Table of Contents
About The Book
“A wild, angry, and devastating masterpiece of a book.” —NPR
“[A] descendent of the Dickensian ‘social novel’ by way of Jonathan Franzen: epic fiction that lays bare contemporary culture clashes, showing us who we are and how we got here.” —O, The Oprah Magazine
“A book that has stayed with me ever since I put it down.” —Seth Meyers, host of Late Night with Seth Meyers
One sweltering night in 2013, four former high school classmates converge on their hometown in northeastern Ohio.
There’s Bill Ashcraft, a passionate, drug-abusing young activist whose flailing ambitions have taken him from Cambodia to Zuccotti Park to post-BP New Orleans, and now back home with a mysterious package strapped to the undercarriage of his truck; Stacey Moore, a doctoral candidate reluctantly confronting her family and the mother of her best friend and first love, whose disappearance spurs the mystery at the heart of the novel; Dan Eaton, a shy veteran of three tours in Iraq, home for a dinner date with the high school sweetheart he’s tried desperately to forget; and the beautiful, fragile Tina Ross, whose rendezvous with the washed-up captain of the football team triggers the novel’s shocking climax.
Set over the course of a single evening, Ohio toggles between the perspectives of these unforgettable characters as they unearth dark secrets, revisit old regrets and uncover—and compound—bitter betrayals. Before the evening is through, these narratives converge masterfully to reveal a mystery so dark and shocking it will take your breath away.
Reading Group Guide
Introduction
Since the turn of the century, a generation has come of age knowing only war, recession, political gridlock, racial hostility, and a simmering fear of environmental calamity. In the country’s forgotten pockets, where industry long ago fled, where foreclosures, Walmarts, and opiates riddle the land, death rates for rural whites have skyrocketed, fueled by suicide, addiction and a rampant sense of marginalization and disillusionment. This is the world the characters in Stephen Markley’s brilliant debut novel, Ohio, inherit. This is New Canaan.
On one fateful summer night in 2013, four former classmates converge on the rust belt town where they grew up, each of them with a mission, all of them haunted by regrets, secrets, lost loves. There’s Bill Ashcraft, an alcoholic, drug-abusing activist, whose fruitless ambitions have taken him from Cambodia to Zuccotti Park to New Orleans, and now back to “The Cane” with a mysterious package strapped to the underside of his truck; Stacey Moore, a doctoral candidate reluctantly confronting the mother of her former lover; Dan Eaton, a shy veteran of three tours in Iraq, home for a dinner date with the high school sweetheart he’s tried to forget; and the beautiful, fragile Tina Ross, whose rendezvous with the captain of the football team triggers the novel’s shocking climax.
At once a murder mystery and a social critique, Ohio ingeniously captures the fractured zeitgeist of a nation through the viewfinder of an embattled Midwestern town and offers a prescient vision for America at the dawn of a turbulent new age.
Topics & Questions for Discussion
1. Discuss your first impressions of New Canaan in the prelude. How are these impressions reinforced—or changed—throughout the course of the novel?
2. Consider the structure of the novel—how imperative do you feel it is to the reading experience?
3. “In them, I see the world that’s coming. The world we’re being banished to” (477). In what ways might the novel’s events feel microcosmic to current events and politics?
4. Consider Bill Ashcraft’s “T-shirt incident” which unites many of the novel’s central characters. How does this incident echo throughout the novel? How does it define Bill? Also, discuss the incident from the other characters’ points of view.
5. “In the last decade, everyone had learned to be a truth masseuse” (106). Discuss the novel in the frame of “post-truth.” Are the narrators reliable? Consider the different angles and perspectives in which we view the characters and their stories. How do these alternating views affect your overall perception of the characters?
6. Ohio is a novel fraught with power dynamics between its characters. How do they differ between the men and the women?
7. “Because people only act—they only change—with a gun to their head” (125) says Bill. Do you think this statement is true in regards to the characters of Ohio? Do you think any of the characters grew or changed for the better from who they were in high school? Contrast this bleak statement with the optimistic words of Mr. Clifton later on in the novel: “I see some of you kids I had in class years and years ago, and I can never believe the way you grow into yourselves as adults...It still makes me want to cry tears of joy every time” (232).
