Sunday, April 12, 2026

Kruse's Keys: Read Jayber Crow to Appreciate Life's Sacred Spaces

Looking for book ideas? Check out our 2026, 2025, 2024,  202320222021202020192018201720162015 and 2014 reading lists!

(Kindle Read) Published in 2020–60 years after his first novel Nathan Coulter–Jayber Crow is the 7th book (depending on how you count them) in Wendell Berry’s Port WIlliams series. Port Williams is a fictional town in eastern Kentucky and its creation has been the work and meditation of Berry’s life. There’s no author who has created so complete a miniverse–not just a town and a setting but an interconnected, overlapping anc, a omplementary web of characters (the “membership”) and stories. Faulkner did it masterfully with his Yoknapatawpha County but with nowhere near the sheer number of stories and characters.

Jayber Crow is the name of the main character and covers the arc of his life from a young orphaned boy to an aging, partially retired town barber looking back on his life. His life takes a wandering route from the orphanage barber apprentice to seminary dropout to prison chain gang to eventual Port Williams barber, gravedigger, and church custodian. Jayber’s physical wanderings provide a backdrop for his own spiritual journey in which he struggles with and internalizes what it means to believe in Jesus:


"What is meant by 'thy will be done' in the Lord’s Prayer... It means that your will and God’s will may not be the same. It means there’s a good possibility that you won’t get what you pray for. It means that in spite of your prayers you are going to suffer. It means you may be crucified."

In Jayber’s case, much of his suffering is in silence as he pines for a woman he will never have–Mattie Chatham–who is married to a man who is antithetical to the very essence of life in Port Williams. Jayber’s love for Mattie morphs into some slightly weird territory at one point as he forswears all other women but ultimately Berry brings it back to the firmer familiar Port WIlliams series territory of meditation on the death of farming in America. And in this novel’s case, farming’s death symbolizes the loss of something even more precious–the loss of sacred spaces. As Jayber noted later in his life as he struggled with his own faith and its role within the larger notion of organized religion–it’s these very spaces where Jesus spent his ministry:

"Christ did not come to found an organized religion but came instead to found an unorganized one... to carry religion out of the temples into the fields and sheep pastures... toward the membership of all that is here."

It’s noteworthy that Jayber Crow is by no means a religious novel–there is plenty else there for a secular or naturalist reader to ponder and appreciate. In my own personal Port WIlliams ranking it occupies second place behind the standout Hannah Coulter (my review is here of one of the best novels I’ve ever read).

The Port William Series (Publication Order)

Nathan Coulter (1960) — (Covers 1929–1941). My short review is here.
A Place on Earth (1967) — (Covers 1945). My full review is here.
The Memory of Old Jack (1974) — (Covers 1952, with flashbacks to 1860)
The Wild Birds (1986) — (Short Stories covering 1930–1967)
Remembering (1988) — (Covers 1976)
Fidelity (1992) — (Short Stories covering 1935–1990)
Watch with Me (1994) — (Short Stories covering 1908–1932)
A World Lost (1996) — (Covers 1944)
Jayber Crow (2000) — (Covers 1914–1986). My full review you just read.
That Distant Land (2004) — (Collected Stories covering 1888–1986)
Hannah Coulter (2004) — (Covers 1922–2000). My full review is here.
Andy Catlett: Early Travels (2006) — (Covers 1943)
A Place in Time (2012) — (Short Stories covering 1864–2008)
How It Went (2022) — (Short Stories covering 1932–202)
Marce Catlett: The Force of a Story (2025) — (Covers 1906, narrated from the 2020s)


Key Quotes

Location 196
Context: Jayber’s first "awakening" to being seen by another.


"The brief, laughing look that she had given me made me feel extraordinarily seen, as if after that I might be visible in the dark."

Location 345
Context: The river as a metaphor for the passage of time and memory.


"The river, the river itself, leaves marks but bears none. It is only water flowing in a path that other water has worn."

Location 436 & 439
Context: The inverse relationship between time remaining and memory accumulated--getting older.


"Back there at the beginning, as I see now, my life was all time and almost no memory. And now, nearing the end, I see that my life is almost entirely memory and very little time."

Location 485
Context: Finding happiness in the simple dignity of being required by one's community.


"It was a time under a shadow, and yet I remember being happy, for I had responsibilities then, and I knew that I was useful."

