A River in the Ocean
Michael Allen, 2013
Createspace
264 pp.
ISBN-13: 9781482323405
Summary
When a near fatal accident separates a single father from his daughter, fate has a way of finding her a good home.
While Chris fights for his life in a coma for nine years, his daughter Krista is raised by a well-intentioned couple who have no idea how to properly raise a child. Gilmer has wild ideas that he doesn’t think through. Maggie knows the basics and figures the rest out as she goes. But there is one thing they have in common, the love for the little girl who stole their hearts while her father was absent.
When Chris awakens from his coma, he has no idea he has a daughter. Putting his life back together, he takes to furniture repair and then design. But he picks up a paint brush one day when an apparition of a little girl soon starts haunting him even while he is awake. He captures scenes of her on canvas, but he can’t figure out what connection they have. While he paints his little angel, she becomes more and more real to him.
Something stirs in both of them when Chris and Krista finally meet late in her teen years. It's certainly a drama, but with comedy to lighten the way.
A River in the Ocean is a heartwarming tale about two lost souls, only one of them feels it and the other has yet to know. He didn’t know he was looking. She didn’t know she needed found. It leads to an overwhelming confusion with the potential to push them together or drive them apart. (From the publisher.)
Author Bio
• Birth—1970
• Born—Cedar Rapids, Iowa, USA
• Raised—in Maryland and Virginia
• Education—B.A., Frostburg State University
• Currently—lives in Clearwater, Florida
Michael Allen was born in Cedar Rapids, Iowa. But he was quickly moved from there to be raised in both Cumberland, Maryland, and Fredericksburg, Virginia. He finally graduated from James Monroe High School in Fredericksburg and went straight into the Marine Corps.
In 1993, Michael was honorably discharged from the Marine Corps and had some wild oats to sow before finally settling down to earn his B.A. in English from Frostburg State University. Fulfilling a lifelong dream, he was quick to learn that plenty of people would be willing to hire him to write their books.
Over twenty books later, Michael has been able to also publish four books of his own. A Danger to Society is loosely based on a true story. When You Miss Me is a children’s book originally written for his daughter. Thoughts and Reconsideration is a journey in poetry through themes of Love, Hate, Spirituality and Philosophy. A River in the Ocean is his fourth book.
Michael currently resides in Clearwater, Florida where he adores the sun, makes his name known along the beaches and volunteers as often as he can. If he’s not substituting to teach English as a second language, he’s filling up plates at a soup kitchen.
When his daughter hit her teenage years, she left him in the dust as most teenagers do to parents they no longer find cool. So if he’s not busy helping people, he tucks himself away in his “cave” tapping steadily away at his next piece of work. (From the author.)
Visit Michael's website.
Book Reviews
(Although A River in the Ocean has not yet garnered reviews, we have included excerpts of two interviews with author Michael Allen by online book sites.)
I was about six years old when I first started writing. At least, that's as far back as I can remember. My first work was a a poem I called Slick Move. It was about people slipping on banana peels and oil slicks. Very age appropriate material. I would have to say it's just something that has always been in my blood, writing many short stories and poems in my youth. But my first contact with a publisher who hired me to write a book was when I realized that I could really do something with it. So, I dedicated myself to it.
Book Junkies Journal
I get to know my characters is about the best way to answer that question. I think them through and know how they would act, how they would talk if they were real. I do not think I’ve ever had a conversation with one of my characters though. But, it does sound like something I would do.
Book Goodies
Discussion Questions
1. What defines family today in the world of broken families?
2. What do you think makes a good parent?
3. Have you ever felt an emptiness or void in your life that actually compelled you to find out what it was about? What did you learn?
4. Have you ever lost anyone who was close to you? How hard was it for you to let go?
5. How would you feel if you suddenly learned that someone you thought you lost had not actually passed away?
6. What would you do if you found yourself having to start over in life?
7. Do you think there’s a special bond family members share, even if they have never met or have been separated for a very long time?
8. What is the significance of the book's title?
(Questions provided courtesy of the author.)
