The Giver is a American young adult dystopian novel by Lois Lowry. It is set in a society . A study found that The Giver was a common read-aloud book for sixth-graders in schools in San Diego County, California. Based on a The Giver book. Read reviews from the world's largest community for readers. Twelve-year-old Jonas lives in a seemingly ideal world. Not until he. If you loved Lois Lowry's classic, "The Giver," you'll definitely want to check out one of the 18 YA fiction books included in this list.
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The Giver has recently been made into a film, and so, with the suggestion of one of my bookish friends, I picked the book up to see what the. The Giver by Lois Lowry, , available at Book Depository with free delivery worldwide. The Giver is one of the books you probably read as a kid, somewhere between late elementary or middle school and early high school.
It wasn't enough for them to say, "I can just decide. You can read it in many different ways, though. I wish I'd have read the book before then and had known to watch and see what people's reactions were to that. I think I felt in my gut that he didn't make it. I went inside from the beach, got on the computer at 2 p. I didn't want to think about it. You have to decide what you want to think. It makes me wonder if the ambiguous ending of the book is a purposeful parallel of the message of the book itself, the ability to choose versus having things told to you, dictated, or prescribed.
Choosing is harder, but in a free society, we have to be able to do it for ourselves, and of course, we value that. The ending itself becomes about this idea of choosing versus having your choice taken away, which is obviously a big part of the theme of the book. That makes sense and feels right. It's harder with choice and individual freedoms. You face the possibility of all that pain and all those memories, and that's why, in this society, they take them away. You know what's really funny, two nights ago, my husband and I watched Drive , and it ends in almost the same way as The Giver.
His eyes are vacant, and you're like, Shit, that's going to be the ending. Then he blinks and drives away, and then it's nighttime, and he's still driving. There's this girl who goes to his apartment, and you can tell she's been knocking and knocking on his door and no one answers. The ending is ambiguous. You think, He can't go back to her, there are still these guys after him. Or maybe he's driving back to her, but also, there's no proof he didn't die.
You have all this incredible emotional buildup but an ending that doesn't give you closure, and you're afraid to think too much about it. Lowry has written that she doesn't think it was a sad ending, and that she didn't think they die.
Some write, or ask me when they see me, to spell it out exactly. And I don't do that. People bring to it their own complicated sense of beliefs and hopes and dreams and fears and all of that. So I don't want to put my own feelings into it, my own beliefs, and ruin that for people who create their own endings in their minds. How could it not be an optimistic ending, a happy ending, when that house is there with its lights on and music is playing?
So I'm always kind of surprised and disappointed when some people tell me that they think that the boy and the baby just die. I don't think they die. What form their new life takes is something I like people to figure out for themselves. And each person will give it a different ending. That's more than a clue! I think sometimes as you're writing you have to know what the answer is, but that doesn't mean you have to decide for everyone. That's a hard line.
It's funny, readers want to know if they get emotionally invested in the characters and world. As a writer, there's a part of me that says, I don't have to answer questions about things I haven't given you. That's part of the fun, not having your interpretations or imagination curtailed.
I think writers figure out so much of the backstory, and readers want to know everything that they're passionate about, but do you have to answer all the questions you get asked? Do you think the story would be somehow less if there was a very clear ending? It would still be beautiful storytelling; it would still be perfect. Either ending you imagine, neither is any less powerful than the other. That's the thing about darkness in Y. Ending it on a negative note but having the kid come to all these realizations and leaving to improve the lives of others, the struggle has merit.
There's merit either way. But if you knew, you'd have closure, and the lack of that is what keeps messing with me. I can't stop thinking about it. The fact that there's no closure brings you back over and over again. There are also so many things there, so much more there than just the ending. You know that releasing someone, even before you know it's putting them to death, that it can't be good.
And the idea of Elsewhere as "heaven" or some other place I wonder also, his mother is a lawmaker and a judge, a justice of some ilk. The fact that their father has a little more humor about things makes it feel like you're in a safer place, that softens it.
Then to find out that he's the one killing these kids! When Jonas sees his father do this and the dad is so cheerful about it She makes much of the voice he uses, for Gabe, for Lily [Jonas' 7-year-old sister], and that's really creepy.
But that's the ultimate sucess of the place, there's no distinction for these guys in those matters [of life and death]. The second that you start saying someone's going to be "released"—they talk about sending off the old dude, and it's clearly a funeral with the guy present. I think that was ominous from the use of the word release. Also, the pills they have to take, and the idea of the Birth Mothers felt ominous from the beginning.
The terrible sadness of the Giver, and the discussion of the girl, when he's talking about Rosemary [the previous Receiver] who asked to do her lethal injection "release" shot hersef, knowing full well exactly what she was doing.
And the bravery of that! The weight of that memory and that sadness. I was so suspicious of when Jonas left because it seemed so easy, but on the other hand, there's no reason in the world to expect that anyone would want to get away from this world. It's the perfect expression of what it is. When you talk about that courage and bravery, how do you think the characters of Jonas or Rosemary compare to future characters—Harry Potter, Katniss Everdeen?