Location 514
Context: Jayber's perspective on the nature of oral stories and history


"Telling a story is like reaching into a granary full of wheat and drawing out a handful. There is always more to tell than can be told. As almost any barber can testify, there is also more than needs to be told, and more than anybody wants to hear."

Location 695
Context: The moment a stranger (E. Lawler) is integrated into the "circle" of the community.


"She was waiting. I did not understand that she was waiting, but she was. And then one day as her classmates were joining hands to play some sort of game, one of the girls broke the circle. She held out her hand to the newcomer to beckon her in. And E. Lawler ran into the circle and joined hands with the others."

Part II: The Education of a "Man Outside"
Location 900
Context: A stark realization of what "Thy will be done" actually means for someone


"What is meant by 'thy will be done' in the Lord’s Prayer... It means that your will and God’s will may not be the same. It means there’s a good possibility that you won’t get what you pray for. It means that in spite of your prayers you are going to suffer. It means you may be crucified."

Location 928
Context: Jayber’s critique of the "talky professors" at the seminary who lacked the weight of lived doubt.


"The problem was that they’d had no doubts. They had not asked the questions that I was asking and so of course they could not answer them. They told me I needed to have more faith; I needed to believe."

Location 1284
Context: The intellectual isolation of a seeker.


"It seemed to me that I hungered and thirsted to hear somebody talk about books who knew more about them than I did."

Location 1747
Context: The unchanging nature of home.


"But it seemed to me that even if everything had been changed, I would have recognized it by the look of the sky."

Location 1892 & 1915
Context: Describing a man of total presence—likely Burley Coulter.


"There was nothing glancing or sidling about the way he looked at you. He looked right through your eyes, right into you, as a man looks at you who is willing for you to look right into him."

Location 2142
Context: Country humor/justification for a good drink


"His favorite Bible verse was, 'Drink no longer water, but use a little wine for thy stomach’s sake and thine often infirmities'—which he quoted frequently when he was sober."

Part III: The Membership and the Rememberers
Location 2385
Context: A tribute to the elders like Old Jack Beechum and Mat Feltner who carry the town's history.


"They were rememberers, carrying in their living thoughts all the history that such places as Port William ever have. I listened to them with all my ears... Things went to the grave with them that will never be known again."

Location 2519
Context: Jayber sees Mattie, really sees here for the first time

"A neat, bright, pretty, clear-spirited girl with all her feeling right there in her eyes."

Location 2585
Context: Athey Keith’s mathematical subtraction of a man's character.


"I knew that he had subtracted Troy Chatham’s talent as a basketball player from Troy Chatham, and had found not enough left over."

Location 2658 & 2672
Context: How war is felt in the hometowns


"Where do dead soldiers die who are killed in battle? They die at home—in Port William and thousands of other little darkened places... This new war... would be a test of the power of machines against people and places."

Location 2675 & 2678
Context: The impossibility of reconciling the Gospel with the machinery of war.


"I was glad enough that I had not become a preacher, and so would not have to go through a war pretending that Jesus had not told us to love our enemies... The thought of loving your enemies is opposite to war."

Location 2679 & 2786
Context: On the visibility of a community and the endurance of grief.


"Maybe you don’t have to love your enemies. Maybe you just have to act like you do... I don’t believe that grief passes away. It has its time and place forever. More time is added to it; it becomes a story within a story. But grief and griever alike endure."

Location 2788 & 2823
Context: Mat Feltner on enduring loss and being present.


"'What can’t be helped must be endured,' Mat Feltner said... 'All I could do was hug him and cry.'"

Part IV: Organizations vs. The Mystery
Location 2863 & 2880
Context: On "church religion" versus a lived, mysterious faith.


"Roy lived too hard up against mystery to be without religion. But like many of the men, he was without church religion... It was a disappointment like a nail in your shoe. It wasn’t completely disabling, but it couldn’t be ignored either."

Location 2989-3001
Context: A scathing critique of seminary students who have a "high opinion of God but a low opinion of His works."


"They had imagined the church, which is an organization, but not the world, which is an order and a mystery. To them, the church did not exist in the world where people earn their living and have their being... They made me see how cut off I was. Even when I was sitting in the church, I was a man outside."

Location 3023
Context: The hidden benefit of a dull sermon.