The River of No Return
Bee Ridgway, 2013
Penguin Group (USA)
464 pp.
ISBN-13: 9780142180839
Summary
Devon, 1815. The charming Lord Nicholas Davenant and the beguiling Julia Percy should make a perfect match.
But before their love has a chance to grow, Nicholas is presumed dead in the Napoleonic war. Nick, however, is lost in time. Somehow he escaped certain death by leaping two hundred years forward to the present day where he finds himself in the care of a mysterious society, the Guild.
Questioning the limits of the impossible, Nick is desperate to find a way back to the life he left behind. Yet with the future of time itself hanging in the balance, could it be that the girl who first captured his heart has had the answers all along? Can Nick find a way to return to her? (From the publisher.)
Author Bio
• Birth—ca. 1971-72
• Where—Amherst, Massachuesetts, USA
• Education—B.A., Oberlin College; Ph.D., Cornell University
• Currently—lives in Philadelphia, Pennsylvania.
In her words
I was born and raised in Amherst, Massachusetts, in a parsonage made from three stuck-together old cottages. I attended Oberlin College. I worked for a year in features at Elle Magazine, then went to Cornell for a doctoral degree in English literature. After several years spent chasing research materials and true love around the UK, I settled down to teach American literature at Bryn Mawr College. I live with my partner in Philadelphia. The River of No Return is my first novel. (From the author's website.)
Book Reviews
[A]n accomplished if sometimes slow-going literary mash-up. In the midst of battle, Lord Nicholas Falcott suddenly jumps 200 years into the future. Finding himself in 2003, Lord Nicholas forges a new life as “Nick Davenant."... Ridgway offers a well-crafted blend of science fiction, romance, mystery, and historical fiction, but stumbles with overlong explanations that, while helpful in untangling the story’s convolutions, stall the plot.
Publishers Weekly
A highly entertaining romp; [Ridgway’s] historical details are accurate, and the characters are believable. Fans of Diana Gabaldon’s “Outlander” series should enjoy this time-traveling romantic adventure, which may also attract readers who like historical fiction with a twist.
Library Journal
In her stellar debut, Ridgeway manages the permutations of the time-travel trope with originality and aplomb. Lord Nick Falcott was an early nineteenth-century aristocrat, until he unexpectedly “jumped” into the twenty-first century while engaged in bloody battle.... [T]he entire premise and plot capture unwavering attention. Recommend this engaging, nuanced read to fans of A Discovery of Witches.... —Julie Trevelyan
Booklist
Literate time-travel exercise by English professor and debut novelist Ridgway.... [Nicholas Falcott is in] Napoleon’s dragoons one minute and recovering in a London hospital nearly two centuries later.... [He] goes with the flow anyway. Not much happens for all that, but Ridgway’s talky narrative is smart and often funny.... It’s not especially distinguished, but bookish fantasy fans who make it a point to keep up with Doctor Who will like this one
Kirkus Reviews
Discussion Questions
1. Throughout the novel, Nick struggles to reconcile his knowledge of the future with the tide of the past. What do you think he finds to be the most difficult adjustment and why? What would be the greatest challenge for you, personally?
2. When do Nicholas Falcott and Nick Davenant seem to be the most similar? How much of Nick’s personality is determined by his location in time and space?
3. After learning that she is the talisman, Julia worries over the different meanings of the word and even fears for her life. Do you agree with the choice Ignatz made to keep her in the dark about her origin and her powers? In what sense of the word do you think Julia most embodies the talisman?
4. Nick’s return to his natural time affects his sisters in many ways, limiting certain freedoms while affording them power. What do you make of Clare’s idea for a model community and Arabella’s desire for education? Are these women trapped in their historical context? Or in what ways, if any, are they able to swim against the tide of history?
5. Time travelers harness emotions in order to travel up and down the river of time, and yet despair repels them. What implications does this have for human history, and why does Mr. Mibbs seem to be able to use despair to his advantage?
6. At the Guild compound in Chile, Nick becomes close friends with Meg and Leo. But when Meg and Leo grow suspicious of The Guild, they decide to leave Nick behind, reasoning that he is not ready, and leaving him to assume they are dead. What do you think motivated their decision to desert Nick? What would you have done in their position?
