To Kill a Mockingbird is a novel by Harper Lee published in 1960. It was immediately successful, winning the Pulitzer Prize, and has become a classic of modern American literature. The plot and characters are loosely based on Lee’s observations of her family, her neighbors and an event that occurred near her hometown ofMonroeville, Alabama, in 1936, when she was 10 years old.
The novel is renowned for its warmth and humor, despite dealing with the serious issues of rape and racial inequality. The narrator’s father, Atticus Finch, has served as a moral hero for many readers and as a model of integrity for lawyers. One critic explains the novel’s impact by writing, “In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its protagonist, Atticus Finch, the most enduring fictional image of racial heroism.”
As a Southern Gothic novel and aBildungsroman, the primary themes of To Kill a Mockingbird involve racial injustice and the destruction of innocence. Scholars have noted that Lee also addresses issues of class, courage, compassion, and gender roles in the American Deep South. The book is widely taught in schools in the United States with lessons that emphasize tolerance and decry prejudice. Despite its themes, To Kill a Mockingbird has been subject to campaigns for removal from public classrooms, often challenged for its use of racial epithets.
Reaction to the novel varied widely upon publication. Despite the number of copies sold and its widespread use in education, literary analysis of it is sparse. Author Mary McDonough Murphy, who collected individual impressions of To Kill a Mockingbird by several authors and public figures, calls the book “an astonishing phenomenon”. In 2006, British librarians ranked the book ahead of the Bible as one “every adult should read before they die”.It was adapted into an Oscar-winning filmin 1962 by director Robert Mulligan, with a screenplay by Horton Foote. Since 1990, a play based on the novel has been performed annually in Harper Lee’s hometown.
To Kill a Mockingbird was Lee’s only published book until Go Set a Watchman, an earlier draft of To Kill a Mockingbird, was published on July 14, 2015. Lee continued to respond to her work’s impact until her death in February 2016, although she had refused any personal publicity for herself or the novel since 1964.
RECEPTION
Despite her editors’ warnings that the book might not sell well, it quickly became a sensation, bringing acclaim to Lee in literary circles, in her hometown of Monroeville, and throughout Alabama.The book went through numerous subsequent printings and became widely available through its inclusion in the Book of the Month Club and editions released byReader’s Digest Condensed Books.
Initial reactions to the novel were varied.The New Yorker declared Lee “a skilled, unpretentious, and totally ingenuous writer” and The Atlantic Monthly’s reviewer rated the book “pleasant, undemanding reading”, but found the narrative voice—”a six-year-old girl with the prose style of a well-educated adult”—to be implausible. Time magazine’s 1960 review of the book states that it “teaches the reader an astonishing number of useful truths about little girls and about Southern life” and calls Scout Finch “the most appealing child sinceCarson McCullers’ Frankie got left behind at the wedding”.The Chicago Sunday Tribune noted the even-handed approach to the narration of the novel’s events, writing: “This is in no way a sociological novel. It underlines no cause … To Kill a Mockingbird is a novel of strong contemporary national significance.”
Not all reviewers were enthusiastic. Some lamented the use of poor white Southerners, and one-dimensional black victims, and Granville Hicks labeled the book “melodramatic and contrived”.When the book was first released, Southern writer Flannery O’Connorcommented, “I think for a child’s book it does all right. It’s interesting that all the folks that are buying it don’t know they’re reading a child’s book. Somebody ought to say what it is.” Carson McCullers apparently agreed with the Time magazine review, writing to a cousin: “Well, honey, one thing we know is that she’s been poaching on my literary preserves.”
One year after its publication To Kill a Mockingbird had been translated into ten languages. In the years since, it has sold more than 30 million copies and been translated into more than 40 languages.The novel has never been out of print in hardcover or paperback, and has become part of the standard literature curriculum. A 2008 survey of secondary books read by students between grades 9–12 in the U.S. indicates the novel is the most widely read book in these grades. A 1991 survey by the Book of the Month Club and the Library of Congress Center for the Book found thatTo Kill a Mockingbird was rated behind only the Bible in books that are “most often cited as making a difference”.[note 1] It is considered by some to be the Great American Novel.