"Some of the best things I have ever thought of I have thought of during bad sermons."

Location 3330
Context: The integrity of a man whose words match his thoughts.


"There was never much room between what he said and what he thought."

Location 3404-3419
Context: The "unraveling" of the old fabric of communal work via the "new way" of industrial farming.


"The new way of farming was a way of dependence... on machines and fuel and chemicals... we didn’t want to know, that it was the demanding circumstances that had kept us together."

Location 3437
Context: The balance of how farms used to operate.


"The law of the farm was in the balance between crops (including hay and pasture) and livestock."

Part V: Love, Eternity, and the "Unorganized" Religion
Location 4604 & 4615
Context: The failure of love in time, contrasted with its fulfillment in eternity.


"Why doesn’t love succeed? Hate succeeds... I saw that Mattie was not merely desirable, but desirable beyond the power of time to show... she carried in her the presence of eternity."

Location 4625, 4644 & 4678
Context: The "terrible prayer" and the realization that God loves the physical world.


"'Thy will be done,' I said, and seemed to feel my own bones tremble in the grave... My mistake was ignoring the verses that say God loves the world."

Location 4679-4690
Context: Christ’s Gethsemane prayer as a testament to his mortality and the "unreasonable" prayer for Port William.


"That He prayed that prayer at all showed how human He was... I prayed unreasonably, foolishly, hopelessly, that everybody in Port William might be blessed and happy."

Location 4709
Context: The heartbreak of loving the world.


"And yet all the good I know is in this, that a man might so love this world that it would break his heart."

Location 4990 & 5233
Context: How the interstate highway system changed america


"That shout of limitless joy, love unbound at last, our only native tongue... More even than television, the interstate brought the modern world into Port William."

Location 5342
Context: An honest admission of the difficulty of Christian love.


"It would have been a great moment in the history of Christianity, except that I did not love Troy."

Location 5993
Context: Jayber’s defining credo: Christ came to found an "unorganized" religion.


"Christ did not come to found an organized religion but came instead to found an unorganized one... to carry religion out of the temples into the fields and sheep pastures... toward the membership of all that is here."

Part VI: The Final Reckoning
Location 6197
Context: Wry observations on the modern "emergency to relax."


"The people are in an emergency to relax... They stir the river like a spoon in a cup of coffee... They look neither left nor right."

Location 6600 & 6621
Context: The relationship between Earth, Hell, and Heaven; Jayber’s summary of himself.


"But the earth speaks to us of Heaven, or why would we want to go there?... I am an old man full of love. I am a man of faith."

Location 6652-6655
Context: The definition of faith as the belief that nothing and no one is truly lost.

"A man of faith believes that the Man in the Well is not lost... His belief is a kind of knowledge beyond any way of knowing."

Location 6721
Context: The release of a forty-year-old hatred--forgiveness.


"I stood facing that man I had hated for forty years, and I did not hate him."

Location 6774 & 6775
Context: The final benediction: Mattie’s smile.  The power of a woman's smile.


"To know it’s being ruined is hard... She gave me the smile that I had never seen and will not see again in this world, and it covered me all over with light."





































Sunday, February 22, 2026

Kruse's Keys: Read "Bird by Bird" To Be Entertained and to Step Up Your Writing Game!

Bird by Bird: Some Instructions on Writing and Life 

Found this book sitting on my book shelf–what a welcome surprise! This was one of my pre-bedtime reads and I finished it off in a week–Anne Lamott can write! I’d never read her before and loved her 1994 primer on writing. It’s chock full of funny, self-deprecating anecdotes and advice for not only aspiring writers but also literature lovers in general.

As a book lover, her passion resonated with me as she recalls books’ place in her own life dating back to her childhood. 

“Because for some of us, books are as important as almost anything else on earth.”

And this:

 “I read more than other kids. I luxuriated in books. Books were my refuge. I sat in corners with my little finger hooked over my bottom lip, reading in a trance, lost in the places and times to which books took me.”

And throughout the book she name checks several important authors: Wendell Berry (my fave), Alice Adams, John Gardner, J.D. Salinger, Phillip Lopate, E.L. Doctorow, Muriel Spark, and Ethan Canin as she passes on bits of their writing advice too (see my key quotes section).  I’ve been a big fan of Wendell Berry since ‘discovering’ last  year (see one of my reviews here), and some others I’d heard of but I discovered some new ones for investgation.  