7. This novel presents many strong female characters, each of whom does what she can within her historical perspective. Consider the strengths and weaknesses of characters like Clare, Arabella, Alva, and Peter. As a time–traveler who has yet to travel in time, where do you think Julia fits within this spectrum? In what ways do you think she’ll continue to grow?
8. Throughout the novel, various characters rely on objects to keep them emotionally grounded, or even to stay rooted in time. What symbolic differences do you see between the Guild members’ rings, Nick’s acorn, and Julia’s box of trinkets and fairings?
9. At the end of the novel, Julia and Nick jump forward in time, and Nick sees a new version of the future. Castle Dar is standing, and so is the couple’s special oak tree. What else do you imagine is different, and what effect do you think Julia ultimately has on the past, present, or future?
10. How do you imagine Nick and Julia will resolve the problem of the encroaching Pale? Can you see the Ofan and The Guild working together to save the future?
(Questions issued by publisher.)
River of Smoke (Ibis Trilogy, 2)
Amitav Ghosh, 2011
Farrar, Straus and Giroux
528 pp.
ISBN-13: 9780374174231
Summary
The Ibis, loaded to its gunwales with a cargo of indentured servants, is in the grip of a cyclone in the Bay of Bengal; among the dozens flailing for survival are Neel, the pampered raja who has been convicted of embezzlement; Paulette, the French orphan masquerading as a deck-hand; and Deeti, the widowed poppy grower fleeing her homeland with her lover, Kalua.
The storm also threatens the clipper ship Anahita, groaning with the largest consignment of opium ever to leave India for Canton. And the Redruth, a nursery ship, carries Frederick “Fitcher” Penrose, a horticulturist determined to track down the priceless treasures of China that are hidden in plain sight: its plants that have the power to heal, or beautify, or intoxicate. All will converge in Canton’s Fanqui-town, or Foreign Enclave: a tumultuous world unto itself where civilizations clash and sometimes fuse. It is a powder keg awaiting a spark to ignite the Opium Wars.
Spectacular coincidences, startling reversals of fortune, and tender love stories abound. But this is much more than an irresistible page-turner. The blind quest for money, the primacy of the drug trade, the concealment of base impulses behind the rhetoric of freedom: in River of Smoke the nineteenth and twenty-first centuries converge, and the result is a consuming historical novel with powerful contemporary resonance. Critics praised Sea of Poppies for its vibrant storytelling, antic humor, and rich narrative scope; now Amitav Ghosh continues the epic that has charmed and compelled readers all over the globe. (From the publisher.)
Author Bio
• Birth—1956
• Where—Kolkata, India
• Education—St. Stephen's College, Deli; Delhi University;
Ph.D., Oxford University.
• Awards—see below
• Currently—lives in New York City; Kolkata and Goa, India
Amitv Ghosh is the internationally bestselling author of many works of fiction and nonfiction, including The Glass Palace, and is the recipient of numerous awards and prizes. Ghosh divides his time between Kolkata and Goa, India, and Brooklyn, New York. (From the publisher.)
More
Ghosh was born in Kolkata (Calcutta) and was educated at The Doon School; St. Stephen's College, Delhi; Delhi University; and St Edmund Hall, Oxford, where he was awarded a Ph.D. in social anthropology.
Ghosh lives in New York with his wife, Deborah Baker, author of the Laura Riding biography In Extremis: The Life of Laura Riding (1993) and a senior editor at Little, Brown and Company. They have two children, Lila and Nayan.
He has been a Fellow at the Centre for Studies in Social Sciences, Calcutta. In 1999, Ghosh joined the faculty at Queens College, City University of New York as Distinguished Professor in Comparative Literature. He has also been a visiting professor to the English department of Harvard University since 2005. Ghosh has recently purchased a property in Goa and is returning to India.
Sea of Poppies (2008), the first installment of a planned trilogy, is an epic saga, set just before the Opium Wars, which encapsulates the colonial history of the East. The second in the trilogy, River of Smoke was published in 2011.
