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A Novel

Written by Chris BohjalianAuthor Alerts:  Random House will alert you to new works by Chris Bohjalian



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On Sale: March 11, 2003
Pages: | ISBN: 978-1-4000-3286-0
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On Sale: March 05, 2002
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Synopsis|Excerpt

Synopsis

With his trademark emotional heft and storytelling skill, bestselling author Chris Bohjalian presents this resonant novel about the formation of an unconventional family–the ties that bind it, and the strains that pull it apart. Two years after their twin daughters died in a flash flood, Terry and Laura Sheldon, a Vermont state trooper and his wife, take in a foster child. His name is Alfred; he is ten years old and African American. And he has passed through so many indifferent families that he can’t believe that his new one will last.

In the ensuing months Terry and Laura will struggle to emerge from their shell of grief only to face an unexpected threat to their marriage; Terry’s involvement with another woman. Meanwhile, Alfred cautiously enters the family circle, and befriends an elderly neighbor who inspires him with the story of the buffalo soldiers, the black cavalrymen of the old West. Out of the entwining and unfolding of their lives, The Buffalo Soldier creates a suspenseful, moving portrait of a family, infused by Bohjalian’s moral complexity and narrative assurance.

Excerpt

It rained throughout September and October, and people made jokes about Biblical floods before the Sheldon girls drowned. But their jokes weren't serious, because there were intermittent days when the clouds would continue on their way to the east and leave behind nothing but blue skies and crisp autumn air. If people worried about anything, they fretted over the numbers of leaf peepers and flatlanders who hadn't made their customary fall pilgrimages to Vermont that year--and what effect that lost revenue might have on their purses--or they complained about the mud.

After all, the fall rains had made the ground as boggy as March, and the earth showed no signs of freezing up soon. The dirt roads were so laden with runnels that drivers would wince as they lurched their cars forward, while the paved ones often were layered with diaphanous sheets of moisture that in the night reflected a vehicle's headlights like mirrors.

Certainly the water was high in the lakes: Bomoseen and Champlain to the west of the Green Mountains, that range of hills that rose like a great animal's spine across the vertical center of the state, and Willoughby and Memphremagog to the east. Likewise, the rivers of any size often had small crests of albescent foam. There must have been a half-dozen days when the counties north of Rutland had lived with flash-flood advisories and warnings, especially the two occasions when the remnants of late-season Caribbean hurricanes tracked deep into New England and dumped torrents of rain onto ground that was already soaked, and into lakes and rivers that already had about all the water they could handle. One Saturday in late October the Cornish Volunteer Fire Company went so far as to move its two attack pumpers and heavy rescue truck over the bridge that spanned the Gale River, so the vehicles would be on the more populated side of the water if the bridge was brought down by the rapids.

That had happened once before: The original bridge had washed away in the Great Flood of 1927, on the very day that S. Hollister Jackson, the state's lieutenant governor, had drowned in another part of the state when his car stalled in a rivulet on the road near his house and he tried to walk home through the waters. Instead he had been swept away in the current, his body washing up a mile downriver in Potash Brook.

But the rivers never topped their banks the fall the Sheldon girls died, at least not while the phantasmagoric red and yellow leaves remained on the trees, and lake water only oozed into the basements of the people who lived on the shore. For most of northern Vermont the rains were a mere inconvenience.

The hunters traipsed into the woods that November despite the storms and the showers. They trudged along paths in which they sunk ankle-deep in wet leaves, their boots sometimes swallowed in turbid mountain runoff, and even the thinner tree branches would whip water in their faces when they gently pushed them aside as they walked.

On the second day of deer season, a Sunday, the Sheldon girls were playing with their friend Alicia Montgomery. It had rained heavily all Friday night, Saturday, and much of Sunday morning--dropping close to eight inches in the thirty-six-hour period.

A little past two the rain stopped, and the three girls donned their raincoats and mud boots and wandered outside. They, like so many children that autumn, had been cooped up indoors for whole weekends at a time, and any opportunity to run outside to jump and shriek was taken. Alicia's mother, a woman in her late forties who had three sons older than Alicia, assumed they were going to slosh in the mud around the family's swing set in the backyard, or see how much water had trickled into the wooden clubhouse Alicia's older brothers had built on the property some years before. She thought she might have told them to stay away from the river, but she admitted she honestly wasn't sure. Certainly her daughter didn't recall any such warning.

