Is it possible to grow up while getting younger?
Welcome to Elsewhere. It is warm, with a breeze, and the beaches are marvelous. It's quiet and peaceful. You can't get sick or any older. Curious to see new paintings by Picasso? Swing by one of Elsewhere's museums. Need to talk to someone about your problems? Stop by Marilyn Monroe's psychiatric practice.
Elsewhere is where fifteen-year-old Liz Hall ends up, after she has died. It is a place so like Earth, yet completely different. Here Liz will age backward from the day of her death until she becomes a baby again and returns to Earth. But Liz wants to turn sixteen, not fourteen again. She wants to get her driver's license. She wants to graduate from high school and go to college. And now that she's dead, Liz is being forced to live a life she doesn't want with a grandmother she has only just met. And it is not going well. How can Liz let go of the only life she has ever known and embrace a new one? Is it possible that a life lived in reverse is no different from a life lived forward?
This moving, often funny book about grief, death, and loss will stay with the reader long after the last page is turned.
Elsewhere by Gabrielle Zevin is a 2006 Bank Street - Best Children's Book of the Year.
About the Author
Gabrielle Zevin is the author of award-winning books for young adults including Memoirs of a Teenage Amnesiac, and books for adults including The Hole We're In and Margarettown. She was also the screenwriter for Conversations with Other Women, which received an Independent Spirit Award nomination. Of her writing, The New York Times Book Review said, "Zevin's touch is marvelously light even as she considers profundities." A dog lover and Harvard graduate, she lives in New York City.
Hometown:New York, New York
Date of Birth:October 24, 1977
Place of Birth:Poughkeepsie, New York
Education:A.B. in English and American Literature, Harvard College, 2000
Read an Excerpt
ELSEWHERE (chapter 1)
Elizabeth Hall wakes in a strange bed in a strange room with the strange feeling that her sheets are trying to smother her.
Liz (who is Elizabeth to her teachers; Lizzie at home, except when she's in trouble; and just plain Liz everywhere else in the world) sits up in bed, bumping her head on an unforeseen upper bunk. From above, a voice she does not recognize protests, "Aw hell!"
Liz peers into the top bunk, where a girl she has never seen before is sleeping, or at least trying to. The sleeping girl, who is near Liz's own age, wears a white nightgown and has long dark hair arranged in a thatch of intricately beaded braids. To Liz, she looks like a queen.
"Excuse me," Liz asks, "but would you happen to know where we are?"
The girl yawns and rubs the sleep out of her eyes. She glances from Liz to the ceiling to the floor to the window and then to Liz again. She touches her braids and sighs. "On a boat," she answers, stifling another yawn.
"What do you mean 'on a boat'?"
"There's water, lots and lots of it. Just look out the window," she replies before cocooning herself in the bedclothes. "Of course, you might have thought to do that without waking me."
"Sorry," Liz whispers.
Liz looks out the porthole that is parallel to her bed. Sure enough, she sees hundreds of miles of early-morning darkness and ocean in all directions, blanketed by a healthy coating of fog. If she squints, Liz can make out a boardwalk. There, she sees the forms of her parents and her little brother, Alvy. Ghostly and becoming smaller by the second, her father is crying and her mother is holding him. Despite the apparent distance, Alvy seems to be looking at Liz and waving. Ten seconds later, the fog swallows her family entirely.
Liz lies back in bed. Even though she feels remarkably awake, she knows she is dreaming, for several reasons: one, there is no earthly way she would be on a boat when she is supposed to be finishing tenth grade; two, if this is a vacation, her parents and Alvy, unfortunately, should be with her; and three, only in dreams can you see things you shouldn't see, like your family on a boardwalk from hundreds of miles away. Just as Liz reaches four, she decides to get out of bed. What a waste, she thinks, to spend one's dreams asleep.
Not wanting to further disturb the sleeping girl, Liz tiptoes across the room toward the bureau. The telltale sign that she is, indeed, at sea comes from the furniture: it is bolted to the floor. While she does not find the room unpleasant, Liz thinks it feels lonely and sad, as if many people had passed through it but none had decided to stay.
Liz opens the bureau drawers to see if they are empty. They are: not even a Bible. Although she tries to be very quiet, she loses her grip on the last drawer and it slams shut. This has the unfortunate effect of waking the sleeping girl again.
"People are sleeping here!" the girl yells.
"I'm sorry. I was just checking the drawers. In case you were wondering, they're empty," Liz apologizes, and sits on the lower bunk. "I like your hair by the way."
The girl fingers her braids. "Thanks."
"What's your name?" Liz asks.
"Thandiwe Washington, but I'm called Thandi."
Thandi yawns. "You sixteen?"
"In August," Liz replies.
"I turned sixteen in January." Thandi looks into Liz's bunk. "Liz," she says, turning the one syllable of Liz's name into a slightly southern two, Li-iz, "you mind if I ask you a personal question?"
"The thing is"--Thandi pauses--"well, are you a skinhead or something?"
"A skinhead? No, of course not." Liz raises a single eyebrow. "Why would you ask that?"
"Like, 'cause you don't have hair." Thandi points to Liz's head which is completely bald except for the earliest sprouts of light blond growth.
Liz strokes her head with her hand, enjoying the odd smoothness of it. What hair there is feels like the feathers on a newborn chick. She gets out of bed and looks at her reflection in the mirror. Liz sees a slender girl of about sixteen with very pale skin and greenish blue eyes. The girl, indeed, has no hair.
