46 pages 1 hour read

The Stranger in the Lifeboat

Fiction | Novel | Adult | Published in 2021

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Background

Authorial Context: The Place of the Novel Among the Author’s Other Works

Mitch Albom began his career in the field of journalism. Having graduated from Brandeis and Columbia University, he became a successful sports journalist for the better part of the 1980s and 1990s. His first mainstream bestseller was Tuesdays with Morrie, which chronicled the time he spent with a former professor during the last days of a terminal illness. With the overwhelmingly positive reception of this first book, Albom would shift gears in respect to his writing career and continue to publish work in a similar genre.

Albom’s work drifts back and forth between nonfiction and fiction novels, but they all—to some extent—explore questions of faith, hope, mortality, and the meaning of life. In this way, Tuesdays with Morrie serves as a kind of template and archetype for the rest of his novels, signaling the kind of writing in which he would continue to engage. Some of Albom’s works not only deal with larger questions in general or in the abstract but also create a specific setting in which communication with the life to come is made explicit and literal. The follow-up to his debut was entitled The Five People You Meet in Heaven, his first fictional work, which chronicles the experience of a man who dies and meets five people in heaven with whom he was strangely bound on earth. Albom’s second novel, For One More Day, tells the story of a man who gets to spend one day with his deceased mother. Like these stories, The Stranger in the Lifeboat asks what would happen if someone actually met God face-to-face.

Ideological Context: The Transcendental Perspective of a Theistic Worldview

The Stranger in the Lifeboat follows a simple premise: How would a group of people react if they were in crisis and got to speak to God face-to-face? On one level, it is a drama and mystery novel about a shipwreck: A group of deckhands and famous people stranded on a lifeboat in the middle of the ocean fish a man claiming to be God out of the sea. Albom, however, weaves in questions of human drama that lead this simple novel into a more philosophical realm by forcing the characters to ask questions that deal specifically with spirituality: What is salvation? Are faith and hope of any use? Is God real, and if so, does God owe human beings anything?

Benji and LeFleur are two flawed and broken men who are both dealing with the grief that follows the death of a loved one (Benji’s wife and LeFleur’s daughter, respectively). Albom casts the questions through the lens of a theistic worldview. On the one hand, the book never answers the question definitively as to whether the characters of the Lord—the stranger and Alice—were telling the truth and truly were divine. On the other hand, the possibility of the presence of God and the working of providence within the history of each of the characters eventually drives their decision-making and, eventually, their reconciliation with the reality of a life lived without the presence of their loved one.

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