What does Kate's experience in the Iraq War say to you?

Did you understand anything about Iraqis from Naema that you did not know before?

What is the role of the third person sections in Sand Queen?

How is a war story different when a woman tells it?

Why do you think the author ended the book as she did?

If you know The Lonely Soldier, how is Sand Queen different?

Please see interviews below for further discussion points. Thank you!


Conducted August 2011 for Art & Document by Timothy Cahill, Director of the Center for Documentary Arts at The Sage Colleges, Albany, New York

Timothy Cahill: Did you conceive of Sand Queen while you were writing The Lonely Soldier?

Helen Benedict: I conceived of Sand Queen long after I finished The Lonely Soldier, although all the inspiration for it came from the same research. I came to realize, even after interviewing more than forty women who served in the Iraq War and doing a lot of other research too, that there was more to say—an internal, private story of war that lay in the soldiers’ silences, jokes, and tears. Those moments are closed to the journalist, but they are exactly where fiction can go.

Do you consider the two books companion pieces in any sense? How helpful is it for the reader to know the stories of the five women in Lonely Soldier to understand the events in Sand Queen?

I wrote Sand Queen to be read entirely independently of The Lonely Soldier. Fiction cannot depend upon nonfiction to be understood. But those who wish to read both will find an interesting relationship between the two. 

What was the most rewarding aspect of writing the novel? How do the rewards of fiction differ from narrative non-fiction?

The most rewarding part of writing fiction is the artistic thrill of creating people from scratch, discovering the language they speak and the lives they live. But I also love entering the skins and souls of people entirely different from myself, in this case Kate, the soldier, and Naema, the Iraqi medical student. None of that can be done in nonfiction.

I also found it incredibly moving to meet and talk to the women soldiers and Iraqi refugees who helped me with the book. That is true for nonfiction, too.

As a writer, what is that transition like at the point when you enter the skin of your characters and information gives way to imagination? What’s your experience of the back and forth between the factual world of research and the creative process of inventing a world?

I always do a lot of research for my novels, but the story takes precedence. In a way, writing fiction is the opposite of writing nonfiction. In the latter, the research leads the story. In fiction, the story leads and the research is only there to provide authenticity.

I write realistic fiction, so the “factual world” is never really separate from it. That is, although my characters and their adventures are all invented, everyone I write about could have existed, and everything that happens to them could have happened. Essentially, though, writing fiction and nonfiction are like using different sides of the brain. Nonfiction is like putting together a hugely complicated puzzle. Fiction is like controlled and polished daydreaming.

How much of the novel was worked out in advance before you began to write?

I never plot before I write because the imagination is so much more inventive and intuitive than the logical part of the brain that plans.

Do you think fiction can bear witness to real life?

Fiction not only bears witness to real life, it may reflect it better than nonfiction ever can. The job of fiction is to plumb the soul, the unconscious, the human motivations so often hidden even from ourselves. Facts are not enough to tell the story of human beings and all their wonderful complexity. Even more important, reading fiction is a way of leaving yourself and entering the souls of others, and in this way it can work against prejudice and myopia.

Will you continue to pursue the subject of women soldiers in the future?

I will indeed. At the moment, I am writing a sequel to Sand Queen that follows several of its characters seven years into the war, American and Iraqi, men and women.

What do these stories of women soldiers touch within you that makes them compelling and of continuing importance?

I think what most moved and disturbed me about the stories of these women soldiers was seeing their youthful idealism crushed. So many of them believed they were going to help the Iraqi people and do some good in the world, and believed their fellow soldiers would be comrades and brothers, too. Instead, they found abuse at the hands of comrades and a war that was destroying a people, not helping them. To see idealism turn angry and bitter in the young is heartbreaking. We should not be doing that to our youth.

Discussion points for THE OPPOSITE OF LOVE after it is read:

How a person of mixed race or nationality can forge an identity in America, which is so racially divided in so many ways.

Whether taking the law into your own hands to save someone is ever justified.

Teenage parenthood and its challenges.

Questions for readers:

1) The book’s title comes from the quote, “The opposite of love is not hate, it’s indifference.” This was written by Elie Wiesel, a survivor of the Holocaust who won the Nobel Prize for Peace in 1986. What do you think Wiesel meant by these words?

2) Why do you think Madge is so inspired by that quote? What does it mean to her?

3) Madge says in the book that she has to be black because, in America, nobody will let you be half and half. What did she mean, and do you agree with her?

4) How do you think Madge would be a different person if she had been raised in a racially and culturally diverse place like New York City?

5) Do you think Madge’s family really understands what it’s like for her to live in where she does?

6) Were you surprised by the sort of racism Madge endures in her town?

7) How do you think Madge changes and grows throughout the course of the novel?

8) When Madge rescues Timmy, she believes at first that she is doing the right thing. But she has broken the law. Do you think she should have taken him home with her or not?

9) Do you think the choice made at the end of the book is better for Madge or better for Timmy, or both?

10) Do you think Madge and Krishna will stay in touch in the future?