The Sheldon girls were nine, and they were twins--though not identical twins. They were small-boned, but not at all frail-looking. Rather, with their long legs and arms, they reminded some people of baby colts: They were known for running everywhere, though Megan had never shown any interest in organized sports. Hillary had, but not Megan. Their hair was just a shade closer to blond than brown, and very, very fine. It fell to their shoulders. Hillary was likely to wear her hair down, except on those days when she was playing youth soccer--then she would allow her mother to put it back in a ponytail. Megan usually had her mother braid her hair in the morning, or try one of the bolder statements--a poodle pony or a French twist--that she found described in a hairstylist's handbook she had bought at a yard sale for a dime.

Alicia had been more Hillary's friend than Megan's, because she, too, loved sports. Some days it was just easier for everyone, however, if the twins played together. The two were in the same Girl Scout troop and the same classroom at school, and it couldn't have been otherwise. The small town only had one Girl Scout troop and one classroom filled with fourth-graders. There were only so many eight-, nine-, and ten-year-old girls in the whole village, and so the pair tended to be together more often than they were apart.

Most years, the Gale River meandered lazily through the canyon it had carved over centuries through Cornish and Durham. The water ran down from the mountains, working its way west through rocks and boulders into the Otter Creek, and then, eventually, into Lake Champlain. In summer, the water fell to barely a foot or two in some sections, though there were always areas where it was considerably deeper and people would congregate in large groups to swim or in small groups to fish. The river had stretches that were rich with rainbow and brown trout.

At its thinnest point, the Gale narrowed to fifteen feet; at its widest, it swelled to fifty.

The water paralleled the road that linked Cornish with the more substantial village of Durham, the asphalt and aqua almost perfectly aligned for close to six miles. The riverbanks were steeply pitched, and thick with moss and oak and maple saplings. There were clusters of raspberry bushes that were resplendent with claret-red fruit in July. The side of the river opposite the road was forest until you reached the small collection of houses and public buildings that most people considered the Cornish village center: the elementary school, a church, and a general store on one side of the water, a fire department and Little League baseball field on the other. Depending upon the angle of the road, the river could be either obvious or completely invisible.

Occasionally people swam naked in those sections where the river could not be seen from the street.

The montgomery family lived no more than a hundred yards from the section of the Gale River that was traversed by the bridge--the very bridge over which the fire company had moved its trucks a few weeks earlier. On summer nights when their windows were open, the family could hear the water as it burbled through the thin clove next to the road.

The Sheldons lived outside of the tiny village, on the street that led past the Cousinos' dairy farm and on to the cemetery. That meant Hillary and Megan usually only visited the river in the summer, when they might venture to the swimming hole most frequented by the families with younger children--a section of the river that formed a cozy lagoon near a waterfall, and the depth rose to five or six feet. You could feel a slight current in the spot, but it wasn't enough to pull one from the pool.

To get there, either one of their parents or the parents of one of their friends would have to drive them. You couldn't walk to that swimming hole--not from the town or from their house--and on the hottest summer days there would be a conga line of cars and trucks parked as far to the side of the winding road as possible. Often an automobile would pull in so close to the brush that everyone would have to exit the vehicle on the driver's side.

The waters were high the day the Sheldon girls drowned--according to Alicia, this alone had drawn the three of them to the Gale--and there was in fact a flood warning. But there had been flood warnings on any given day throughout the fall, and no one was unduly alarmed.

While tromping aimlessly through the mud in the Montgomery family's yard, the three girls heard the low roar of the high water in the distance, and--despite the fact that the rain had resumed in earnest--went to see just how close to the bank the river really was. The general store was open until three on Sunday afternoons, and periodically that day people had ventured to either the bridge or the bank itself after getting their newspaper, cigarettes, or milk, and watched the water as it tumbled by. The waves weren't yet lapping at the very tops of the riverbank, but they were close. Alicia recalled that almost all of the adults who wandered by had remarked in some way on the whitewater, raising their voices so they could be heard over the sound of the rapids.