The 50th anniversary of the novel’s release was met with celebrations and reflections on its impact. Eric Zorn of the Chicago Tribune praises Lee’s “rich use of language” but writes that the central lesson is that “courage isn’t always flashy, isn’t always enough, but is always in style”.Jane Sullivan in the Sydney Morning Herald agrees, stating that the book “still rouses fresh and horrified indignation” as it examines morality, a topic that has recently become unfashionable. Chimamanda Ngozi Adichie writing in The Guardian states that Lee, rare among American novelists, writes with “a fiercely progressive ink, in which there is nothing inevitable about racism and its very foundation is open to question”, comparing her to William Faulkner, who wrote about racism as an inevitability. Literary critic Rosemary Goring in Scotland’s The Herald notes the connections between Lee and Jane Austen, stating the book’s central theme, that “one’s moral convictions are worth fighting for, even at the risk of being reviled” is eloquently discussed
Native Alabamian Allen Barra sharply criticized Lee and the novel in The Wall Street Journal calling Atticus a “repository of cracker-barrel epigrams” and the novel represents a “sugar-coated myth” of Alabama history. Barra writes, “It’s time to stop pretending that To Kill a Mockingbirdis some kind of timeless classic that ranks with the great works of American literature. Its bloodless liberal humanism is sadly dated”. Thomas Mallon in The New Yorker criticizes Atticus’ stiff and self-righteous demeanor, and calls Scout “a kind of highly constructed doll” whose speech and actions are improbable. Although acknowledging that the novel works, Mallon blasts Lee’s “wildly unstable” narrative voice for developing a story about a content neighborhood until it begins to impart morals in the courtroom drama, following with his observation that “the book has begun to cherish its own goodness” by the time the case is over.[note 2] Defending the book, Akin Ajayi writes that justice “is often complicated, but must always be founded upon the notion of equality and fairness for all.” Ajayi states that the book forces readers to question issues about race, class, and society, but that it was not written to resolve them.
Many writers compare their perceptions ofTo Kill a Mockingbird as adults with when they first read it as children. Mary McDonagh Murphy interviewed celebrities including Oprah Winfrey, Rosanne Cash,Tom Brokaw, and Harper’s sister Alice Lee, who read the novel and compiled their impressions of it as children and adults into a book titled Scout, Atticus, and Boo.
STYLE
The strongest element of style noted by critics and reviewers is Lee’s talent for narration, which in an early review in Timewas called “tactile brilliance”. Writing a decade later, another scholar noted, “Harper Lee has a remarkable gift of story-telling. Her art is visual, and with cinematographic fluidity and subtlety we see a scene melting into another scene without jolts of transition.” Lee combines the narrator’s voice of a child observing her surroundings with a grown woman’s reflecting on her childhood, using the ambiguity of this voice combined with the narrative technique of flashback to play intricately with perspectives. This narrative method allows Lee to tell a “delightfully deceptive” story that mixes the simplicity of childhood observation with adult situations complicated by hidden motivations and unquestioned tradition. However, at times the blending causes reviewers to question Scout’s preternatural vocabulary and depth of understandin BothBoth Harding LeMay and the novelist and literary criticGranville Hicks expressed doubt that children as sheltered as Scout and Jem could understand the complexities and horrors involved in the trial for Tom Robinson’s life.
Writing about Lee’s style and use of humor in a tragic story, scholar Jacqueline Tavernier-Courbin states: “Laughter … [exposes] the gangrene under the beautiful surface but also by demeaning it; one can hardly … be controlled by what one is able to laugh at.” Scout’s precocious observations about her neighbors and behavior inspire National Endowment of the Arts director David Kipen to call her “hysterically funny”. To address complex issues, however, Tavernier-Courbin notes that Lee uses parody, satire, and irony effectively by using a child’s perspective. After Dill promises to marry her, then spends too much time with Jem, Scout reasons the best way to get him to pay attention to her is to beat him up, which she does several times. Scout’s first day in school is a satirical treatment of education; her teacher says she must undo the damage Atticus has wrought in teaching her to read and write, and forbids Atticus from teaching her further. Lee treats the most unfunny situations with irony, however, as Jem and Scout try to understand how Maycomb embraces racism and still tries sincerely to remain a decent society. Satire and irony are used to such an extent that Tavernier-Courbin suggests one interpretation for the book’s title: Lee is doing the mocking—of education, the justice system, and her own society by using them as subjects of her humorous disapproval.
Critics also note the entertaining methods used to drive the plot. When Atticus is out of town, Jem locks a Sunday schoolclassmate in the church basement with the furnace during a game of Shadrach. This prompts their black housekeeper Calpurnia to escort Scout and Jem to her church, which allows the children a glimpse into her personal life, as well as Tom Robinson’s. Scout falls asleep during the Halloween pageant and makes a tardy entrance onstage, causing the audience to laugh uproariously. She is so distracted and embarrassed that she prefers to go home in her ham costume, which saves her life
To Kill a Mockingbird is a novel by Harper Lee published in 1960. It was immediately successful, winning the Pulitzer Prize, and has become a classic of modern American literature. The plot and characters are loosely based on Lee’s observations of her family, her neighbors and an event that occurred near her hometown ofMonroeville, Alabama, in 1936, when she was 10 years old.