The fact that the book holds up so well three decades later is a testament to her writing skill–the humor and light heartedness hold up as does her sage advice to aspiring writers:

“Writing is about learning to pay attention and to communicate what is going on.”

 "Write about that time in your life when you’re so intensely interested in the world, when your powers of observation were at their most acute, when you felt things so deeply. Exploring and understanding your childhood will give you the ability to empathize, and understanding and empathy will teach you to write with intelligence, insight, and compassion."

“Remember no one is reading your first drafts.” 

Looking for book ideas? Check out our 2026, 2025, 2024,  202320222021202020192018201720162015 and 2014 reading lists!

Key Quotes

Page xx

The author comments about the power of writing when she says: “When I read Catcher in the Rye for the first time and knew what it was like to have someone speak for me, to close a book with a sense of triumph and relief, like one lonely, isolated, antisocial animal finally making contact.”

Page xxi

Speaking about her childhood obsession with books, she says: “I read more than other kids. I luxuriated in books. Books were my refuge. I sat in corners with my little finger hooked over my bottom lip, reading in a trance, lost in the places and times to which books took me.”

Page xxiii

Her dad's writing advice to her: “Do it every day for a while. My father kept saying, 'Do it as you practice the scales on a piano. Do it by prearrangement with yourself. Do it as a debt of honor. Make a commitment to finishing things.'”

Page xxvii

The act of writing turns out to be its own reward.

(Author references the poem by Wendell Berry called “The Wild Rose.”)

The Wild Rose

By Wendell Berry

Sometimes hidden from me

in daily custom and in trust,

so that I live by you unaware

as by the beating of my heart,

suddenly you flare in my sight,

a wild rose blooming at the edge

of thicket, grace and light

where yesterday was only shade,

and once more I am blessed, choosing

again what I chose before

Page 3

“Good writing is about telling the truth.”

Page 6

When her students ask her how she does it, she says: “You sit down. I say, you sit down at approximately the same time every day. This is how you train your unconscious to kick in for your creativity.”

Page 7

“Go ahead and get started.”

Page 10

Good poem by Phillip Lopate.

Starts: “We who are your closest friends…”

Phillip Lopate (born November 16, 1943) is an American essayist, novelist, poet, film critic, and educator. He is renowned for his contributions to the personal essay form and his exploration of urban life in New York City. Lopate earned a BA from Columbia University in 1964 and a Ph.D. from Union Graduate School in 1979. He has taught at various institutions, including Columbia University, where he currently directs the nonfiction graduate program. His notable works include essays, novels, and poetry collections, such as Against Joie de Vivre, Portrait of My Body, and The Art of the Personal Essay

Page 13

“Because for some of us, books are as important as almost anything else on earth.”

Page 17

“E.L. Doctorow once said that: 'Writing a novel is like driving a car at night. You can only see as far as your headlights, but you can make the whole trip that way.'” The author continues: "You don’t have to see where you’re going. You don’t have to see your destination or everything you will pass along the way. You just have to see two or three feet ahead of you. This is right up there with the best advice about writing, or life, that I’ve ever heard."

Page 18

“Writing can be a pretty desperate endeavor, because it is about some of our deepest needs: our need to be visible, to be heard, to make sense of our lives, to wake up and grow and belong.”

Page 21

Holds Muriel Spark’s writing in high esteem. 

Muriel Spark (1918–2006) was a Scottish novelist and poet known for her unique storytelling style and exploration of complex themes. Her most famous novel, The Prime of Miss Jean Brodie, centers on a domineering teacher at a girls' school, while Memento Mori delves into the psychological aspects of her characters. Spark's works often blend satire with serious themes, reflecting her personal experiences and religious convictions. She was also a critical biographer and editor, contributing significantly to the literary world.

Page 24

A friend of mine says that the first step is the downdraft: you just get it down. The second draft is the updraft – you fix it up.

Page 25

Quitting these voices is at least half the battle I fight daily. But this is better than it used to be. It used to be 87%. Left to its own devices, my mind spends so much of its time having conversations with people who aren’t there. I walk along defending myself to people, or exchanging repartee with them, or rationalizing my behavior, or seducing them with gossip, or pretending I’m on their TV talk show or whatever. I speed and run an aging yellow light or don’t come to a full stop, and one nanosecond later I’m explaining to imaginary cops exactly why I had to do what I did, and insisting that I did not in fact do it.