Just before two-thirty, Jeremy Stern left the general store with a six-pack of beer and a frozen pizza, and glanced at the bridge where the three nine-year-old girls were standing. Far down the street that led from the village up into the mountains he heard someone honking madly on a car horn. The toots were distant, but there was a frenzied quality to them. He returned to his own pickup to drive toward them, wondering what the fuss was all about and whether there was anything he could do to help. He backed into the street, not realizing that the person who was pounding furiously on his car horn was actually driving into the village as fast as he could, hoping to warn people that the Gale was already over its banks up on the mountain, and a wall of water was sure to hit the town any minute.

Other than Alicia Montgomery, Jeremy was the last person to see the Sheldon girls when they were alive.

The water would carve chasms in the road that were forty feet deep and, in one case, forty-five feet wide. Wherever the road bent to the south, there was at the very least erosion of the dirt beneath the asphalt, and in four cases there was complete destruction of the pavement--massive holes hewed abruptly into the hillsides. It was a miracle that the half-dozen or so cars on the road that moment were in sections of pavement that survived the flash flood, and so none of the motorists were hurt. Granted, the Willards' car was trapped for a week and a half between two canyons, and the elderly couple had to traverse one of the deep holes in the ground by foot to get home that afternoon. But they made it. Other cars had to turn back, returning to either Cornish or Durham.

And the property damage was immense. The Federal Emergency Management Agency (FEMA) would spend a month in the county--a week in Cornish alone. People who lived along the river lost the washing machines, dryers, and furnaces they kept in their basements. Small structures were upended and swept downriver, where they were smashed against the remains of a modest hydroelectric plant--largely boulders and cement pilings now--the power company had built along the river in 1922.

It had been the flood of 1927 that destroyed the generating station, so that the only traces left were a part of the foundation below the waterline and the concrete buttresses above it.

Once the wall of water had passed, there was an enormous heap of scrap wood at the site of the old plant, a mound easily as large as the woodpiles at the state's landfills and dumps. There were parts of two small barns there, including the Nuners' elegant carriage barn, and a gazebo. There were at least a half-dozen of the small outbuildings and lean-tos people used to store their sap buckets and plastic sugaring tubes, any tools they were likely to use outdoors, and their snowmobiles or their boats.

These items crashed into the power station stanchions as well, and usually broke apart.

The Murrays lost both of their horses, and the Dillons lost all three of their sheep. The animal carcasses somehow wound their way through the dam of debris by the old generator site, and washed ashore six miles away, where the river forked into a second branch that wound its way through the considerably larger towns of Durham, New Haven, and Middlebury.

The village Little League field was flooded, as was the library. The library sat in a room beside the town clerk's office, and it lost its entire collection of children's books--every book, that is, that wasn't checked out at that moment--because those books were kept on the lowest shelves and the water inside the building climbed to three feet before it started to recede.

The center of the town and a great many of the homes with basements that filled with water smelled liked river mud for days: earthy and musty and--because of the havoc that had been wrought--a little putrid.

The only fatalities, however, were Hillary and Megan Sheldon.


From the Hardcover edition.
Chris Bohjalian|Author Q&A

About Chris Bohjalian

Chris Bohjalian - The Buffalo Soldier

Photo © Victoria Blewer

Chris Bohjalian is the critically acclaimed author of sixteen books, including the New York Times bestsellers The Sandcastle Girls, Skeletons at the Feast, The Double Bind, and Midwives. His novel Midwives was a number one New York Times bestseller and a selection of Oprah's Book Club. His work has been translated into more than twenty-five languages, and three of his novels have become movies (Secrets of Eden, Midwives, and Past the Bleachers). He lives in Vermont with his wife and daughter. 

Visit him at www.chrisbohjalian.com or on Facebook.

Author Q&A

Q: Why did you write this book? What inspired it?

A:
The Buffalo Soldier actually had two points of origin. First of all, my small Vermont village was devastated by a river flood on June 28, 1998. After four weeks of rain and four inches in an hour, the usually lazy, meandering New Haven River overflowed its banks and carved 40-foot chasms in the adjacent paved roads, demolished two steel cement bridges that had stood for decades, and destroyed our local library when five feet of water submerged 80 percent of the collection. The property damage was immense: The National Guard spent days in the town, and FEMA spend weeks. And yet because the river crested at 1:15 a.m. and 4:15 a.m., not a single human being was hurt. The only casualty was a cow.