"That's strange," Liz says. In real life, Liz has long, straight blond hair that tangles easily.
"Didn't you know?" Thandi asks.
Liz considers Thandi's question. In the very back of her mind, she recalls lying on a cot in the middle of a blindingly bright room as her father shaved her head. No. Liz remembers that it wasn't her father. She thought it was her father, because it had been a man near her father's age. Liz definitely remembers crying, and hearing her mother say, "Don't worry, Lizzie, it will all grow back." No, that isn't right either. Liz hadn't cried; her mother had been the one crying. For a moment, Liz tries to remember if this episode actually happened. She decides she doesn't want to think about it any longer, so she asks Thandi, "Do you want to see what else is on the boat?"
"Why not? I'm up now." Thandi climbs down from her bunk.
"I wonder if there's a hat in here somewhere," says Liz. Even in a dream, Liz isn't sure she wants to be the freaky bald girl. She opens the closet and looks under the bed: both are as empty as the bureau.
"Don't feel bad about your hair, Liz," Thandi says gently.
"I don't. I just think it's weird," Liz says.
"Hey, I've got weird things, too." Thandi raises her canopy of braids like a theater curtain. "Ta da," she says, revealing a small but deep, still-red wound at the base of her skull.
Although the wound is less than a half inch in diameter, Liz can tell it must have been the result of an extremely serious injury.
"God, Thandi, I hope that doesn't hurt."
"It did at first; it hurt like hell, but not anymore." Thandi lowers her hair. "I think it's getting better actually."
"How did you get that?"
"Don't remember," says Thandi, rubbing the top of her head as if she could stimulate her memory with her hands. "It might have happened a long time ago, but it could have been yesterday, too, know what I mean?"
Liz nods. Although she doesn't think Thandi makes any sense, Liz sees no point in arguing with the crazy sorts of people one meets in a dream.
"We should go," Liz says.
On the way out, Thandi casts a cursory glance at herself in the mirror. "You think it matters that we're both wearing pj's?" she asks.
Liz looks at Thandi's white nightgown. Liz herself is wearing white men's-style pajamas. "Why would it matter?" Liz asks, thinking it far worse to be bald than underdressed. "Besides, Thandi, what else do you wear while you're dreaming?" Liz places her hand on the doorknob. Someone somewhere once told Liz that she must never, under any circumstances, open a door in a dream. Since Liz can't remember who the person was or why all doors must remain closed, she decides to ignore the advice.
ELSEWHERE. Copyright 2005 by Gabrielle Zevin.
Reading Group Guide
1. Water is a powerful image and symbol that runs throughout the book. Liz's story opens on the ocean; the Well is in the water; the Observation Decks face the water; Liz can communicate through a water source with her brother, Alvy. What other aspects of the importance of water are evident in the novel? Why does the author elect to use water as such an essential symbol? Comment on some of the other symbols, such as Liz's stitches, the watch her father gave her, and the snow globe.
2. This novel is divided into three separate parts and also employs a prologue and an epilogue. Understanding the structure of the novel is important to understanding the story itself. Why is the scene with Liz's dog, Lucy, the first glimpse the author provides of the story? How does this scene foreshadow what will come later in the novel? How does the epilogue bring the novel not to a close but to a resolution? What purpose do the three parts serve? What important events occur in each of the three parts?
3. There are many characters who are part of the story of Elsewhere, all of them critical to it. The author, Gabrielle Zevin, introduces the characters early in the story. Liz meets Thandi and Curtis on the ship, Grandma Betty upon her arrival, Aldous Ghent at the acclimation session, and Owen at the Well. No characters, not even the canine ones, are minor to the story. Explore how the characters move the novel forward. For instance, what important role does Esther, the supervisor at the Observation Deck, play? Why is Thandi critical to the story? Could the novel be complete without Sadie or Lucy or Alvy? How does each of them help Liz adjust to life on Elsewhere and come to understand that life on Elsewhere is something to be cherished?
4. Notice the allusions made to classic and contemporary literature throughout the novel. Liz recalls a line about antique lands. Aldous Ghent prompts Liz to read Shakespeare's A Midsummer Night's Dream. Liz reads E. B. White's Charlotte's Web as she grows younger. Finally, Owen reads Natalie Babbitt's Tuck Everlasting to Liz when she is no longer able to read on her own. Every one of these titles deals with some aspect of life as it relates to Elsewhere as well as Earth. How does each address some facet of Liz's life and experiences?
5. How does the author use humor in the novel? What examples of wordplay are evident? For instance, Liz is aboard a ship called the Nile and Thandi tells her she is in denial (de-nile). Another example of this gentle humor is when Liz meets Sadie and informs the dog that she is drinking from a toilet. Locate other instances of humor and discuss how it is used in the novel. Is the humor intended to defuse the emotion of a serious situation or scene? Is it more of a way to show how Liz is becoming acclimated to life on Elsewhere?
6. How does the structure of the site reflect the structure and content of the novel?
7. Liz and all the other arrivals in Elsewhere are encouraged to find an avocation to pursue during their time there. Ghent explains to Liz that an avocation is something that makes one's soul complete (page 74). Some of the residents of Elsewhere work in avocations similar to the jobs they did on Earth; others have new ones. Marilyn Monroe becomes a psychiatrist. Curtis Jest decides to be a fisherman and comments that John Lennon is a gardener. How do the avocations of Monroe, Lennon, Owen, Betty, Curtis, and other characters reflect what they really want out of their new lives?