The Second Life of Samuel Tyne

The Second Life of Samuel Tyne

by Esi Edugyan
The Second Life of Samuel Tyne

The Second Life of Samuel Tyne

by Esi Edugyan

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Overview

The first novel from the acclaimed author of Washington Black—an exploration of explores the sweep of history, the binds of blood, the challenges of middle age, and the pain of exile, witnessed through the experiences of one family whose hope blinds them to threatening forces that could tear them apart. 

It is 1968 and Samuel Tyne has lived in exile in the chaotic New World for more than a dozen years. Born in Ghana, educated at Oxford, Samuel was expected to accomplish great things. But the middling government employee fears he has fallen short of that promise. When he inherits a crumbling mansion in the small, provincial town of Aster, Canada, he packs up his protesting family, believing that he has been offered a fabled second chance—and this time, he will not fail.

An all-white enclave that was originally settled by freed slaves and runaways from America, the idyllic Aster feels like a miracle. But as time passes, Samuel begins to see the town is not the haven he hoped: riven by political infighting, a community resistant to change, and most disturbing, a number of mysterious fires that have put the townsfolk on edge. His family, too, begins to splinter. Stubbornly clinging to his ambitious dreams, Samuel finds the successful life he’s struggled to build is disintegrating around him, and a dark current of menace in the town is turned upon his family—that they may be too powerless to fight.


Product Details

ISBN-13: 9780060736040
Publisher: HarperCollins
Publication date: 10/22/2019
Edition description: Reprint
Pages: 320
Product dimensions: 5.31(w) x 8.00(h) x (d)

About the Author

ESI EDUGYAN is the author of Half-Blood Blues, Dreaming of Elsewhere and Washington Black, which was shortlisted for the Rogers Writers’ Trust Fiction Prize and the Man Booker Prize and won the 2018 Scotiabank Giller Prize. She lives in Victoria, British Columbia.

Read an Excerpt

The Second Life of Samuel Tyne

Chapter One

The house had always had a famished look to it. Even now when Samuel closed his eyes he could see it leaning, rickety and rain-worn, groaning in the wind. For though he'd never once visited it, he believed that strange old mansion must somehow resemble his uncle in its thinness, its severity, its cheerless decay. The house sat on the outskirts of Aster, a town noted for the old-fashioned fellowship between its men. Driving through, one might see a solemn group, patient and thoughtful, sharing a complicit cigarette as the sun set behind the houses. And for a man like Samuel, whose life lacked intimacy, the town seemed the return to the honest era he longed for. But he knew Maud would never move there, and the twins, for the sake of siding with her, would object in their quiet way.

News of the house had arrived in that spring of 1968, an age characterized by its atrocities: the surge of anti-Semitism throughout Poland; the black students killed in South Carolina at a still-segregated bowling alley; the slaughter of Vietnam. It was also an age of assassinations: that year witnessed the deaths of Martin Luther King Jr. and Robert Kennedy, and those of less public men who gave their lives for ideas, or for causes, or for no good reason at all. But in Calgary, Alberta, in the far remove of the civil service, Samuel Tyne, a naturally apolitical man, worried only over his private crises. For his world held no future but quiet workdays, no past beyond youth and family life.

Sitting in the darkened shed in his backyard, Samuel examined the broken objects around him. Smoke from the solder filled his nose, his mouth tasting uncomfortably of blood. Snuffing the rod on a scorched pink sponge, he abandoned the antique clock and stood at the dusty window. He dreaded telling Maud about inheriting his uncle's house. She was prone to overreacting. Their marriage, plagued by the usual upsets of conjugal life, suffered added tensions, for across the sea, their tribes had been deeply scornful of each other for centuries.

Jacob's death had been the first shock, but Samuel deliberated longer over the second: his unexpected inheritance. The first call had come days ago, after dinner, during Samuel and Maud's only shared hour of the day. Already weary of each other's company, they settled down in the living room with the resignation of people fated to die together. Samuel took up his favorite oak rocker, Maud the beige shag chair, and the clicking of her knitting needles filled the room.

"They've always been withdrawn," she complained. "But this is madness. They won't even talk to me. Their world begins and ends with each other, without a care for anyone else."

Samuel sighed, scrutinizing his wife. She was thin as an iron filing, with a face straight out of a daguerreotype, an antiquated beauty inherited from her father. Her church friends so indulged her worries that Samuel, too, found he had to stomach her complaints good-naturedly. She took everything personally.