And so I began to wonder what would have happened if the flood had occurred at midday. What would have happened to the cars on the road, to the children who might have been watching the water from the banks of the river or, worse, from either of those bridges? How would the community have coped then?

The second point of origin occurred a few months after the flood, when my kindergarten daughter returned home with her class picture. There in the image were sixteen white children—sweet and adorable, yes, but white. Her entire class, I realized, was white. Now I love Vermont but the state’s racial homogeneity—especially outside Burlington—is certainly not among its virtues. And so once again I wondered what if, and I tried to use this demographic reality to further explore the ties that bind families. Before I knew it, the book had a little boy in it, an African-American foster child brought from Burlington to a rural village far from the state’s largest city.

Q: Were you nervous writing in the voice of an African-American boy?

A:
Good lord, no. I wrote about the sorts of universals any ten-year-old boy may experience: the desire to belong coupled with the sense that you’re an outsider; the Byzantine dynamics of your parents’ relationship; how completely inexplicable all grown-up behavior seems to you when you’re in the fifth grade. My family moved a fair amount when I was a child—I went to seven schools between kindergarten and twelfth grade—and so, more times than not, I merely pulled on my own memories from when I was a boy. In this regard, The Buffalo Soldier has considerably more autobiographic minutiae than any other novel I’ve written, and there’s probably more of me in Alfred than in any character I’ve created.

Q: You’ve written about midwifery and homeopathy and transsexuals. Is this a novel “about” foster care?

A:
I hope not. As a matter of fact, one of the things that drew me to the subject matter is that it wasn’t about any particular hot-button issue. Nevertheless, in my books I do tend to explore the way the cultural margins press against the mainstream: The environment vs. development, alternative vs. traditional medicine, the place of birth (literally and metaphorically) in this country, and all that baggage we bring to gender and sexual orientation. And so while I want The Buffalo Soldier to be viewed primarily as a novel about parents and children and marriage—family, in essence—I know also that some people will be drawn to the issues it raises about foster care.

Q: Is foster care an issue in Vermont?

A:
I don’t believe it’s any more of an issue in Vermont than it is anyplace else. Unfortunately, all we tend to see in the newspapers are the teen girls from the foster care program who wind up as prostitutes in New York City, or the teen boys who commit violent crimes. These kids represent a tiny fraction of the children being supervised by the foster care system. I met social workers and administrators and, of course, foster parents while researching The Buffalo Soldier, and invariably I was impressed by their dedication as well as their competence. The reality is that no one gets involved in foster care administration or management who doesn’t love children and want to make their lives better. Nevertheless, the system is under enormous stress right now: Each case worker has roughly twenty-seven kids to manage, and thirty-nine percent of the children have had to endure five or more placements. The State is doing what it can to manage the pressure posed by the numbers of children now needing foster care in Vermont, but it remains a profoundly difficult task.

Q: All of your previous books were written in the first person. Why did you choose to write THE BUFFALO SOLDIER in the third person?

A:
I wanted Midwives and The Law of Similars and Trans-Sister Radio to feel like autobiographies, and to have the emotional resonance of memoir—hence the first person. I wanted The Buffalo Soldier to feel much more like a traditional novel because it’s such an ensemble story. There are six major characters in the book I cared deeply about, and I didn’t want their voices jockeying for position in some unruly cacophonic mess. Moreover, by writing in the third person I could allow the story to unfold more naturally, because it wouldn’t be encumbered by the sorts of linguistic idiosyncrasies that a first-person novel demands.

Q: How do you feel about the movies that have been made or optioned based on your books?

A:
I love movies, and I love the two films that have been made from my novels. (Midwives and Past the Bleachers). Trans-Sister Radio and The Buffalo Soldier are both currently in development. (The Buffalo Soldier, in fact, is with the same team that made Midwives), and I have complete faith in the filmmakers. I have no interest in writing the screenplays for any movies that are made from my books, but I am always careful to sell the material to people who seem to understand the novel and have faith in the story as I told it. That doesn’t mean that someday a studio or production company won’t take one of my stories about ordinary people in extraordinary circumstances and add a collision or two between the earth and an asteroid. . . but it hasn’t happened yet, and I don’t expect it to happen anytime soon.