8. When driving with Bill through town, Dan observes that “New Canaan was one of the minor places that bore the aftershocks of deindustrialization” (283). How else do we see these aftershocks manifest on both macro and micro levels?
9. Hilde tells Stacey that she often makes “self-denigrating comments” towards her “bumblefuck town,’” and advises her to “break yourself of that habit. You’re here. You’re curious about the world” (192). How are Stacey and the other characters in the novel who do leave New Canaan—Bill, Dan, Rick, Ben—still bound to their hometown even as they explore the world? In what ways do they remain distinctly “Ohio”? What makes you think they feel this way?
10. “Where does a girl who’s lost her religion go to find meaning? What replaces the hole that faith, cast off, leaves behind?” (214). Discuss how religion—specifically, Evangelical Christianity—permeates the lives of characters in Ohio, and what replaces “that hole” for each character.
11. “Clichéd inspirational posters making success sound as if it had nothing to do with socioeconomics” (53). How do the characters in Ohio define success? How do their circumstances inhibit or encourage their individual definitions? Do you feel any of the characters might have been doomed from the beginning by their circumstances, or do you feel they sabotaged themselves?
12. “If there’s a gun hanging on the wall in the first act, in the third act, it must be fired”—a “Chekhov’s gun” is a literary principle that advises writers to make sure every element in their stories comes into play at some point. Discuss how author Stephen Markley makes use of this principle. What would be the “Chekov’s guns,” so to speak, in Ohio?
13. The heartbeat of Ohio lies in its vivid characters. Is there one you relate to most, or one that reminds you of someone you know? Discuss with your book club.
14. Dan Eaton pins two quotes to his corkboard before he leaves for basic training: Thomas Paine’s “Those who expect to reap the blessings of freedom must, like men, undergo the fatigue of supporting it” and Abraham Lincoln’s “I like to see a man proud of the place in which he lives. I like to see a man live so that his place will be proud of him.” Discuss these quotes in relation to the events of the novel.
15. “I once read this book about how literature was this vast conversation that mocked all of the borders we normally think of: state boundaries, our own life spans, continents, millenia” (191). Does Ohio hold up to this definition? What borders do you think it mocks?
Enhance Your Book Club
1. J.D. Vance’s Hillbilly Elegy and Amy Goldstein’s Janesville are nonfiction accounts on many of the same themes as Ohio: deindustrialization, the economics of the Rust Belt, the cultural and political challenges faced by the Midwestern working class in the post-9/11 era—and more. Consider reading one or both of these books with your book club and discussing their parallels with Ohio.
2. Choose an epigraph for the novel—be it a lyric, a line from a poem, a snippet from a news outlet, or anything else, find a quote that you feel captures the spirit, themes, and tone of Ohio. Share with your book club.
3. In the novel, Dan and Hailey bond over a love of Calvin and Hobbes, a comic strip inspired by and set in the same suburban Midwest where its creator, Bill Waterson, grew up. Read a few Calvin and Hobbes strips—in what ways might Calvin’s surroundings feel similar to New Canaan, and the childhoods of the characters of Ohio?
4. The cover photograph of Ohio is one image from a photo series by Harlan Erskine. Take a look at the rest of series on Erskine’s website: http://www.harlanerskine.com/ten-convenient-stores/tencstores-3. How do the rest of the images feel evocative to the mood and motifs of Ohio?
A Conversation with Stephen Markley
Congratulations on your first novel. Can you talk about what lit that initial spark that inspired you to write Ohio?
I’d been trying to write a version of this book for maybe a decade. I think many young authors typically try to explicate the place they’re from in their early work. Everyone has a sense that we need to prove where we come from matters (usually because it does). I finally began to stumble upon the framework that would become the novel after this bad night I had back home bouncing around a few bars, not unlike a few characters in the book. All I’ll say is inspiration is fickle and unpredictable.