"Perhaps they did not hear you," he said.

Maud continued to knit in silence, thinking. The twins really had changed. Only Yvette spoke, and she wasted few words. Maud couldn't understand it. As babies they'd been so different she'd corrected the doctor's proclamation that they were identical. Now they'd grown so similar she couldn't always say with great authority who was who. But she suspected it was her own fault. The thought of being responsible unsteadied her hands, and the sound of her nervously working needles began to irritate Samuel.

He'd been lost in his own meditations, contemplating what to fix next so that he would not have to think of his stifling job. Officially, Samuel was a government-employed economic forecaster, but when asked lately how he made his living, he lacked the passion to explain. The civil service now seemed an arena for men who woke to find their hopes burnt out. Every day, he too grew disillusioned. Even his children had become a distant noise. Samuel was the oldest forty in the world.

Yet fear of quitting his job did not unnerve him -- it seemed only practical that he should fear it. What humiliated him was that he failed to quit because he dreaded his wife's wrath.

Agitated, he'd begun to run through ways of asking Maud to stop knitting so loudly, when the phone rang. People rarely called the house, so Samuel and Maud paused for a moment in their chairs. Finally, Maud dropped her lapful of yarn to the carpet, saying, "I'll get it, just like everything else in this house."

Samuel stared at the empty armchair. From the kitchen her voice droned on; he could pick out only the higher words. But they were enough. His chair began to rock, unsummoned, in what seemed like a human, futile move to pacify him. His childhood came back to him, a bitter string of incidents more felt than remembered. And the memories seemed full of such delicate meaning that he might have been experiencing his own death. When he opened his eyes, his wife stood before him, uncomfortable.

"You've heard then," she said in a soft voice.

"Uncle Jacob," he said. He stilled his chair.

"It took this long for them to find our number. I guess he didn't mention he had family?" The spite in her comment sounded crass even to Maud. She went quietly back to her chair. "I'm sorry" she said.

"When did he die?"

The Second Life of Samuel Tyne. Copyright © by Esi Edugyan. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

What People are Saying About This

Chris Abani

“Edugyan’s language is supple, wry and at turns sensuous. This intricately worked narrative heralds an excellent new voice”

David Adams Richards

“Both familiar and exotic, The Second Life of Samuel Tyne is...a moving and brilliant novel.”

Reading Group Guide

1. One technique Edugyan uses to develop her characters is to weave in and out of their various perspectives. In this way, we learn the history of everyone from Samuel to Ama to Eudora Frank and see the story unfold through their eyes. Discuss this method of developing characters — for instance, did you find it enabled you to understand even those you didn’t much like? Also, why do you think Edugyan never writes from the perspective of the twins?

2. Both Maud and Samuel committed themselves to leaving their lives in the Gold Coast behind and are upset by Akosua Porter’s criticism that they have abandoned their roots. How successful have the Tynes been in recreating themselves as "Canadians?" What have been the major stumbling blocks — whether within themselves or in their new society?

3. What is Ama’s role in this novel?

4. Reviewers have praised Esi Edugyan for her depiction of small-town life in Alberta, particularly for characters like Eudora and Ray Frank. Discuss Aster in terms of its inhabitants and its “dark side,” as compared to the city life the Tynes left behind.

5. Throughout the novel, Samuel interprets numerous minor events as signs of his "luck" — everything from making it onto the roof without cutting himself to stopping for lunch with Ray while shop-hunting. How is this typical of his character?

6. Commenting on how dark this novel is, Edugyan has said, “You don’t set out to write the grimmest thing you can come up with, but while everyone seems to like a happy ending, the story just didn’t head in that direction.” Discuss the novel’s ending. Did it leave you unsatisfied, or is it appropriate for the story being told?

7. Despite his intelligence, Samuel is nervous around others to the point of being unable to sustain any normal human interaction — not even with his wife and daughters, who need him most. Why do you think he cuts himself off so completely? Is there anyone who truly understands him? And does he change at all over the course of the novel?

8. Discuss the symbolism of the weathervane on the roof of the Tyne home, considering the horrific noise it makes (“like a whole field of dying cats,” says Chloe) and Samuel’s bloody attempt to dislodge it.