Page 27

Perfectionism will ruin your writing.

Page 38

Writing a first draft is very much like watching a Polaroid develop. You can’t know—and in fact you’re not supposed to know—exactly what the picture is going to look like until it has finished developing.

Page 43

In her chapter on creating characters, the author writes: “You need to find out as much as possible about the interior life of the people you are working with.”

Page 46

One idea that the author has in this chapter is: “What little things would your characters write in their journals?”

Page 47

Reference to Ethan Canin.

He writes: “Nothing is as important as a likable narrator. Nothing holds a story together better.”

Ethan Canin is a celebrated author known for his novels and short story collections. He has written several acclaimed works, including "Emperor of the Air," "The Palace Thief," "Carry Me Across the Water," "America America," and "A Doubter's Almanac." Canin's writing has been recognized with awards and nominations, including being named one of the "Best Young American Novelists" by Granta and being selected for the 20 "Writers for the New Millennium" by The New Yorker. He is also a physician, having earned an M.D. from Harvard Medical School after completing his MFA at the University of Iowa. Canin's work has been featured in prestigious publications such as The Atlantic Monthly, Esquire, The Paris Review, and Granta. He divides his time between Iowa and northern Michigan, where he also renovates old houses.

Page 48

On creating her own characters, she writes: “I like for them to have hope.” Later she writes: “Novels ought to have hope. At least, American novels ought to have hope. French novels don’t need to.”

Page 50

She also writes: “Another thing we want: we want a sense that an important character, like a narrator, is reliable.”

Page 52

Writing on plot, the author says: “Plot grows out of character. If you focus on who the people in your story are, if you sit and write about two people you know and are getting to know better day by day, something is bound to happen. Characters should not, conversely, serve as pawns for some plot you’ve dreamed up.”

Page 53

In creating a plot, the author suggests you have to keep asking yourself: “Now what happens?”

Page 55

The author builds on John Gardner’s advice that the writer is creating a dream that we’re drawn into, as she notes that: “The dream must be vivid and continuous… You simply have to find out what happens next, and this is how you want your reader to feel.”

John Gardner (July 21, 1933 – September 14, 1982) was an American novelist and poet known for his philosophical fiction and notable works such as "Grendel" and "The Sunlight Dialogues."

Early Life and Education

John Champlin Gardner was born in Batavia, New York. He grew up on a dairy farm, where he developed a love for literature and poetry, influenced by his parents. Gardner attended Washington University in St. Louis, where he earned his A.B. in 1955, and later obtained his M.A. and Ph.D. from the University of Iow

Page 56

On drama, the author notes: “Drama is the way of holding the reader's attention. The basic formula for drama is setup, buildup, payoff.”

Page 58

On climax, the author notes: “The climax is that major event, usually towards the end, that brings all the tunes you’ve been playing so far into one major chord, after which at least one of your people is profoundly changed… For the climax, there must be a killing or a healing or a domination.”

Page 59

Reference to an Alice Adams lecture on short story structure. The author shares Alice Adams' formula, which is ABDCE, standing for Action, Background, Development, Climax, and Ending.

Alice Adams: A Pioneer in American Literature

Alice Adams was a pioneering American author known for her insightful explorations of women's lives and relationships. Born in 1926 in North Carolina, she graduated from Radcliffe College and later lived in Paris before settling in California. Adams gained recognition after the publication of her first novel, Careless Love, which featured a strong, adventurous heroine. Throughout her career, she wrote several novels and short stories, often focusing on complex female characters navigating societal expectations, love, and personal identity. Her works, such as Superior Women and Listening to Billie, delve into the intricacies of women's experiences across different eras, reflecting on themes of empowerment and vulnerability. Adams was noted for her realistic dialogue and detailed character portrayals, which earned her accolades and comparisons to contemporaries like Joyce Carol Oates. She continued to write until her passing in 1999, leaving behind a legacy that highlights the multifaceted nature of women's live

Page 64

On dialogue, she writes: “Dialogue is THE way to nail character, so you have to work on getting the voice right.”

Page 68

“Remember no one is reading your first drafts.”

