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  • I Was Amelia Earhart
  • Written by Jane Mendelsohn
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  • I Was Amelia Earhart
  • Written by Jane Mendelsohn
  • Format: eBook | ISBN: 9780307814203
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I Was Amelia Earhart

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Written by Jane MendelsohnAuthor Alerts:  Random House will alert you to new works by Jane Mendelsohn

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On Sale: December 07, 2011
Pages: 160 | ISBN: 978-0-307-81420-3
Published by : Vintage Knopf
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ABOUT THE BOOK ABOUT THE BOOK
ABOUT THE AUTHOR ABOUT THE AUTHOR
AWARDS AWARDS
READER'S GUIDE READER'S GUIDE
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Synopsis|Excerpt

Synopsis

In this brilliantly imagined novel, Amelia Earhart tells us what happened after she and her navigator, Fred Noonan, disappeared off the coast of New Guinea one glorious, windy day in 1937. And she tells us about herself.

There is her love affair with flying ("The sky is flesh") . . . .

There are her memories of the past: her childhood desire to become a heroine ("Heroines did what they wanted") . . . her marriage to G.P. Putnam, who promoted her to fame, but was willing to gamble her life so that the book she was writing about her round-the-world flight would sell out before Christmas.

There is the flight itself -- day after magnificent or perilous or exhilarating or terrifying day ("Noonan once said any fool could have seen I was risking my life but not living it").

And there is, miraculously, an island ("We named it Heaven, as a kind of joke").

And, most important, there is Noonan . . .


From the Hardcover edition.

Excerpt

I WAS AMELIA EARHART

The sky is flesh.

The great blue belly arches up above the water and bends down behind the line of the horizon. It's a sight that has exhausted its magnificence for me over the years, but now I seem to be seeing it for the first time.

More and more now, I remember things. Images, my life, the sky. Sometimes I remember the life I used to live, and it feels impossibly far away. It's always there, a part of me, in the back of my mind, but it doesn't seem real. Whether life is more real than death, I don't know. What I know is that the life I've live since I died feels more real to me than the one I lived before.

I know this: I risked my life without living it. Noonan once said any fool could have seen I was risking my life but not living it. I had already been flying for a long time when he said that. It was 1937. I was thirty-nine. I was more beautiful than ever, but an aura of unhappiness traveled with me, like the trail of a falling comet. I felt as though I had already lived my entire life, having flown the Atlantic and set several world records, and there was no one to share my sadness with, least of all my husband. Charmed by my style and my daring exploits, the public continued to send me flowers and gifts, but the love of strangers meant nothing to me. My luminous existence left me longing and bored. I had no idea what it meant to live an entire life. I was still very young.

So, the sky.

It's the only sky that I can remember, the only one that speaks to me now.

I'm flying around the world, there's nothing but sky. The sky is flesh. It's the last sky.

I remember: I'm flying around the world, I'm flying over the Pacific somewhere of the coast of New Guinea in my twin-engine Lockheed Electra, and I'm lost. I watch the sky as it curves and swells, and every now and then I think I can see it shudder. Voluptuous, sultry in the naked heat, it seems to me to be the flesh of a woman. But then suddenly the light illuminates a stretch of more masculine proportions -- a muscular passage of azure heft, a wide plank like the back of a hand -- and I have to acknowledge, although I hate to admit it, the bisexuality of nature. I purse my lips a little when I realize this, and scrunch my nose up to rearrange my goggles. My eyes and my eyes reflected in the windshield hold the sun in them, and it burns. I blink and reach one arm directly overhead. My fingers grasp a dial. Out of the far corner of my field of vision, I catch a glimpse of the underlying sea. Thinking to myself that this might be the last day of my life, that I'm hot, and that I am hungry, I adjust the dial and lower my arm. The sea is dark. It is darker than the sky.

This is the story of what happened to me when I died. It's also the story of my life. Destiny, the alchemy of fate and luck. I think about it sometimes, under a radiant sun. The tide laughs. The light swims. I watch the fish-skeleton shadows of the palm leaves on the sand. The clouds ripped to shreds.