9. Do you think Samuel’s refusal to observe forty days of mourning for Jacob is a factor in his failure?

10. The twins are perhaps the most difficult characters to understand in this novel. Discuss the relationship between Yvette and Chloe, and how they interact with the world around them.

11. What kind of a person is Maud? Why does she put up with Samuel’s major decisions about their life together and his inability to communicate with her?

12. “The house had always had a famished look to it.” From her first line, Edugyan provides evocative descriptions of the various homes in this novel — including Jacob’s mansion (“beautiful in a brooding sort of way”), the Porters’ decrepit home and Grandma Ouillet’s house full of rotting food. What kind of atmosphere is Edugyan creating? Can these homes be seen as reflections of their owners (as Eudora might say)? How does moving into Jacob’s mansion affect Samuel and his family?

13. One reviewer has commented, “Tyne is a novel about fate and how a man’s destiny is determined by events beyond his control.” Do you agree with this assessment of the book? For instance, how much of a role does fate play in Samuel’s life? Is there anyone in this novel who takes control of his or her own life?

14. Saul Porter tells the story of the first black immigrants who settled in Aster and tried to survive not only the harsh environment but also the racism of both the government and other Albertans. How does Edugyan use the past to illuminate the Tynes’s present? What role do Porter and his wife play in this novel?

15. Maud meets one kind-hearted person she could befriend, Tara Chodzicki, but is swayed by the town’s moral judgment — and Eudora’s bossiness — instead of following her own instincts. Similarly, Ama is unable to break through Chloe’s control over Yvette, the twin who seems to reach out for her friendship, and Samuel destroys the initial connections he makes with the peddler and Ama. How are these missed opportunities for relationships at the heart of this novel?

Interviews

1) Can you tell us how you became a writer?
I have wanted to be a writer for as long as I can remember. Reading was encouraged in my childhood, and there was rarely a moment when I wasn't engaged in some book. But I suppose it wasn't until I attended university that I realized creative writing was something one might seriously do as a profession. A teacher recommended the University of Victoria, largely because of its co-operative program in journalism, which seemed to me a great fall back plan should the creative route not work out. After a single journalism course I dismissed that path entirely and devoted myself to studying and writing poetry and fiction.

2) What inspired you to write this particular book?
I began the book with two clear ideas in mind: an odd pair of twins, and the image of an all-black hamlet that had existed in Alberta from just after the turn of the century to just before the second world war. Twins have always held a fascination for me — and they are a popular one in the public imagination as well, when you consider that a very small percentage of the population are twins, but every year dozens of books are written about them. It strikes me as quite an insular relationship, and I wanted to explore the intensity of that kind of bond. As for the settlement that the book is based upon — Amber Valley — it was a surprise to me to find out such a thing had ever existed. It's certainly not a part of Albertan history learned in school. It was a piece of our past waiting to be explored.

3) I understand that your parents are originally from Ghana. How does your relationship with your parents' homelandfigure into the book?
I think that any child of immigrants can't help but develop a relationship with their parents' homeland, even if only by proxy. Ghanaian culture has made up a large part of my life, the presence of its customs, etc. In writing about two Ghanaian characters, there was the opportunity to juxtapose that mode of life with Canadian culture, which appealed to me for obvious reasons. This isn't to say that the novel is autobiographical. I've merely taken small cultural details from my life and built on them.

4) I understand that the town of Aster is based on a small settlement in Alberta named Amber Valley? What is your relationship with Amber Valley? What kind of research were you involved in to create the town of Aster?
The discovery of Amber Valley's existence (and other settlements like it, such as Campsie, Wildwood, Breton) was the main spur for the novel. During the first draft, my conception of Aster was loosely based on information from a number of textual sources. Before revising, I went and visited the area — now mainly farmland and acreages, though the old legendary baseball fields were still intact — and poked around and spoke to some people who remembered the settlement or knew settlers. I wanted to get a feel for the place more than anything. But Amber Valley was only a stepping point.

5) Samuel Tyne is a very interesting character. What kind of challenges did taking on the voice of a middle-aged man pose for you?
Surprisingly, I didn't find it all that large a stretch to write in the voice of a middle-aged man — why that is, I don't know. But I've always tried to challenge myself by writing about a whole spectrum of people, no matter their age, race, religion. I hope to continue to do so. I think it would be really challenging to write a convincing novel from a child's perspective.

