economist “Bold and uncompromising, this great emotional rush of a story sings and cries, exults and mourns.”—The Forward “An extraordinary epic of love, war, and sorrow. . . . Stunning—brilliantly written and beautifully constructed.”—The Times (London) “A deeply serious, utterly honest work about the state of Israel.”—Financial Times “Flaubert created his Emma, Tolstoy made his Anna, and now we have Grossman’s Ora—as fully alive, as fully embodied, as any character in recent fiction. I devoured this long novel in a feverish trance.”—Paul Auster, author of Invisible

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About the Author

David Grossman was born in Jerusalem. He is the author of numerous works of fiction, nonfiction, and children's literature. His work has appeared in The New Yorker and has been translated into more than forty languages. He is the recipient of many prizes, including the French Chevalier de l'Ordre des Arts et des Lettres, the Buxtehuder Bulle in Germany, Rome's Premio per la Pace e l'Azione Umanitaria, the Premio Ischia—international award for journalism, Israel's Emet Prize, and the Albatross Prize given by the Günter Grass Foundation.

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Product details

Series: Vintage International

Paperback: 672 pages

Publisher: Vintage; Reprint edition (August 9, 2011)

Language: English

ISBN-10: 9780307476401

ISBN-13: 978-0307476401

ASIN: 0307476405

Product Dimensions:

5.2 x 1.1 x 8 inches

Shipping Weight: 1 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

167 customer reviews

Amazon Best Sellers Rank:

#122,743 in Books (See Top 100 in Books)

To End of the Land takes us on an extended backpack across the Israeli landscape. As we accompany Ora, her lifelong friend and sometimes lover, Avram, and a stray dog that adopts them, we breathe the air and tread the soil of their troubled homeland. There are some among us for whom a two week stroll through the wilderness--cut off from the world of current events, cell phones and the comforts of home-- would be the most wonderful of luxuries. And then there are those who would view this same adventure as nothing less than an interminable nightmare to be avoided at all cost. Likewise there are those who will find this novel, devoid of the comforts of plot and action, interminable and discomforting. And then there will be others, like myself, who will find it a delicious treat--a long slow suck to be savored from the first sentence to the last. To the End of the Land, to be sure, is a long, meandering tale in which strikingly little happens. Like a wilderness trek, destination for Grossman is beside the point--it's the journey itself, and what you notice, and what you think about, along the way, which is the objective. Emotions, the intricacies of interpersonal relationships and the minutiae of daily life are what interests Grossman, not happenings--or at least not happenings that aren't filtered first through the distorting lens of emotion.For 650 pages Grossman meanders slowly through the inner life of his main character. As Ora hikes up and down, over, and around the mountains of northern Israel, we become entangled in her complex emotional life. Even more than Avram, who is privy only to her spoken words, we are her confidants as she contemplates her relationships with her sons and lovers. By the time we reach the end of the novel we know more about Ora, what she thinks about, and what she feels, than we do about even our most intimate associates. And yet, there is nothing extraordinary or even particularly compelling about her. Neurotic, annoying, malignantly insecure, self-centered, and bereft of insight and perspective, Ora's failings, obsessions and vulnerabilities are the substance of this psychological novel. Why should the inner life of this imperfect heroine interest us? For many it won't, but for me, it was precisely Ora's flaws that made her so interesting, so real, so Human, and in the end so appealing. For this reader at least, Human weakness is ever so much more interesting than its opposite.To wander so deeply into the emotional wilderness of a female character, especially one as flawed as Ora, is dangerous terrain for a male author. With his preoccupation with emotional nuance and interpersonal detail, Grossman writes with a feminine sensibility that, depending on one's perspective, the reader will find either courageous or audacious. As a male reader, I am perhaps a suspect judge, but I felt that, after my walk with Ora, I not only understand her, but had new insights into the flesh and blood women in my own life.While never polemical, To the End of the Land is without a question a political novel. Israeli politics are more than a backdrop; they are the novel's subject. Curiously, Grossman has chosen to show us Israel through the eyes of a character for whom politics is at best a peripheral concern. Ora certainly doesn't dwell much on geo-political questions except where they affect her directly. We never learn what her views are--most likely they are too nebulous to be put into words. Ora is not ignorant, she is all too aware of how political forces beyond her control have shaped her life. But for her it is all an intrusion; she would prefer to be left alone. As much as she is a woman, mother, wife and lover, Ora is an Israeli--and for Israelis escaping from politics is more or less impossible. Ora is as much a part of the land she is walking through as the stones she steps over. She can no more escape political realities than she can learn to fly. In a sense she is Israel. Her imperfections and her pain echo those of her country. Like Israel, Ora's troubles are largely of her own making. And like Israel, the degree to which we embrace her has to do with our willingness to forgive her her many mistakes. Ora senses the contradictions, suffers the guilt, and struggles to make sense of the tragedy playing out in her homeland, and yet she doesn't quite have the insight to put it all together into a coherent picture. This, too, echoes her more personal struggle to understand herself--she see the pieces but can't quite put them together. This artful weaving together of the political and the personal is perhaps the novel's greatest strength.Like its main character, the novel has its imperfections. Where the novel is weakest is when it makes forays away from Ora's inner life into the minds of the other characters. The novel would feel less unbounded if told exclusively from Ora's perspective. We should only know what Ora knows and feel what Ora feels. At times, Grossman seems torn between wanting to follow this artistic constraint and his desire to show us things beyond Ora's periphery. He attempts to resolve this by having her know things that seem improbable. The long section when Ora relates the story of Ilan's attempted rescue of Avram feels contrived because it is unbelievable that she could relate this story with such detail having heard it only once over twenty years ago. In this section the author has strayed from Ora's inner life into Ilan's, and this lack of artistic discipline weakens the novel. I also think that, given the breadth of detail about Ora's relationship with her sons and their fathers, the lack of detail about her family of origin is wanting. I can't help but think that if I knew more about her past I might understand her better. It seems likely that during her long introspective trek she would have reflected on the dynamics of the home she grew up in. However, these flaws are minor, compared to the novel's strengths. What Grossman has pulled off is rare in contemporary literature: a novel that works on both a microcosmic, personal level and a macrocosmic, societal level. Its scope is much broader than much of contemporary literature and yet he does this without sacrificing the intimate. I appreciated its slow, meticulous cadence and highly recommend this worthy read.