The novel is renowned for its warmth and humor, despite dealing with the serious issues of rape and racial inequality. The narrator’s father, Atticus Finch, has served as a moral hero for many readers and as a model of integrity for lawyers. One critic explains the novel’s impact by writing, “In the twentieth century, To Kill a Mockingbird is probably the most widely read book dealing with race in America, and its protagonist, Atticus Finch, the most enduring fictional image of racial heroism.”
As a Southern Gothic novel and aBildungsroman, the primary themes of To Kill a Mockingbird involve racial injustice and the destruction of innocence. Scholars have noted that Lee also addresses issues of class, courage, compassion, and gender roles in the American Deep South. The book is widely taught in schools in the United States with lessons that emphasize tolerance and decry prejudice. Despite its themes, To Kill a Mockingbird has been subject to campaigns for removal from public classrooms, often challenged for its use of racial epithets.
Reaction to the novel varied widely upon publication. Despite the number of copies sold and its widespread use in education, literary analysis of it is sparse. Author Mary McDonough Murphy, who collected individual impressions of To Kill a Mockingbird by several authors and public figures, calls the book “an astonishing phenomenon”. In 2006, British librarians ranked the book ahead of the Bible as one “every adult should read before they die”.It was adapted into an Oscar-winning filmin 1962 by director Robert Mulligan, with a screenplay by Horton Foote. Since 1990, a play based on the novel has been performed annually in Harper Lee’s hometown.
To Kill a Mockingbird was Lee’s only published book until Go Set a Watchman, an earlier draft of To Kill a Mockingbird, was published on July 14, 2015. Lee continued to respond to her work’s impact until her death in February 2016, although she had refused any personal publicity for herself or the novel since 1964.
RECEPTION
Despite her editors’ warnings that the book might not sell well, it quickly became a sensation, bringing acclaim to Lee in literary circles, in her hometown of Monroeville, and throughout Alabama.The book went through numerous subsequent printings and became widely available through its inclusion in the Book of the Month Club and editions released byReader’s Digest Condensed Books.
Initial reactions to the novel were varied.The New Yorker declared Lee “a skilled, unpretentious, and totally ingenuous writer” and The Atlantic Monthly’s reviewer rated the book “pleasant, undemanding reading”, but found the narrative voice—”a six-year-old girl with the prose style of a well-educated adult”—to be implausible. Time magazine’s 1960 review of the book states that it “teaches the reader an astonishing number of useful truths about little girls and about Southern life” and calls Scout Finch “the most appealing child sinceCarson McCullers’ Frankie got left behind at the wedding”.The Chicago Sunday Tribune noted the even-handed approach to the narration of the novel’s events, writing: “This is in no way a sociological novel. It underlines no cause … To Kill a Mockingbird is a novel of strong contemporary national significance.”
Not all reviewers were enthusiastic. Some lamented the use of poor white Southerners, and one-dimensional black victims, and Granville Hicks labeled the book “melodramatic and contrived”.When the book was first released, Southern writer Flannery O’Connorcommented, “I think for a child’s book it does all right. It’s interesting that all the folks that are buying it don’t know they’re reading a child’s book. Somebody ought to say what it is.” Carson McCullers apparently agreed with the Time magazine review, writing to a cousin: “Well, honey, one thing we know is that she’s been poaching on my literary preserves.”
One year after its publication To Kill a Mockingbird had been translated into ten languages. In the years since, it has sold more than 30 million copies and been translated into more than 40 languages.The novel has never been out of print in hardcover or paperback, and has become part of the standard literature curriculum. A 2008 survey of secondary books read by students between grades 9–12 in the U.S. indicates the novel is the most widely read book in these grades. A 1991 survey by the Book of the Month Club and the Library of Congress Center for the Book found thatTo Kill a Mockingbird was rated behind only the Bible in books that are “most often cited as making a difference”.[note 1] It is considered by some to be the Great American Novel.