Did you grow up in Ohio or the Midwest yourself? If so, how did it inform the writing process—and if not, how were you able to channel such a strong sense of familiarity with a community like New Canaan?
Yes, I did grow up in a small town in Ohio. Also, once I got my driver’s license in high school and my friends and I could sort of venture out to the surrounding towns and cities I became fascinated by the mythology of places that maybe other people wouldn’t find very fascinating: Mansfield, Cleveland, Columbus, Youngstown, Akron, and every tiny burgh and rural highway that connects them. The history, the burdens, the creepy backwoods stories—so much of it was sitting around in my head waiting to be used.
Can you talk about your experiences in the Iowa Writer’s Workshop? Did you start working on Ohio while still a student?
I went into Iowa extremely skeptical, to say the least, about what I’d get from the experience. Stubbornly, I never thought I’d go the MFA route, but there I found myself, and within two months, I was just chugging the Kool-Aid. I had early pieces of Ohio written before I went in, but it went through a Cambrian Explosion–style evolution once I arrived there. It was a completely life-changing experience, not only due to the people heading the classes but also because of my peers, who turned out to be a crop of such funny, fearless, brilliant people. I can’t even name names because the list is too long and full of too much dirt that would compromise people’s careers in the best kinds of ways.
Besides a fiction writer, you also work as a screenwriter and journalist. How do these other types of writing inform your fiction?
Probably discipline, research, and curiosity. Having always worked with a deadline, I basically can’t imagine not finishing a piece of writing when I’ve set a date to finish it. This means I’m at my desk every day working even when I’d rather not. It may sound like a small thing, but having met all the talented writers who go days, weeks, months without writing a word, I realize what an asset it is. There’s also this old Kurt Vonnegut interview banging around somewhere in which he says (I’m paraphrasing), “Great fiction writers tend to have things on their minds other than just fiction.” In other words, interviewing a healthcare policy wonk about the ramifications of the Affordable Care Act or a filmmaker working on a documentary about violence interrupters on the South Side of Chicago remains one of my best routes into fiction.
Can you talk about what kind of research you might have done to write Ohio?
A better question: “What kind of research did you say, ‘Eh, that might be a little much’?” Which is to say, I’m a total psycho. If I’d had any more time with the book, I would have been looking up shift change schedules at Jeld-Wen Windows and Doors plants because a fifth-string character happens to work at one. As a reader can probably tell, I spent a lot of time on the U.S. Army and the combat experience, a lot of time wandering around Walmarts striking up conversations with employees from which I’d later jank ideas. Most insanely, I practically wrote Stacey’s dissertation on ecological catastrophe in the context of the global novel only to cut 97% of it from the final draft. But for me it’s not so much getting this detail or that detail right, but in fully inhabiting the character, in seeing the world through their eyes entirely. So even if I end up cutting 97% of this thing I spent a year researching, I still have it all in mind’s eye. I get how Stacey views her interaction with a waitress spouting off an unexpected line of poetry because I’ve sunk all that time and effort into being in her brain.
The characters of Ohio are so visceral, each so vividly alive, and strikingly unique. Can you talk about how you crafted their individual voices, created their backstories, and decided how their lives would intersect? Is there one you relate to most?
That’s tough. You steal a little from people you know here and there, a little from your own experience, and then the rest just follows. Pretty soon, they are as alive and real to you in your head as, say, a good friend you grew up with. You can predict what they’ll do most of the time, and then at others they surprise you. It helps that I wanted each character to have a central preoccupation (as I think we all do), a wound that’s never healed, and a way of viewing the world that is distinct and hard-won. One of the most surprising scenes to write was when Bill, this brazen antiwar activist, is telling a Dan, a vet, that Dan fought these wars for nothing, that his experiences in these theaters and the people he lost to these conflicts were a waste. I had it in my head that Dan would come back at him hard, challenge him directly. But then I got to the page and Dan’s voice guided the scene elsewhere. He allows Bill keep talking and talking and suddenly the power between the two characters flips entirely. And the result, I think, is much more interesting, much more wrenching. There’s this weird thing where you have to let your characters behave as they would behave, even if it goes against what you had planned.