His previous novels are The Circle of Reason (1986), The Shadow Lines (1990), In an Antique Land (1992), The Calcutta Chromosome (1995), Dancing in Cambodia, At Large in Burma (1998), Countdown (1999), The Glass Palace (2000) and The Hungry Tide (2004). Ghosh's fiction is characterised by strong themes that may be somewhat identified with postcolonialism but could be labelled as historical novels. His topics are unique and personal; some of his appeal lies in his ability to weave "Indo-nostalgic" elements into more serious themes.
In addition to his novels, Ghosh has written The Imam and the Indian (2002), a large collection of essays on different themes such as fundamentalism, history of the novel, Egyptian culture, and literature).
In 2007, he was awarded the Padma Shri by the Indian government.
Amitav Ghosh's literary awards include:
• Prix Medicis Etranger (French; for Circle of Reason)
• Sahitya Akademic and Ananda Pursaskar Awards (Indian;
for The Shadow Lines)
• Arthur C. Clarke Award (UK; for The Calcutta Chromosome)
• Grand Prize-Fiction, Frankfurt International e-Book Awards
(for The Glass Palace)
• Hutch Crossword Book Prize (Indian; for The Hungry Tide)
• Grinzane Cavour Prize (Italian)
• Shortlisted for Man Booker (UK; for Sea of Poppies)
(Author bio from Wikipedia.)
Book Reviews
River of Smoke does not disappoint...[it] reclaims a story appropriated for too long by its winners...yet Ghosh does so without excessive earnestness, leavening his narrative with nuggets of fact and insight...[his] historical judgments are largely rendered subtly, without any of the sledgehammer effect of retrospective moralism that a lesser writer might have employed…With River of Smoke, Ghosh's Ibis trilogy is emerging as a monumental tribute to the pain and glory of an earlier era of globalization.
Shashi Tharoor - Washington Post
On one level, [River of Smoke] is a remarkable feat of research, bringing alive the hybrid customs of food and dress and the competing philosophies of the period with intimate precision; on another it is a subversive act of empathy, viewing a whole panorama of world history from the 'wrong' end of the telescope. The real trick, though, is that it is also fabulously entertaining.
Observer (UK)
Eloquent.... Fascinating.... [River of Smoke's] strength lies in how thoroughly Ghosh fills out his research with his novelistic fantasy, seduced by each new situation that presents itself and each new character, so that at their best the scenes read with a sensual freshness as if they were happening now.
Guardian (UK)
[This] vast book has a Dickensian sweep of characters, high- and low-life intermingling . . . Ghosh conjures up a thrilling sense of place.
Economist (UK)
Brillian.... By the book’s stormy and precarious ending, most readers will clutch it like the ship’s rail awaiting, just like Ghosh’s characters, the rest of the voyage to a destination unknown.
Don Oldenburg - USA Today
Ghosh’s best and most ambitious work ye.... [He] writes with impeccable control, and with a vivid and sometimes surprising imagination.
New Yorker
Ghosh sets the second volume of his Ibis trilogy in 1838, appropriately enough, because at heart he's a 19th-century novelist with a sweeping vision of character and culture.... Ghosh triumphs both through the clarity of his style and the sweep of his vision, and he leaves the reader eager for volume three.
Kirkus Reviews
Discussion Questions
1. The opening scenes recount Deeti's survival after she and Kalua escaped the Ibis. She insists that destiny, not chance, led her to the site of her hidden shrine. For her, what does destiny mean? What legacies does she pass on to the next generation?
2. Like many of the novel's characters, Ah Fatt and Robin Chinnery have bicultural ancestries. What limitations and freedoms accompany their lack of a legitimate, aristocratic bloodline? Do ancestry and prestige go hand in hand in River of Smoke?
3. Discuss Bahram's and Fitcher's motivations. Are they simply greedy?
4. Paulette is a master of disguise and can comfortably move between cultures. What does she consider to be her true identity? Why is horticulture a suitable field for her?