6) Who is your favourite character in this book, and why?
Samuel Tyne is my favourite by far. He came alive for me in so many ways, dramatically shifting the novel's focus away from the things that had first spurred it, so that I was endlessly going back and rewriting. His gentleness is endearing to me. I also like that he is a square peg in all ways — not only is he hopelessly anachronistic, trying to live his life by the rules of another era, but he's also culturally alienated.

7) Which authors have been most influential to your own writing?
I believe that the writers you love to read are also those who have the most influence on your work, whether or not it's actually apparent in your writing. My absolute favourite author is Tolstoy. I also admire, and am trying to learn from, the work of George Eliot, Jane Austen, V.S. Naipaul, Gabriel García Márquez, Halldór Laxness, Toni Morrison, Dostoyevsky, Alice Munro, and José Saramago.

Foreword

1. One technique Edugyan uses to develop her characters is to weave in and out of their various perspectives. In this way, we learn the history of everyone from Samuel to Ama to Eudora Frank and see the story unfold through their eyes. Discuss this method of developing characters — for instance, did you find it enabled you to understand even those you didn’t much like? Also, why do you think Edugyan never writes from the perspective of the twins?

2. Both Maud and Samuel committed themselves to leaving their lives in the Gold Coast behind and are upset by Akosua Porter’s criticism that they have abandoned their roots. How successful have the Tynes been in recreating themselves as "Canadians?" What have been the major stumbling blocks — whether within themselves or in their new society?

3. What is Ama’s role in this novel?

4. Reviewers have praised Esi Edugyan for her depiction of small-town life in Alberta, particularly for characters like Eudora and Ray Frank. Discuss Aster in terms of its inhabitants and its “dark side,” as compared to the city life the Tynes left behind.

5. Throughout the novel, Samuel interprets numerous minor events as signs of his "luck" — everything from making it onto the roof without cutting himself to stopping for lunch with Ray while shop-hunting. How is this typical of his character?

6. Commenting on how dark this novel is, Edugyan has said, “You don’t set out to write the grimmest thing you can come up with, but while everyone seems to like a happy ending, the story just didn’t head in that direction.” Discuss the novel’sending. Did it leave you unsatisfied, or is it appropriate for the story being told?

7. Despite his intelligence, Samuel is nervous around others to the point of being unable to sustain any normal human interaction — not even with his wife and daughters, who need him most. Why do you think he cuts himself off so completely? Is there anyone who truly understands him? And does he change at all over the course of the novel?

8. Discuss the symbolism of the weathervane on the roof of the Tyne home, considering the horrific noise it makes (“like a whole field of dying cats,” says Chloe) and Samuel’s bloody attempt to dislodge it.

9. Do you think Samuel’s refusal to observe forty days of mourning for Jacob is a factor in his failure?

10. The twins are perhaps the most difficult characters to understand in this novel. Discuss the relationship between Yvette and Chloe, and how they interact with the world around them.

11. What kind of a person is Maud? Why does she put up with Samuel’s major decisions about their life together and his inability to communicate with her?

12. “The house had always had a famished look to it.” From her first line, Edugyan provides evocative descriptions of the various homes in this novel — including Jacob’s mansion (“beautiful in a brooding sort of way”), the Porters’ decrepit home and Grandma Ouillet’s house full of rotting food. What kind of atmosphere is Edugyan creating? Can these homes be seen as reflections of their owners (as Eudora might say)? How does moving into Jacob’s mansion affect Samuel and his family?

13. One reviewer has commented, “Tyne is a novel about fate and how a man’s destiny is determined by events beyond his control.” Do you agree with this assessment of the book? For instance, how much of a role does fate play in Samuel’s life? Is there anyone in this novel who takes control of his or her own life?

14. Saul Porter tells the story of the first black immigrants who settled in Aster and tried to survive not only the harsh environment but also the racism of both the government and other Albertans. How does Edugyan use the past to illuminate the Tynes’s present? What role do Porter and his wife play in this novel?

15. Maud meets one kind-hearted person she could befriend, Tara Chodzicki, but is swayed by the town’s moral judgment — and Eudora’s bossiness — instead of following her own instincts. Similarly, Ama is unable to break through Chloe’s control over Yvette, the twin who seems to reach out for her friendship, and Samuel destroys the initial connections he makes with the peddler and Ama. How are these missed opportunities for relationships at the heart of this novel?

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