The 50th anniversary of the novel’s release was met with celebrations and reflections on its impact. Eric Zorn of the Chicago Tribune praises Lee’s “rich use of language” but writes that the central lesson is that “courage isn’t always flashy, isn’t always enough, but is always in style”.Jane Sullivan in the Sydney Morning Herald agrees, stating that the book “still rouses fresh and horrified indignation” as it examines morality, a topic that has recently become unfashionable. Chimamanda Ngozi Adichie writing in The Guardian states that Lee, rare among American novelists, writes with “a fiercely progressive ink, in which there is nothing inevitable about racism and its very foundation is open to question”, comparing her to William Faulkner, who wrote about racism as an inevitability. Literary critic Rosemary Goring in Scotland’s The Herald notes the connections between Lee and Jane Austen, stating the book’s central theme, that “one’s moral convictions are worth fighting for, even at the risk of being reviled” is eloquently discussed
Native Alabamian Allen Barra sharply criticized Lee and the novel in The Wall Street Journal calling Atticus a “repository of cracker-barrel epigrams” and the novel represents a “sugar-coated myth” of Alabama history. Barra writes, “It’s time to stop pretending that To Kill a Mockingbirdis some kind of timeless classic that ranks with the great works of American literature. Its bloodless liberal humanism is sadly dated”. Thomas Mallon in The New Yorker criticizes Atticus’ stiff and self-righteous demeanor, and calls Scout “a kind of highly constructed doll” whose speech and actions are improbable. Although acknowledging that the novel works, Mallon blasts Lee’s “wildly unstable” narrative voice for developing a story about a content neighborhood until it begins to impart morals in the courtroom drama, following with his observation that “the book has begun to cherish its own goodness” by the time the case is over.[note 2] Defending the book, Akin Ajayi writes that justice “is often complicated, but must always be founded upon the notion of equality and fairness for all.” Ajayi states that the book forces readers to question issues about race, class, and society, but that it was not written to resolve them.
Many writers compare their perceptions ofTo Kill a Mockingbird as adults with when they first read it as children. Mary McDonagh Murphy interviewed celebrities including Oprah Winfrey, Rosanne Cash,Tom Brokaw, and Harper’s sister Alice Lee, who read the novel and compiled their impressions of it as children and adults into a book titled Scout, Atticus, and Boo.
STYLE
The strongest element of style noted by critics and reviewers is Lee’s talent for narration, which in an early review in Timewas called “tactile brilliance”. Writing a decade later, another scholar noted, “Harper Lee has a remarkable gift of story-telling. Her art is visual, and with cinematographic fluidity and subtlety we see a scene melting into another scene without jolts of transition.” Lee combines the narrator’s voice of a child observing her surroundings with a grown woman’s reflecting on her childhood, using the ambiguity of this voice combined with the narrative technique of flashback to play intricately with perspectives. This narrative method allows Lee to tell a “delightfully deceptive” story that mixes the simplicity of childhood observation with adult situations complicated by hidden motivations and unquestioned tradition. However, at times the blending causes reviewers to question Scout’s preternatural vocabulary and depth of understandin BothBoth Harding LeMay and the novelist and literary criticGranville Hicks expressed doubt that children as sheltered as Scout and Jem could understand the complexities and horrors involved in the trial for Tom Robinson’s life.
Writing about Lee’s style and use of humor in a tragic story, scholar Jacqueline Tavernier-Courbin states: “Laughter … [exposes] the gangrene under the beautiful surface but also by demeaning it; one can hardly … be controlled by what one is able to laugh at.” Scout’s precocious observations about her neighbors and behavior inspire National Endowment of the Arts director David Kipen to call her “hysterically funny”. To address complex issues, however, Tavernier-Courbin notes that Lee uses parody, satire, and irony effectively by using a child’s perspective. After Dill promises to marry her, then spends too much time with Jem, Scout reasons the best way to get him to pay attention to her is to beat him up, which she does several times. Scout’s first day in school is a satirical treatment of education; her teacher says she must undo the damage Atticus has wrought in teaching her to read and write, and forbids Atticus from teaching her further. Lee treats the most unfunny situations with irony, however, as Jem and Scout try to understand how Maycomb embraces racism and still tries sincerely to remain a decent society. Satire and irony are used to such an extent that Tavernier-Courbin suggests one interpretation for the book’s title: Lee is doing the mocking—of education, the justice system, and her own society by using them as subjects of her humorous disapproval.
Critics also note the entertaining methods used to drive the plot. When Atticus is out of town, Jem locks a Sunday schoolclassmate in the church basement with the furnace during a game of Shadrach. This prompts their black housekeeper Calpurnia to escort Scout and Jem to her church, which allows the children a glimpse into her personal life, as well as Tom Robinson’s. Scout falls asleep during the Halloween pageant and makes a tardy entrance onstage, causing the audience to laugh uproariously. She is so distracted and embarrassed that she prefers to go home in her ham costume, which saves her life
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