Page 69

“One last thing: dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read. Short stories and novels that are written in dialect make our necks feel funny.”

Page 71

The author writes in her chapter on set design on how you can learn to describe and write about things you don’t know about by reaching out to friends or family. She writes: “You may need to call one of your friends or relatives who has or had a great deal of money and ask them as tactfully as possible to help you design a house where some old gentry lived.”

Page 86

In her chapter on plot treatment, she shares with her classes an actual manuscript of hers for a plot treatment.

Page 91

“Writing is about learning to pay attention and to communicate what is going on.”

Page 95

On paying attention and its power, the author writes: “To be engrossed by something outside ourselves is a powerful antidote for the rational mind.”

Page 102

In her chapter on the moral point of view, she writes: “A moral position is not a slogan or wishful thinking. It doesn’t come from inside or above. It begins inside the heart of a character and grows from there.”

Page 127

The author uses index cards to remember things; she always carries some and a pen with her so she can jot down notes. She writes she learned to do this because: “I used to think that if something was important enough, I’d remember it until I got home where I would simply write it down in my notebook like some normal functioning member of society. But then I wouldn’t.”

Page 129

A funny quote she says: “When a child comes out of your body, it arrives with about a fifth of your brain clutched in its little hand.”

Page 138

On harvesting your friends' expertise for material, she writes: “The truth is that there are simply going to be times when you can’t go forward in your work until you find out something about the place you grew up, when it was still a railroad town, or what the early stages of shingles are like, or what your character would actually experience the first week of beauty school. So figure out who would have this information and give that person a call. It’s best if you can think of someone who is witty and articulate, so you can steal all of his or her material.”

Page 142

“This can be a very comforting habit, like biting your nails.”

Page 181

The author discusses approaching writing as writing a present for someone, in other words, telling a story or something about someone's life that you could give to someone as a gift. Using that as a way to get started, she writes: "Write an incredibly shitty, self-indulgent, whiny, mewling first draft. Of course, I will. Then take out as many of the excesses as you can.”

Page 183

On finding your voice, the author writes about the importance of finding your voice, and from how you grew up in your childhood and the fact that you have to come to grips with saying: “I will not be silenced again.” She goes on to say they were good children who often felt invisible and who saw some awful stuff. But at some point, they stopped telling what they saw because when they did, they were punished.

Page 185

She goes on to counsel people to get over the reticence of worrying about what family members and other people are going to think, telling people they need to “write as if your parents are dead.” That’s hard advice.

Page 187

“Your anger and damage and grief are the way to the truth.”

Page 203

Precautions against thinking of publication as the be-all and end-all. Quotes a scene/person from Cool Runnings, the Jamaican bobsled movie, who says: “If you’re not enough before the gold medal, you won’t be enough with it.”

Page 209

In her chapter on the last class, she tells her students the frequent advice: "Write about your childhood," I tell them for the 18th time. "Write about that time in your life when you’re so intensely interested in the world, when your powers of observation were at their most acute, when you felt things so deeply. Exploring and understanding your childhood will give you the ability to empathize, and understanding and empathy will teach you to write with intelligence, insight, and compassion."

Page 210

She continues in the same vein, saying: “Write toward vulnerability.”



Wednesday, February 18, 2026

Kruse's Key: Read "Before the Night Comes" to be Horrified and then Inspired to Join the Fight

I first learned about Matt Roper’s work through a friend who is setting up an American arm of Meninadanca to help fundraise and spread awareness about child prostituion/trafficking problem along Brazil’s 2800 mile long BR-116 highway. To date he’s written 4 books about his decades-long journey to set up “Pink Houses” in towns along this highway.  These safe houses are more than that but become lighthouses for young girls who previously had no hope.  


I was recently disturbed to find out that the age of consent in Brazil is only 14 years old!  This legal statute (further) complicates prosecution of sex traffickers and criminals.  As author/journalist/founder Matt Roper discovers, the entire legal system is rigged against these exploited girls who are routinely abused and taken advantage of by older men in these small towns, some who “marry” them or take them as a girlfriend. Roper’s NGO has to fight the cultural norms that find these circumstances acceptable on a daily basis. When one father brings his daughter’s case to the town police sergeant, explaining that his 13-year old daughter is living with a man who beats and routinely rapes her–the police sergeant responded: “she’s got a roof over her head, food on the table, and someone who likes her. You should be glad she’s not on the streets causing trouble like so many other girls her age.” 