It's not an adventure. It would have to have, I think. Kids are capable of acting selfishly. It is of greater merit that what motivates Jonas is saving this child, Gabe. When Katniss has to save her sister We're all capable of being selfish, but the point at which going through horrible things makes more sense, especially in books, is when characters are allowed to be noble in sacrifice.
We'd all like to think we'd be noble if the circumstances demanded it. That's what saves this book if he fails; he died for something that he couldn't have stood to the side on. What did you want more of? I wish we'd heard more about what happened when Rosemary died, not because it's a flaw in storytelling, but because the macabre part of me wants to know.
We'd get to see and could hope that he did make a difference. I hope in the next books, we'll get some sense of what happened when he left. I want to know how widespread it is, this "Sameness"—are there other communities where there is music and color, and what happens next?
This book is almost 20 years old. Do you think it could have come out this year and been so successful? I couldn't put it down. I read it in one sitting; I got two pages in and moved my towel under the umbrella and finished it there.
It's so lean, the pacing is so good, and it's brutal and unrelenting and all those words that sound like movie blurbs. It lacks the romance or the humor or anything that would be that spoonful of sugar, but that's a testament to how perfect a piece of storytelling it is.
There's all this wonderful realism, no one is having normal reactions, but the humanity comes though. Jonas wants the Giver to escape with him, but the Giver insists that he will be needed to help the people manage the memories, or they will destroy themselves.
Once the Community is re-established along new lines, the Giver plans to join Rosemary in death. The Giver devises a plot in which Jonas will escape beyond the boundaries of the Communities. The Giver will make it appear as if Jonas drowned in the river so that the search for him will be limited. The plan is scuttled when Jonas learns that Gabriel will be "released" the following morning, and he feels he has no choice but to escape with the infant.
Their escape is fraught with danger, and the two are near death from cold and starvation when they reach the border of what Jonas believes must be Elsewhere. Using his ability to "see beyond," a gift that he does not quite understand, he finds a sled waiting for him at the top of a snowy hill. He and Gabriel ride the sled down towards a house filled with colored lights and warmth and love and a Christmas tree, and for the first time he hears something he believes must be music.
The ending is ambiguous, with Jonas depicted as experiencing symptoms of hypothermia. This leaves his and Gabriel's future unresolved. However, their fate is revealed in Gathering Blue and in Messenger , companion novels written much later.
You don't need to ask that question. While critical reception of The Giver has been mixed, the novel has found a home in "City Reads" programs, library-sponsored reading clubs on citywide or larger scales. Some reviewers have commented that the story lacks originality and is not likely to stand up to the sort of probing literary criticism used in "serious" circles, while others argue that books appealing to a young-adult audience are critical for building a developing reader's appetite for reading.
Johnson, Haynes, and Nastasis write that, although the majority of students said either they did not understand the novel or did not like the novel, there were students who were able to connect with Jonas and to empathize with him. Natalie Babbitt of The Washington Post was more forgiving, calling Lowry's work "a warning in narrative form", saying:. The story has been told before in a variety of forms— Ray Bradbury 's Fahrenheit comes to mind—but not, to my knowledge, for children.
It's well worth telling, especially by a writer of Lowry's great skill. If it is exceedingly fragile—if, in other words, some situations do not survive that well-known suspension of disbelief —well, so be it. The Giver has things to say that cannot be said too often, and I hope there will be many, many young people who will be willing to listen. According to The Horn Book Magazine , "In a departure from her well-known and favorably regarded realistic works, Lois Lowry has written a fascinating, thoughtful science-fiction novel The story is skillfully written; the air of disquiet is delicately insinuated.
And the theme of balancing the virtues of freedom and security is beautifully presented. The Giver . A study found that The Giver was a common read-aloud book for sixth-graders in schools in San Diego County, California. Subsequent productions of Coble's one-hour script have been presented in several American theatres. In the years following, members of the partnership changed and the production team grew in size, but little motion was seen toward making the film. At one point, screenwriter Ed Neumeier was signed to create the screenplay.
Later, Neumeier was replaced by Todd Alcott  and Walden Media became the central production company. Diana Basmajian adapted the novel to full-length play format, and Prime Stage Theatre produced in Actor Ron Rifkin reads the text for the audiobook edition. Jeff Bridges has said he had wanted to make the film for nearly 20 years, and originally wanted to direct it with his father Lloyd Bridges in the title role.
The elder Bridges' death cancelled that plan and the film languished in development hell for another 15 years. Warner Bros. Jeff Bridges plays the title character  with Brenton Thwaites in the role of Jonas. From Wikipedia, the free encyclopedia.
For the film adaptation, see The Giver film.
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Find sources: Now, through the memories, he had seen oceans and mountain lakes and streams that gurgled through woods; and now he saw the familiar wide river beside the path differently.
He saw all of the light and color and history it contained and carried in its slow-moving water; and he knew that there was an Elsewhere from which it came, and an Elsewhere to which it was going.
Main article: The Giver film. Retrieved March 8, Kellvin Chavez. June 4, Latino-Review latino-review. Yesterday's Tomorrows: On Utopia and Dystopia. Cambridge Scholars Publishing. Chicago Sun Times.
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