Similarly, even though many of the characters commit acts of cruelty, violence, or selfishness, you also render them in sympathy and humanity. Can you talk about how you prevented any character in Ohio from feeling like a clear-cut villain? Did you feel it was important for you to do so? Do you feel like there’s any hope left for them?
One of the clearest lines in the book is that notions of “villains” or “evil” are basically childhood fairytales adults tell themselves. I’ve heard people refer to a certain character in the book as a “monster” and though I’m way too polite to correct them, I think the novel speaks for itself about the danger of these simplistic categorizations. Behind what we think of as evil acts there are wounds, there is damage, there is grief, insecurity, fear, and loss. This is not a relativistic philosophy either. One can acknowledge and combat the horrible philosophies and dogmas and individual behaviors of our fellow human beings without doing ourselves the enormous disservice of simply grafting “evil” onto people we don’t like or don’t understand. But in imagining villains and heroes, I always keep in my head that villains love and are loved deeply by others while heroes frequently do terrible, unspeakable things for which they can never forgive themselves.
Did you always envision Ohio to be organized in overlapping sections (plus a prelude and coda), each focusing on one character? What challenges or rewards did you experience structuring the story this way?
The four characters in four sections was always the base of the novel, and the coda and prelude sort of grew out of suggestions from my agent and editor. Sula by Toni Morrison (not a bad Ohio author herself) also played an enormous role. The introduction to that novel just comes at you like a Scud missile, and Morrison talks about how the introduction was the very last part of the book she wrote. I’d had this moment that kept coming up over and over, of the parade following the return of a dead soldier. As soon as I started writing it, I knew that was the way in. Beyond that, I just loved the idea of being lost in each character’s world, of viewing all of their lives backward and forward and getting these miniature climaxes on the way to an accelerating ending. The organization, I hope, gives the book a kind of propulsion, it hurtles the reader forward as he or she tries to decipher how it will all come together. So far, I’ve not heard anyone say, “Markley, c’mon, I saw that coming.” You just want those last forty pages to shock the shit out of you and yet feel totally inevitable in retrospect. To leave you scrambling to unearth all the hidden depths of New Canaan.
Were there any particular books, music, films, or anything else that inspired or informed Ohio?
I’m very bad at this question, panic, and answer it differently every time. Like I think saying Bruce Springsteen and Toni Morrison is not innacurate, but neither is Quentin Tarantino and Dead Prez or Edward Hopper and the poet Lisa Wells. It’s not that one seeks to be influenced but that pieces of art and reportage and the irreducibly bizarre experience of being alive act upon your central vision at all times in ways you can never predict or understand.
Can you talk about what you’re working on now? Do you think you’ll ever return to the characters of Ohio or the town of New Canaan?
I’m still trying to wrap my head around the fact that I’m in this place right now, with a book that, no matter what happens with sales or reviews and all that other glitter, is something I’m deeply proud of, that has this team of incredible people behind it and who believe in it. I don’t want to take any of that for granted.
If you had to name a single emotion or feeling that you feel drives Ohio, what would it be? What overarching feeling do you want to leave readers with after they finish the book? What do you want them to take away?
The interaction between the writer and the reader is the mystical, ethereal, inexplicable place, right? Like I know what I think is in my book and what it should be evoking and how it should be read, but as with every piece of literature, the reader will bring his or her own hopes, biases, determinations, and dogmas to it. Like I can say that it’s a novel about love and loss and war and recession and addiction and ecology and religion and trauma and hope in the dark, but I’m not sure that means much except to taint that inexplicable encounter. Hell, I’m not even sure authors should answer questions about their novels! It breaks the Spell, even if just by a sliver of a degree. Mostly, I want people to close the book and say what all authors want to hear, which is, “Damn. I would throw my grandmother out a window to get an advance copy of whatever this guy writes next.”
About The Author
Stephen Markley is the acclaimed author of Ohio, which NPR called a “masterpiece.” A graduate of the Iowa Writer’s Workshop, Markley’s other books include the memoir Publish This Book and the travelogue Tales of Iceland.
