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54 pages 1 hour read

High Tide in Tucson

Nonfiction | Essay Collection | Adult | Published in 1995

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Key Figures

Barbara Kingsolver

Barbara Kingsolver was born in Maryland in 1955 and spent most of her childhood in the small town of Carlisle, Kentucky, apart from a short stint in the Democratic Republic of the Congo, where her parents were aid workers. She attended DePauw University in Indiana, majoring in biology. Throughout her adult life, Kingsolver held a wide range of jobs, from archaeologist, to artist model, to scientist. She always enjoyed writing and transitioned to a full time writing career in the mid-1980s, publishing her first novel, The Bean Trees, in 1988. Since then she has published many novels, articles, and nonfiction works. Her most famous novel, The Poisonwood Bible (1998), is about the daughters of a missionary family in the Congo. In addition, Kingsolver has published in a number of scientific journals on topics like desert plants.

Kingsolver has received numerous awards for her writing. She received the National Humanities Medal in 2000; The Poisonwood Bible won the National Book Prize in South Africa and was shortlisted for the Pulitzer Prize; and she has also won the James Beard Award for a book about local eating and the Edward Abbey Eco Fiction Award. In 2000, Kingsolver established her own literary prize, the Bellwether Prize for Fiction, to support writers who strive for positive social change.

Kingsolver’s works usually reflect her environmentalist mindset, her commitment to social justice, and her progressive political opinions. Her characters are often independent women, and, along with tackling larger themes, her books explore these characters’ emotions and personal developments through challenging situations. She often sets her novels within real-world historical events and explores how these events influence her characters.

Camille

Kingsolver’s daughter Camille appears in nearly every essay in High Tide in Tucson and is her main companion, particularly in her period as a single mother. Camille is characterized as an independent, strong minded girl with a keen interest in the natural world and an offbeat sense of style.

Often, Camille is used as a counterpoint to Kingsolver’s perspective. This is apparent in essays like “Life without Go-Go Boots,” in which Camille is described as completely confident in her fashion choices no matter how outlandish they may be, while Kingsolver was plagued by feelings of sartorial inadequacy until she entered college.

The Arizona Desert

The desert becomes its own character in many of High Tide in Tucson’s essays. Kingsolver describes it as a wild place—one where human life is necessarily connected to the rest of the natural world, not least through the scarcity of water. Native javelinas, jackrabbits, and cacti are described as “communities” in their own right, and Kingsolver’s adaptation to life in the desert includes learning to share her space with these species.

In “Creation Myths,” the desert rain becomes a character as well. All desert life forms live by the coming and going of rain, so much so that the Navajo people identify distinct forms of it: the large, soaking, unpredictable “male rain” of the late summer and the gentle, continuous “female rain” of the winter and early spring.

The connection between different human communities in the desert landscape is also shown to be unique. The environment dictates a kinship that Kingsolver does not see in other places. She believes that this is part of why artists are drawn to the Southwest.

Kentucky

Kingsolver grew up in small-town Kentucky, which becomes the setting for many of the stories in the collection. In the essays “In Case You Ever Want to Go Home Again,” “How Mr. Dewey Decimal Saved My Life,” and “Life without Go-Go Boots,” Kingsolver examines her childhood. Although she was insecure and never felt like she fit in, she loves her hometown and its people. While presenting her first book there, she even makes peace with her childhood bullies, realizing that many of them struggled as much as she did.

Kentucky’s natural landscape is also a major character in the book. In contrast to the unfamiliar, wild landscape of Tucson, in her depictions of Kentucky, nature is intimate and knowable. In “The Memory Place,” Kingsolver describes the value of this non-breathtaking, damaged wilderness to the people and animals that live there. She hopes that small, semi-forgotten landscapes can ultimately be preserved, even as we attempt to rescue grander places from destruction.

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