These cultural norms come from generations of exploitation and poverty that are so engrained that mothers and grandmothers force their 10, 11, 12 year old girls out to the dangerous truck stops at night to prostitute themselves to bring home a few dollars.  Many of these girls end up in gangs, addicted to drugs, severely injured, and in many cases killed/murdered.


With so many miles of highway, it can all seem insurmountable but progress is being made with each additional Pink House funded and each court case won.  Due to a generous donor, Meninadanca was able to recently hire a legal team to fight the court cases. The book is powerful reminder that EVERY girl has invaluable worth and is WORTH fighting for.  If you’d like to get involved, please shoot me an email, comment or clink on the link!


My review of Matt Roper’s first book is here. 


The KruZoo- Allons-y!: Kruse's Key: Read "Street Girls: Hope on the Streets of Brazil" and have your heart broken and then inspired


Read more here:

https://meninadanca.org/

https://www.instagram.com/meninadanca/

https://www.facebook.com/meninadanca/

Matt Roper's Other Books:

Before the Night Comes (2024)

Highway to Hell: The Roads Where Childhoods Are Stolen (2013)

Remember Me, Rescue Me (2003)

Looking for book ideas?  

Check out our readings lists from 2025, 2024, 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015 and 2014  

Page 136 Transcription: "Most disturbing, though, was hearing the subject of child sexual exploitation spoken with such triviality in the front door natter I overheard in the street. I’d often hear mentioned how someone had taken their daughter or niece on a trip with them, inferring that it was so they didn’t need to pay for the ride, or could exchange her for accommodation or food. Mothers grumbling about how disappointed they were with their daughters, not because they hadn’t done their schoolwork or had stayed out past their bedtimes, but because they weren’t bringing home as much money as they were expected to." 

Context: Roper observes the normalization of child exploitation along the BR-116, where children are often treated as family commodities or currency for basic needs.


Page 137 Transcription: "Incredibly, the desk sergeant, after listening to the father’s pleas, put a hand on his shoulder and tried to reassure him that there was nothing wrong with his 13-year-old daughter cohabiting with her rapist. 'She’s got a roof over her head, food on the table, and someone who likes her,' he said. 'You should be glad that she’s not on the street causing trouble like so many other girls her age.”

My annotation:  horrible

Context: This interaction highlights the systemic failure of local law enforcement to protect minors, viewing abusive cohabitation as a preferable alternative to homelessness.


Page 137 (continued) Transcription: "Oh yes, the man and the girl, they sometimes show up at church together. It’s a bit strange, isn’t it, I mean, the age difference. But he’s an upright man who pays his tithe faithfully." 

Annotation: wow

Context: A local pastor prioritizes a member's financial contributions to the church over the moral crisis of the child he is exploiting.


Page 156 Transcription: "In early 2014 Chris Rogers, a BBC newsreader I knew from my time in London, got in touch, asking me if I could help with a documentary he was making for the channel’s flagship..." 

Context: This marks the beginning of Roper's collaboration with international media to bring global attention to the "exploitation highway" ahead of the World Cup.


Page 159 Transcription: "...hour-long Panorama special, called ‘Brazil: In The Shadow of the Stadiums’, aired on BBC1 a week before the start of the World Cup – with, to my surprise, my name credited as ‘field producer’ in the closing titles – it was the first" Context: The documentary successfully exposed the contrast between Brazil's multi-billion dollar stadium investments and the extreme vulnerability of children in the surrounding regions.


Page 162 Transcription: "'It happens all the time,' one woman told us as she washed her smalls in a metal basin." 

Context: This conversation in CĂ¢ndido Sales serves as a catalyst for the Pink House’s expansion, as locals confirm that disappearances are a frequent, ignored reality.


Page 163 Transcription: "Back in Medina, among those girls who were bravely taking hold of their own destiny was Maria LĂºcia, now 13 and a mother to a newborn daughter. She had always been fiercely loyal to her ‘husband’, a man in his forties who had groomed then raped her..."

 Context: Maria LĂºcia’s transition from a victim of grooming to an advocate highlights the mission of the Pink House: empowering girls to break cycles of generational abuse.