11) Where do you see Madge five years after the book ends?

Title: The Sailor's Wife
Author: Helen Benedict

Description: The Sailor's Wife, by Helen Benedict, is a novel set in Greece in 1975, just after the fall of the Colonels' seven-year dictatorship. Joyce Perlman, a naive young woman from a Miami suburb, meets and marries a Greek merchant marine named Nikos. He takes her back to his peasant parents on a remote island, and leaves her there for more than two years, rarely returning.

Joyce finds herself living the merciless life of a Greek peasant woman, at the command of people steeped in religion, misogyny, superstition and their experiences of war. Yet, for the first time in her life, she feels that she has a purpose. She finds the village community, the urgency of farming and the love of her in-laws more rewarding than anything she experienced in what she considers her empty, vacuous life in Florida.

For two years Joyce tries to keep her marriage alive so that she can stay in this new life she loves, but this becomes increasingly difficult. As she learns Greek, she comes to understand Nikos in a way she couldn't when they had no language but love between them, and she does not like what she discovers. And then she meets Alex, a young Englishman on the island to visit his aunt, who represents everything she has given up: modernity, education, freedom, passion.

By following Joyce's struggle to balance duty and love, safety and challenge, ambition and obligation, the novel examines the role of women, the nature of freedom and the tensions between love and independence.

Publisher's Comments: Helen Benedict brilliantly conjures a world of peasants, soldiers, fishermen, and peddlers. The Sailor's Wife is a tour de force, a rare glimpse at an ancient culture peopled with sharply drawn and memorable characters, where a modern woman is plucked from her comfortable American nest and set down in a harsh and primitive environment.

“They meet in a Florida supermarket: Jewish virgin Joyce and gorgeous Greek sailor Nikos. Soon they elope to the Greek island Ifestia, where women are subservient, work is brutal and - with Nikos at sea - Joyce is a slave to her peasant in-laws. Yet Joyce finds her new life oddly comforting, until a young Englishman appears and reminds her of everything she's lost. Can Joyce get her groove back? Grab this surprising novel to find out.” -- Cathi Hannauer ©Glamour, 2000

A girl from the suburbs of Miami marries a Greek sailor in the merchant marine and runs away with him to Ifestia, a remote Mediterranean island, in this vivid... novel by Benedict (Bad Angel). The year is 1975, and 20-year-old Joyce has been living the life of a Greek peasant woman for two years, lodged with her husband Nikos's parents while Nikos is at sea.

Whereas before she painted her toenails and read romances, now she milks goats and sells vegetables at the village market. Her beautiful but spoiled Nikos is gone for months at a time, returning home to complain that Joyce has still given him no son. Joyce, in turn, works hard during the day, suffering the misogyny and superstitions of her adopted home, writhing in lonely desire at night. Yet she finds the rhythms of island life fulfilling, and her in-laws' harsh love more satisfying than the suburban emptiness she knew before. She endures until she meets Alex Gidding, an Englishman with Greek family, and is reminded of the freedoms women enjoy elsewhere. From their first encounter, the novel accelerates, as Joyce struggles to resist Alex's seductions, remain loyal to her new family and, most importantly, define and accept who she is and what she wants. Benedict's prose is
lyrical...: Nikos's muscles ripple "like contented animals," and whitewashed houses resemble melted sugar. Most rewarding is Benedict's description of
Ifestia, which is rendered as simultaneously familiar and strange, populated by a complex people who speak in epic cadences, are filled with conflicting
emotions and are haunted by a bloody national history. -- (Oct.) Copyright 2000 Cahners Business Information.

About the Book:
The questions, discussion topics, and author biography and interview that follow are intended to enhance your group's reading of Helen Benedict’s The Sailor's Wife

Discussion Questions:
1) Why did Benedict choose the following epigram from “Zorba the Greek”? “I think only people who want to be free are human beings. Women don’t want to be free. Well, is a woman a human being?”

2)What is Benedict saying abut freedom and what it means to the various characters in the book -- Joyce, Dimitra, Petros, Alex, Nikos?

3) Is the reader intended to see Nikos as totally in the wrong, or are there ways in which the reader can understand his point of view?

4) How does Benedict convey the sights, sounds, and smells of Greece?

5) What is Benedict saying about American society?

6) What is Benedict saying about the old ways of village life versus the modern, urban life Joyce knew in America?

7) What does the ending tell us about what Joyce has learned?

8) What is the book saying about the role of women in both ancient and modern societies?

Author Biography
Helen Benedict, the daughter of anthropologists, was born and brought up in England and on various islands in the Indian Ocean. She is the author of two previous novels, Bad Angel (Dutton) and A World Like This (E.P. Dutton), and four works of nonfiction, including Portraits in Print (Columbia Univiversity Press) and Virgin or Vamp: How the Press Covers Sex Crimes (Oxford University Press).

The Sailor's Wife is her third novel and seventh book. Benedict has had stories published most recently in The Antioch Review and The Ontario Review, and essays and book reviews in The Nation, Poets & Writers Magazine, The Women’s Review of Books and US Weekly.