This is an extraordinarily powerful novel about families, war, and what happens when families and war are inextricably intertwined. I can't really say that I "enjoyed" ithis novel, but I found it engrossing and compelling, and I continue to think about the issues it explores. it is often painful, sometimes distressing, and at times (especially when the heroine is on a real tear) claustrophobic -- I listened to the book, and at times I wanted to pull out the earbuds and get away from the world Grossman creates. But I kept listening. I really couldn't have stopped, I cared so much about the characters, and I wanted to find out what happened next -- or more accurately what would next be revealed. Ex post, I am very glad to have read the book, and will recommend it strongly to friends and relations. It does what literature is supposed to do: put the reader in someone else's skin. And it is also, for a non-Israeli reader, very illuminating about what it means to be Israeli. Things from the inside are often far more complicated than they look from outside, and I learned a lot about the inside from this novel.

An Israeli woman has flashbacks of her traumatic childhood during one of Israel's wars. Now her soldier son is about to see action in a new war. Her ex-husband and close friend also lived through the previous war and were affected in various ways, and we get to know their stories too. It's as if everyone in the country is suffering from their own PTSD; a sense of unease and dread pervades the atmosphere. The author brilliantly express the woman's inmost thoughts and fears. His writing style is lyrical and elegiac. Minor characters, such as a Palestinian taxi driver and a Hasidic caretaker of homeless people, are fully filled-out and portrayed sympathetically.

Brief summary and review, no spoilers.A young Israeli soldier named Ofer has just finished his tour of duty, and his relieved mother Ora has planned a celebratory hiking tour in the Galilee. But when Ora finds out that Ofer has reenlisted, she panics and becomes convinced he will die. She then decides to start walking and take that journey to the Galilee because she believes that if she is not home with the notifiers arrive, she can insure that Ofer won't die. (The notifiers are the people who inform families that their loved ones have died.)Ora goes on this journey with Avram, Ofer's broken-down reclusive father. Avram suffered horrible injury when he served with the army during the Yom Kippur War years earlier. He has never met his son. Although he is a shadow of his former self and reluctant to take this journey with Ora, he does so and Ora tells him all about their son and helps bring Avram back to the world. It is through this journey and Ora's narration that we find out about the history of these characters, and how war has impacted their lives.Other important characters include Ora's estranged husband Ilan, with whom she had a child named Adam. Ora and Ilan and Avram were childhood friends, and we meet them all at the start of this book as they are convalescing at a hospital. We know early on that the three formed a love triangle, and by the end of the story we learn what happened.There are many reasons to recommend this book. There are wonderful passages with clever and witty dialogue that make us smile, even in the midst of tragedy. We also become intimately aware of what life is like in modern-day Israel, and how the constant strife and tension cause suspicion and hatred among those who would otherwise be friends.At the same time, this was not a quick read for me, by any means. In fact this was a very slow-go for me, and there were times when I put the book down I was not all that anxious to pick it up again. If you are looking for a quick page-turner, this is not it.Still, recommended for the author's skill and ability to draw us into this world, and for writing a contemporary anti-war novel that will stay with you for a long time.

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