Today when I think of my former life, I think of it as a dream. In the dream I am another person. In the dream I am the most famous aviatrix of my day, a heroine. I am Amelia Earhart.
Jane Mendelsohn

About Jane Mendelsohn

Jane Mendelsohn - I Was Amelia Earhart

Photo © Nick Davis

Jane Mendelsohn is a graduate of Yale University. She is the author of two previous novels, including the New York Times best seller I Was Amelia Earhart. She lives in New York City with her husband and two children.
Awards

Awards

FINALIST 1997 Orange Prize
Reader's Guide|About the Book|Author Biography|Discussion Questions

About the Book

The questions, discussion topics, and author biography that follow are designed to enhance your group's reading of Jane Mendelsohn's I Was Amelia Earhart. We hope they will provide you with a number of ways of approaching this sensuous and imaginative first novel.

About the Guide

Jane Mendelsohn has revisited the mystery of Amelia Earhart's legendary final flight, to continue the story from the glorious windy day when Earhart and her navigator disappeared into history somewhere over the mid-Pacific.

In this novel, charged with lyricism and longing, Amelia Earhart returns to life to tell us about her childhood, her marriage, her overexposed public life, and her eventual fate: marooned on a tiny island and lost to the world, she and her navigator find themselves living an adventure that even the world-famous heroine had never dreamt of.

While it is a brilliantly imagined meditation on the "afterlife" of its famous subject, Jane Mendelsohn's novel is based closely upon the facts of Amelia Earhart's life and the circumstances of her last flight. Its immediate inspiration came from a report by Richard Gillespie, published in Life magazine in April 1992, that he had found evidence that Earhart and her navigator, Fred Noonan, had landed on an island called Nikumaroro, 350 miles south of their intended destination.

On the morning of the second of July, 1937, Amelia Earhart took off from Lae, New Guinea, en route to Howland Island, a tiny stopping point in the mid-Pacific. She, Noonan, and her twin-engine Lockheed Electra were never seen again. This was her second attempt at an around-the-world flight, and she was only 7000 miles short of completion of her equatorial route. Although Fred Noonan was an excellent navigator, he had been fired by Pan Am for drinking, and during the flight Earhart reported "personnel problems" to her husband. In addition, Earhart had decided to drop the trailing antenna for her direction finder, and to leave behind in Miami her telegraph code key transmitter, for neither she nor Noonan knew Morse code. These decisions effectively cut them off from all but radio contact, and Earhart was often lax about giving position reports by radio. Only seven position reports were radioed by Earhart during their entire trip.

Born in Atchison, Kansas, in 1897, Amelia Earhart was hooked on aviation after her first flight in 1920.  She became a media celebrity in June 1928 when, at the invitation of George Palmer Putnam, the publisher of Charles Lindbergh's We, she became the first woman to fly across the Atlantic (though, to her chagrin, as a passenger). Putnam created another instant bestseller when he issued the story of her flight. Shortly afterward, Putnam divorced his wife and married Earhart; he then became very much involved in promoting her career and generating publicity around her. He has been criticized for his single-minded pursuit of fame and money at the risk of his wife's safety.

Earhart was a committed feminist and a friend of Eleanor Roosevelt. At the time of her disappearance, she was about to give up "stunt flying" in order to pursue flight research at Purdue University.  In the sixty years since her disappearance, the mystery of Earhart's fate has provoked an enormous amount of both speculation and scientific inquiry, but nothing conclusive has ever been determined.

About the Author

Jane Mendelsohn was born in New York City in 1965, the daughter of a psychoanalyst and an art historian. She graduated summa cum laude from Yale University and attended law school briefly before taking up writing as a full-time pursuit. She is married to a film maker and lives in Manhattan.

I Was Amelia Earhart is her first novel.

Discussion Guides

1. The novel's opening phrase-"the sky is flesh"-is repeated several times in the course of the story. What are some of the meanings that are evoked by this unusual statement? Do these meanings change, for you, as the novel progresses? In what other ways are images and descriptions of the sky used to convey feelings or states of mind?

2. The verb in the book's title is in the past tense, while the declarative statement indicates the continued presence of the speaker. On the first page of the novel's prologue, Amelia Earhart speaks of "now," referring to "the life I've lived since I died." How does the novel play with the concept of time? How are the conventional categories of past, present, and future relevant? And to what uses does Jane Mendelsohn put them?