Praise

Praise

“In The Buffalo Soldier, Bohjalian proves once again that he's a master novelist.” –The Boston Globe

“Bohjalian plunges [his characters] into a dramatic situation so powerful that even their quiet voices cannot fail to be heard. . . .The Buffalo Soldier is imbued with hope and the possibility for redemption.” –The Washington Post
 
“Bohjalian gives us fine-grained detail and beautifully observed domestic psychology.” –The Los Angeles Times
 
“Beautifully wrought. . . . A moving account of personal strength and the joy of belonging.” –San Francisco Chronicle

“If it's captivating literature you're after, The Buffalo Soldier earns a solid A.” –Entertainment Weekly
 
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

“In The Buffalo Soldier, Bohjalian proves once again that he’s a master novelist.” —The Boston Globe

The introduction, discussion questions, suggested reading list, and author biography that follow are designed to enhance your group’s reading of Chris Bohjalian’s The Buffalo Soldier. Set in rural Vermont, it is the story of a couple devastated by the loss of their twin daughters, the African-American foster child who comes to live with them, and the risks they take, separately and together, to create a family strong enough to heal the wounds of the past.

About the Guide

Two years after her nine-year-old daughters are killed in a raging flood, Laura Sheldon is beginning to emerge from her cocoon of grief. She has returned to her job at the Humane Society, teaches Sunday school classes, and spends time in the garden she once tended with her daughters. But the confusion and pain of the tragedy has left deep scars on her marriage. Anxious to escape his own sorrow and Laura’s unpredictable, often hurtful, mood swings, Terry Sheldon immerses himself in his job as a state trooper and the distance between husband and wife widens day by day. Laura comes to believe that the best way—perhaps the only way—to renew themselves and their marriage is by sharing their love with another child. Unable to have children of their own, they become foster parents to Alfred, a taciturn ten-year-old who has suffered more than his fair share of rejection. As Laura takes the first tentative steps to becoming a mother again, Terry finds it impossible to form a relationship with a boy whose background and interests are so different from his own. Feeling alienated and excluded, he falls into an affair with a young woman and allows himself to fantasize about starting over. Alfred guards his emotions carefully, ever alert to the precarious state of the Sheldons’ marriage and to his status as an outsider in their home and the community. His adjustment is eased by his unlikely friendship with Paul, an elderly neighbor who gives him a book about the African-American cavalry unit formed after the Civil War—the “buffalo soldiers”—and encourages him to embrace their legacy of bravery and honor.

Focusing by turns on Alfred, Laura, and Terry, Chris Bohjalian illuminates lives haunted by loss and overwhelmed by fears and uncertainties. With compassion and touches of gentle humor, he chronicles the ebb and flow of their relationships, and the qualities, both selfish and heroic, that they discover within themselves. In a stunning conclusion, Alfred performs an act of astonishing daring, awakening in his patched-together family a spirit of acceptance, forgiveness, and hope for the future.

About the Author

Chris Bohjalian is the author of eight novels, including Midwives (an Oprah’s Book Club selection and a Publishers Weekly Best Book), The Law of Similars, and Trans-Sister Radio. His work has won the New England Book Award. He lives in Vermont with his wife and daughter.

Discussion Guides

1. How does the initial portrait of Alfred [p. 17] establish his sense of alienation in Cornish? What else does this chapter reveal about Alfred, his self-image, and the image he wants to project to the world? How does Bohjalian use specific language and physical details to convey Alfred’s point of view?

2. What is your first impression of Laura? Does the description of her behavior with Alfred [pp. 26–28] make you question her decision to take in a child? Do you think her reaction is common among foster parents entrusted with older, more independent children or are they in some way unique to her situation? Why is the idea of Alfred discovering her daughters’ graves disturbing to her [p. 27]? What insights do her private thoughts, as well as her
conversation with Terry [p. 32], offer into her own assessment of her ability to love and care for a child?