Page 166 Transcription: "The scene ended up being one of the most powerful moments in Lytannya’s film, called Esta Vida (This Life). 'I was at my cousin’s house and I went to sleep with my sisters,' remembered Alicia quite matter-of-factly. 'Then some guys came in and raped me. Simply that. They burst in, raped me'" 

Context: Alicia’s matter-of-fact delivery in the documentary Esta Vida underscores how trauma has become an expected, everyday occurrence for many girls in this environment.


Page 187 Transcription: "It was a huge victory, and historic too – the first time anyone had been convicted of violence against a child in the town." 

Context: While a historic legal win, Roper reflects on the insufficiency of a single conviction against a century and a half of entrenched cultural abuse.


Page 200 Transcription: "and some of the girls were as young as 11. He also revealed that, as well as the raffles, one establishment organised weekly bingo nights, with the girls put up as prizes paraded before players before the games began." 

Annotation: horrid

Context: The "horrid" public commodification of children via raffles and bingo illustrates the absolute lack of community protection for the vulnerable.


Page 209 Transcription: "I was only 10 when he raped me. He destroyed so many lives. From my time, just the girls I knew who he abused, there were more than 50." Context: A victim named Samantha describes the mass-scale abuse perpetrated by Joel Cruz, showing how one predator can devastate dozens of lives with impunity.


Page 256 Transcription: "She told how her father, a clandestine gemstone miner, would pass her around his colleagues when she was just 11. How she was only able to go to school because those men would give her books and school supplies in exchange for doing what they wanted with her. ... they were all outwardly upright and respected men in town, community leaders, shop owners, church-goers, family men." 

Context: Julia’s story highlights a double betrayal: by her father for survival and by the "respected" men of the community who exploited her.


Page 299 Transcription: "that even 10-year-olds were not safe." 

Context: During a meeting with company representatives, this realization serves as the "last straw" for advocates fighting against the abuse perpetrated by migrant workers.


Page 311 Transcription: "finally understanding they were no longer alone." 

Context: The introduction of a dedicated legal team (Pryscilla, Luisa, and Antonio) gave the girls their first sense of belonging to a system that actually valued their rights.


Page 312 Transcription: "How can you offer hope to young victims of abuse and sexual exploitation without also giving them the one thing that would truly set them free – justice?" 

Context: Roper concludes that social services alone are insufficient; systemic legal accountability is the necessary "missing piece" for true liberation.


Page 328 Transcription: "flagship Sunday night news programme entitled The Exploitation Highway in which they showcased the work of the Pink Houses" 

Context: National recognition via Brazil’s second-largest network, Rede Record, helped bring the issue to the forefront of the Brazilian public consciousness.


Page 329 Transcription: "ential think tank, the Jose Luiz Egydio Setubal Foundation in SĂ£o Paulo, placed us among the 10 most innovative social projects in Brazil. ... the dam of the Brumadinho iron ore mine ... had suddenly burst, unleashing a devastating river of sludge that had engulfed everything in its path, killing 270 people and poisoning rivers for hundreds of miles around. ... as reconstruction efforts brought thousands of male workers to the region, they began to see another sinister consequence ... many already bereaved and traumatised young girls falling victim to sexual exploitation." Context: Philanthropic recognition allowed the Pink House to respond to the Brumadinho disaster, where an influx of reconstruction workers created a new environment for exploitation among traumatized survivors.


Page 331 Transcription: "Their idea, Elisa explained, was to train up their drivers to become ‘agents of protection’ on the motorways, who would know how to report and intervene when they saw children being trafficked or exploited. ... they would start with their own 7,000-strong workforce, but their intention was to roll this out to many thousands of other truck drivers over the coming years." 

Context: A massive shift in strategy involving Grupo SADA, training thousands of truckers to act as protectors rather than participants in the exploitation cycle.


Page 333 Transcription: "But there was even more to come. Soon after, we received an invitation to speak about the plight of girls on the BR-116 in the British Parliament. ... later that year, with our fifth Pink House already up and running ... I watched Rany, Moany and Maluiza move a roomful of politicians and dignitaries to tears. The three girls were from CĂ¢ndido Sales, a place where we had faced so much hostility and opposition." 

Context: In October 2023, survivors from CĂ¢ndido Sales stood in the UK Houses of Parliament, transforming from victims into international advocates for change.

References & Further Reading