She teaches writing at Columbia University and lives in New York City and Albany County.

Author Interview:
Where are you from? How--if at all--has your sense of place colored your writing?

H.B.: I was born in England of American anthropologists, and grew up in England and various islands in the Indian Ocean. This has given me a
life-long affinity with outsiders, and an unusual exposure to the poor and forgotten. This has affected much of my writing and is one of the reasons I wanted to explore peasant life in my new novel, The Sailor's Wife.

When and why did you begin writing? When did you first consider yourself a writer?

H.B.: I began writing in earnest at eight years old, when I wrote my first "novel." I have never stopped since.

Who or what has influenced your writing, and in what way? What books have most influenced your life?

H.B.: The books I read and loved as a child - books by E. Nesbit and C.S. Lewis in particular - made me want to write. As an adult, I have been most affected by George Eliot, Leo Tolstoy, Charlotte Bronte, Virginia Woolf, Charles Dickens: all writers with heart.

What do you think will appeal to readers about this book?

H.B.: The Sailor's Wife will appeal to all kinds of readers because it is so erotic and exotic. Joyce's passion for her husband is deeply felt, and when she finds herself alone on an island filled with handsome young soldiers, the atmosphere becomes even more charged - especially once she meets Alex, a young Englishman on the island to visit his Greek aunt. Also, the description of Greece is very vivid -- you can feel the hot air and ground, and smell the herbs and the sea. The Sailor's Wife is a passionate love story, as well as a detailed description of Greek island culture.

Who is the book aimed at?

H.B.: I’ve written The Sailor's Wife to appeal to men and women of all ages. For young women, it’s a kind of fable of what happens when dreams come only too true. But the older characters in the book, Joyce's in-laws, have lived through war and famine and dictatorship, and their stories appeal to people of all ages and interests.

What themes do you develop in the book?

H.B.: Among the themes I explore in THE SAILOR’S WIFE is the danger women face when they depend too much on love of a man to be their salvation. But I‘m also looking at the nature of freedom. Greek women have fought beside men for freedom ever since Democracy was invented in their country, but in modern times, they fought particularly hard during the Resistance in World War II and during the five-year civil war that followed it. And yet women in Greece didn’t get the vote until 1956, and did not have equal rights under the law or share property equally with their husbands until 1983. It wasn’t until that same year that dowry was banned either, the system of of essentially bribing men to marry one’s daughter by offering land, goods or money to go with her. These facts made me question whose freedom those women fought and died for. And what is the difference between men and women's ideas of freedom? Zorba the Greek says in the novel, “I think only people who want to be free are human beings. Women don’t want to be free. Well, is
a woman a human being?” I wanted to take a hard look at the assumptions in that statement.

What gave you the idea for the book?

H.B.: I got the idea for The Sailor's Wife when I met a young American in Greece who had done what Joyce did - marry a sailor she barely knew and moved in with her peasant in-laws to live a hardscrabble life. But as a journalist I’d also met other women who had fallen for men they didn't really know, moved to other cultures and countries with the romantic idea that love would solve all, only to find themselves virtually enslaved. I was struck by how many women I
hear of - and know - who made this kind of mistake when they were young, and what they might learn by it. They think love will surmount cultures that are brutal to women, and they are usually wrong.

I was also intrigued by the idea of what it would be like for a sheltered American who had lived a comfortable, safe, suburban life to be thrust into
a world where everyone has lived through war, dictatorship and starvation.

The Greeks have had a rough history, even in modern times, fighting with Turkey and Cyprus, dividing between Fascists and Communists. During World War II, Greece was occupied by the Nazis and their allies, and most of the country starved as a result. Then right after the war, the country fell into civil war for five years, brother killing brother, young girls going off to fight in the mountains, and 600,000 Greeks died at one another’s hands. Then in the 1960s and early '70s there was the dictatorship of the Colonols, who often jailed or killed opponents and intellectuals.

Greece is a modern, European country, but its experience has been wildly different from America’s. In The Sailor's Wife, I show how this affects not only Joyce, but also what such hardships have done to her mother and father-in-law. Dimitra, the-mother- in-law, for example, is hardened and toughened by war, but she loves passionately and blindly. Her husband, Petros, is a quiet, kind peasant, but underneath he is a rebel who has nothing but contempt for many Greek traditions and beliefs.

Why did you choose to write about such a different culture?

H.B.: The reason I chose to write about such a different culture is because I think we all learn a lot about ourselves by learning what it's like to be
someone else. I have always explored that in my writing. My first novel, A World Like This, entered the life of a teenage convict. My second, Bad Angel, delved into the experience of a teenage mother from the Dominican Republic. My new novel, The Sailor's Wife makes the reader feel what it would be like to follow a dream, move to a remote island and live the life of an Old Testament peasant -- and explores the joys and trials of such an

Who would you recommend this book for?

H.B.: I’d recommend The Sailor's Wife to anyone who likes to be transported by fiction, who likes romance, and who likes to learn about other people’s
lives, histories, and cultures.