3. “There were months when [Laura] believed she’d never get better—and what was more important for everyone around her, it was clear that she didn’t want to” [p. 28]. What evidence is there of her reluctance to move on with her life? Why is she unable to draw comfort and strength from the bereavement group and her friends and neighbors?

4. In the aftermath of the drowning, Terry Sheldon retreats into his work. Is this simply an indication of the importance of his profession in reestablishing a normal life after the tragedy or does it say something about his emotional make-up? Is the way he handles his grief related to his training and work as a state trooper or do you think his behavior is typical of most men?

5. How do Terry’s doubts about taking Alfred in differ from Laura’s? Do you think he is right to be concerned about his ability to relate to an African-American child [p. 43]? Should foster care agencies make an effort to place children in familiar environments (in Alfred’s case, a more urban, more integrated setting) or is the most important thing finding a safe, caring home for a child?

6. Which partner do you think is more responsible for the estrangement between Laura and Terry? To what extent does Laura’s lack of interest in sex, as well as her emotional withdrawal, explain Terry’s attraction to Phoebe? Do you think that he is justified in feeling that Alfred’s presence has made him “irrelevant” to Laura’s wellbeing? What other factors play a part in his decision to continue seeing Phoebe, despite his feelings of guilt? What was your reaction to his musings about his choice between making a family with his “real child” and remaining with Laura and Alfred [pp. 201–202, 220–22]? Is Phoebe completely honest with Terry—and with herself—about what she wants and expects from their relationship?

7. Paul Herbert’s empathy and generosity make a tremendous difference in Alfred’s life. Why is he able to break through Alfred’s shell? How does the way Paul talks to him (for example, their first conversation about the buffalo soldiers [pp. 131–134]) differ from the conversations between Laura and Alfred? What does his friendship with Alfred offer Paul? What do you think would have happened to Alfred without Paul’s presence in the town?

8. The confrontation between Terry and Alfred [pp. 250–252] is one of the most powerful and poignant incidents in the book. What threads of the story come together in this scene and its immediate aftermath? What does it reveal about the reasons for the antipathy between Alfred and Terry? Do you think that Terry allows his emotions to overtake his sense of reason, and if so, why? Why does he tell Alfred not to discuss the incident with Laura? Why does Alfred agree to remain silent?

9. The novel begins and ends with floodwaters engulfing the town. Why is a flood a potent metaphor for framing the events of the novel?

10. What purpose do the passages from the book about the buffalo soldiers, which introduce each chapter, have in the unfolding of the plot and your sense of the changes that Alfred is undergoing? Do they cast any light on the other characters? Which quotations did you find particularly significant?

11. What role does the setting play in the novel? How does Bohjalian bring to life both the positive and negative aspects of a small-town community in describing how people treat Laura and Terry after the accident? To what extent are Alfred’s difficulties in fitting in attributable to the fact that he is the only black person in Cornish? Should Laura have reacted more forcefully to the insensitive or simply foolish remarks she hears around town and from his teacher [pp. 88–89]? Do you think she and Terry should have done more to help Alfred make friends by talking to other parents, teachers, etc.?

12. Although the chapters in The Buffalo Soldier focus on each of the characters in turn, the events are related in an objective, third-person voice. Why does you think Bohjalian chose to use a third person narrator rather than having each character speak in his or her own voice? Does this strengthen or weaken your involvement with the story and the individual characters? Which portraits do you think are the strongest? Does this have to do with the way Bohjalian presents them or with their roles within the story itself?

13. In his previous books, Bohjalian explored such topics as midwifery, homeopathic medicine, and transsexuality. In what ways does The Buffalo Soldier represent a departure for him? If you have read Midwives, The Law of Similars, or Trans-Sister Radio, what similarities do you see between them and The Buffalo Soldier? Are there themes that recur throughout his work?

Suggested Readings

Russell Banks, The Sweet Hereafter; Judith Guest, Ordinary People; Jane Hamilton, A Map of the World; Sue Miller, Family Pictures; Alice Sebold, The Lovely Bones; Anita Shreve, Sea Glass; Susan Straight, Highwire Moon.

  • The Buffalo Soldier by Chris Bohjalian
  • February 25, 2003
  • Fiction - Literary; Fiction
  • Vintage
  • $15.95
  • 9780375725463

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