3. The novel alternates between third- and first-person narration. The author has Amelia Earhart give us a reason for this stylistic choice on page 10, and elsewhere Jane Mendelsohn has said, "Maybe this sounds too mystical, but Earhart was showing me how to tell her story: I think she would have liked it" [from an interview with Joanne Kaufman, People, 6/17/96]. What is the effect of this alternating narrative voice upon the emerging portrait of Amelia Earhart? What is its effect upon your experience of the story?

4. The author seems to emphasize a second and equally important meaning of the word flight-that which has to do with fleeing, escape, or escapism. Amelia Earhart tells us on page 41 that she and Noonan share "a secret craving for oblivion." What are the differences, if any, between Earhart's obsession with flight and Noonan's addiction to drink? Why does Earhart conclude that "there is no such thing as oblivion. Oblivion is a lie"?

5. Consider Amelia's conversation with Owen, the reporter, on pages 34 to 37, in which the alarmingly negligent, even foolhardy aspects of the flight are discussed. Does Mendelsohn want us to conclude that Earhart had a death wish? Or that she was giving in to fate, or releasing control of her life, out of weariness, boredom, or some other reason? What might have provoked her to take such unnecessary risks?

6. Take a look at the following dense, lyrical passage: "The entire journey, flying as fast as possible like fugitive angels, took more than a month, during which time we spent our days feverish from the flaming sun or lost in the artillery of monsoon rains and almost always astonished by the unearthly architecture of the sky" [p. 39]. Also read the brilliant description of the plane's descent, on page 58. How would you describe the style of the writing? What aspects-word choice, image, rhythm-are particularly striking?

7. Earhart's last flight, like many others she made, was attempted in pursuit of a world record and for the sake of publicity. Her husband was promoting the book she would produce about her trip around the world (and after her disappearance he did publish a book in her name, Last Flight, from her notebooks and log reports). Is this book an imaginative effort to right the wrongs that Earhart suffered at the hands of her ambitious husband? How can a novelized "biography" such as this one revise our understanding of a historical figure?

8. Consider the scene at the Shwe Dagon Pagoda in Rangoon on pages 49 to 51. Why is Amelia so irritated by Noonan? What is the source of the conflict between them? How does this scene, along with the passage on pages 59 to 60, illuminate the character of each? Is their eventual love affair believable? Given their situation, is it inevitable?

9. How do you understand Amelia's relationship to her Electra? How do you interpret the intensity of her desire to be in the plane, to be in the air? What happens on her "midnight voyages" [p. 81]? What does this novel tell us about solitude, our craving for it, and what Robert Frost called the "desert places" within ourselves?

10. The silk scarf and the compact mirror are important elements in our understanding of the appearance Amelia Earhart wishes to present to the world, even when she has just ditched her plane on a deserted island [p. 74]. Why did she depend so heavily upon her looks and her sense of style? Do you think people would be so fascinated with her if she were not so beautiful? Why does she eventually throw the mirror into the sea?

11. "It was as if what she had considered to be her self all these years was only a magnified detail of an enormous painting whose entire composition and narrative she had never before known existed, let alone seen" [p. 114]. How does life "after death"-life on the island-change how Amelia experiences herself? What does she mean by saying, on page 138, "I had been risking my life without living it"? Does this insight render her heroic exploits meaningless?

12. Part Three of the novel begins with an epigraph from Emily Bronte's Wuthering Heights. How does this epigraph help you understand the lovers' final flight from rescue? What light does it shed on your reading of the book as a whole?

13. This book deals in large degree with romance, fantasy, and wish fulfillment. What do you find most romantic about it? Do you leave the novel wishing that Amelia Earhart did survive her last flight? That she had another, different life after her life of fame?

14. Amelia Earhart is recognized as one of the great heroines of the twentieth century. How does this novel affect your sense of her heroic stature?

15. Jane Mendelsohn has remarked that "flying is a lot like writing. The solitude, the adventure and the physical aspect of it. Sitting in front of the computer I sort of felt like I was in the cockpit. And there's the element of the unknown: the blank page and the empty sky" [interview, People, 6/17/96]. In what ways is flying a metaphor for the imagination? Why is Amelia Earhart a particularly good subject for an experiment in imagination?


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