Product Details
- Publisher: Simon & Schuster (August 21, 2018)
- Length: 496 pages
- ISBN13: 9781501174490
Raves and Reviews
PRAISE FOR OHIO BY STEPHEN MARKLEY
"Markley [does] some extraordinary things with the structure of the book . . . Casual details suddenly take on new surprising significance. There's real pleasure in this hopscotching narrative: with each new point of view, a clearer sense of the hidden story emerges as the reader slowly pieces together some shocking revelations . . . The most moving parts of the book are those that step back and let the events and the actions speak for themselves, as when one character (the shy bookish one from high school) recalls his first tours in Afghanistan. The beautifully precise details are all the more vivid for their lack of accompanying commentary. The real core of this earnestly ambitious debut lies not in its sweeping statements but in its smaller moments, in its respectful and bighearted renderings of damaged and thwarted lives. It's the human scale that most descriptively reveals the truth about the world we're living in."—DAN CHAON, NEW YORK TIMES BOOK REVIEW
“[Ohio is] a descendent of the Dickensian ‘social novel’ by way of Jonathan Franzen: epic fiction that lays bare contemporary culture clashes, showing us who we are and how we got here…Markley’s prose [is] as lively as a bonfire, crackling with incisive details…Markley’s gift is keeping one eye on these intimate specifics and the other on the expansive landscape of modern American life.”—O MAGAZINE
“Ohio isn't just a remarkable debut novel, it's a wild, angry and devastating masterpiece of a book. Markley's debut is a sprawling, beautiful novel that explores the aftermath of the Great Recession and the wars in Iraq and Afghanistan, and a powerful look at the tenuous bonds that hold people together at their best and at their worst. [Ohio] is intricately constructed, with gorgeous, fiery writing that pulls the reader in and never lets go.”—NPR
“Genuinely absorbing…Ohio burns with alienation, nihilism, frustration and finally love for a place that gave birth to all of them.”—WASHINGTON POST
"A book of genuine substance and style...Markley’s skill is apparent...Both a lament and a love letter, Ohio is a reminder of the wealth of stories hidden in small towns, and of how much 'history and pathos could accumulate in errant pockets on any given night.'"—WALL STREET JOURNAL
“Markley's ambitious foray into fiction reunites four high school classmates on a fateful summer night in their Ohio hometown, in what reads like a darker-themed epilog to Friday Night Lights…Markley's prose sparkles with insight and supports an intricate narrative architecture that recalls Nathan Hill's The Nix and Patrick Somerville's This Bright River…highly recommended for all literary collections.”—LIBRARY JOURNAL (STARRED REVIEW)
"Reporters have fanned out in search of answers to Middle America’s decline and Trumpist desperation, but Markley is one of the first novelists to fully reflect the social forces at work without sacrificing an iota of character work or narrative tension. Drawing on the reunion-novel tradition, he brings together four alumni of the same (fictional) Ohio high school on one momentous evening a decade after graduation, each with their own pattern of escape and return—and their own mission of repentance or retribution."—VULTURE (NYMAG.COM)
"[Ohio is] a thoughtful examination of the neglected corners of a traumatized country — and one that will pierce your loyal, loving heart."—ENTERTAINMENT WEEKLY
“A book that has stayed with me ever since I put it down.” —SETH MEYERS, host of Late Night with Seth Meyers
“[A] standout debut…Markley’s novel is alternately disturbing and gorgeous, providing a broad view of the anxieties of a post-9/11 Middle America and the complexities of the humans who navigate them."—PUBLISHERS WEEKLY
"[Ohio is] so rich in complex storytelling and literary excellence that it’s difficult to believe it’s a fiction debut."—PUBLISHERS WEEKLY
"Timely and of vital importance, Ohio delves into the spectrum of issues consuming contemporary America’s Rust Belt, exploring topics like joblessness, addiction, terrorism, sexuality, religion and sex, to name a few. Markley’s disturbing masterpiece reads like the offspring of Harlan Coben, Jonathan Franzen and Hanya Yanagihara: an illuminating snapshot of our current era masquerading as a twisted character-driven thriller, filled with mordant wit and soul-shaking pathos... an edifying and unforgettable read that leaves [readers] breathless."—BOOKPAGE
“The characters walk and talk like real, messed-up people; the author cares about them, and so does the reader. The prologue-four sections-coda structure works because Markley took the time to connect everything in a masterful set of flashbacks and flash-forwards that parcel out enough information to make the conclusion both shocking and inevitable. Ohio is a big novel about what happened after 9/11, the initial euphoria and the long depression that grips us still.”—SEATTLE TIMES
"Effectively four tart, well-turned novellas bundled in a symphonic prologue and epilogue...Markley writes each of these character studies with powerhouse command and painterly detail about socioeconomic distinctions...Markley’s novel is in line with a dark strain of Midwestern fiction that runs from Edgar Lee Masters to Gillian Flynn. Its bleakness and style are appealing."—MINNEAPOLIS STAR TRIBUNE
"[A] knockout debut...fully engrossing from the start, save moments when you’re taken aback by how good the writing really is, how flawless the storytelling...Ohio is a ceaselessly beautiful and gut-wrenching debut."—CHICAGO REVIEW OF BOOKS
"Ambitious and suspenseful." —COLUMBUS DISPATCH
“The kind of book that people rarely attempt to write anymore…A Big American Novel that seeks to tell us where we live now.”—THE MILLIONS
“In his bold debut novel, Ohio, Stephen Markley visits the fictional northeastern Ohio town of New Canaan to paint in vivid colors the shattered dreams and stunted lives of young adults removed by roughly a decade from their high school graduation. It's an intensely realistic and keenly observed portrait that puts a human face on subjects often obscured by statistics and expert opinion… a dark and deeply felt examination of a generation confronting problems that can't be solved quickly or with ease…it has earned a place in any conversation about the important role fiction can play in reflecting life back to us when we look squarely in the mirror.”—SHELF AWARENESS
"Markley is a knockout storyteller, infusing each section with realistic detail, from the drudgery of Walmart work to war to the fleeting ecstasies of drugs to violence, especially self-harm."—KIRKUS REVIEWS
"Important and ambitious...this year's Hillbilly Elegy of fiction."—SALON
"Beautifully descriptive...an insightful, tragic story."—BOOKLIST
"Ambitious...one of the most human novels I've read in a long, long time...it does what a good book should, which is just sucks you in to the extent that time not spent reading it feels like wasted time...it makes you think long after you have turned the final page...highly, highly recommend it."—ROGER BENNETT, MEN IN BLAZERS
"Ohio captures the hacking cough of 2018’s poisoned America. Markley’s dialogue often sums up our national Great Depression—not economic, but the spiritual frustration of this bitter century...a biting portrayal of Midwest ennui."—THE DAILY BEAST
“Stephen Markley is an expert cartographer of the American Rust Belt and the haunted landscapes of his characters' interiors. A fast-moving and devastating debut.”—KAREN RUSSELL, New York Times bestselling author of Swamplandia!
“Ohio is that rarest of unicorns, a novel that swings for the fences, and actually tries to explain just what the fuck happened to this country after the towers fell, and how we got to this awful particular moment. Stephen Markley goes for the universe with every single sentence he writes. That the universe answers him as often as it does makes for a hugely impressive first novel.”—CHARLES BOCK, New York Times bestselling author of Alice & Oliver
“If the American dream has given way to American carnage, then this is the great American novel of its time. Stephen Markley is a gifted storyteller who has written a fearless and impressive debut.”—DAVID BEZMOZGIS, author of Natasha and The Betrayers
“Ohio is heartbreaking, frightening, and occasionally, amidst the sorrow and horror, transcendent—a novel that casts the clearest possible eye on people haunted by who they used to be and might have become, and a country haunted by the same. Stephen Markley is unflinching.”—KEVIN BROCKMEIER, author of The Illumination
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- Book Cover Image (jpg): Ohio eBook 9781501174490
- Author Photo (jpg): Stephen Markley Michael Amico(0.1 MB)
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