5. Discuss the role of religion in shaping the characters' view of the world. How are the novel's Hindu characters affected by the expectations of the gods? When Christian characters justify the opium trade, how do they reconcile it with their faith? (You may enjoy revisiting Charles King's letter to Charles Elliot near the book's final pages.)
6. Bahram and Zadig discuss the experience of having an additional, foreign wife, debating whether love is a factor. How does the relationship between Bahram and Chi-mei change over the years? Would Bahram enjoy Canton as much if he weren't a foreigner?
7. How do the trilogy's ships—the formerly slave-trading Ibis, Fitcher's practical but eccentric-looking Redruth, and the treasure-laden Anahita (named for a Hindu goddess of water)—reflect their passengers?
8. In chapter seven, Robin's letter describes the Pearl River as a suburb of Canton. In chapter thirteen, Zadig recalls the legend that claims the river got its name from a foreign trader who dropped a mysterious pearl. Drawing on these and other impressions, discuss the Pearl River as a character: how would you describe its powers and its personality?
9. Consider Ghosh's penchant for intertwining fates. For example, Ah Fatt had been Neel's companion in the labor prison, while Neel (qualified to work as a munshi because of the education that accompanied his noble status) is close by when Mr. Punhyqua is arrested, marking the unlikely fall of another member of the ruling class. Does Ghosh create tragicomedy or pure irony in story lines such as these?
10. Near the end of chapter six, Bahram has a chance encounter with Napoleon (a scene inspired by reported encounters between the French emperor and seafaring traders). If you had been in Bahram's position, what would you have asked Napoleon?
(Questions issued by publisher.)
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A River Runs Through It and Other Stories
Norman Maclean, 1976
University of Chicago Press
276 pp.
ISBN-13: 9781616850425
Summary
This work will captivate readers with its vivid images of Montana's Big Blackfoot River, its tender yet realistic renderings of Maclean's father and trouble-prone brother, and its uncanny blending of fly fishing with the affections of the heart.
In this celebration of the river and the trout that inhabit it, Maclean writes of the river ritual that he shares with his brother Paul. They begin at sunrise and end hours later with cold beer, having fished their limit, since "to women who do not fish, men who come home without their limit are failures in life." As Paul tries to think like a fish, Maclean tries to think like Paul, wainting to find a way to offer help that Paul can accept but concluding, "you can love completely without completely understanding." (From the publisher.)
Author Bio
• Birth—December 23, 1902
• Where—Clarinda, Iowa, USA
• Reared—Missoula, Montana
• Death—August 2, 1990
• Where—Chicago, Illinois
• Education—B.A., Dartmouth College; Ph.D., University of
Chicago
• Awards—National Book Critics Award, 1992
Norman Maclean grew up in the western Rocky Mountains in the early decades of the 20th century. He worked many summers in logging camps and for the U.S. Forest Service. This novella is based on his experiences of a young man who found that life was only a step from art in its structures and beauty. The beauty he found was in reality.
Maaclean was William Rainey Harper Professor of English at the University of Chicago. He died in 1990. (From Wikipedia.)
Book Reviews
On its surface, this beautiful memoir is about the intricacies of fly fishing and the two Montana brothers who fish the big western rivers. Fishing devotees will revel in descriptions of the rhythm, angles, whip and whistle of the perfect cast. We even get a bit of fish psychology: a trout knows it's being tricked if the fly isn't set perfectly on the water. (Read more..).
A LitLovers LitPick (May '07)
Altogether beautiful in the power of its feelings....As beautiful as anything in Thoreau or Hemingway.
Alfred Kazin - Chicago Tribune Book World
This is more than stunning fiction: It is a lyric record of a time and of a life, shining with Maclean's special gift for calling the reader's attention to arts of all kinds—the arts that work in nature, in personality, in social intercouse, in fly-fishing.
Kenneth M. Pierce - Village Voice
The title novella is the prize…Something unique and marvelous: a story that is at once an evocation of nature's miracles and realities and a probing of human mysteries. Wise, witty, wonderful, Maclean spins his tales, casts his flies, fishes the rivers and the woods for what he remembers from his youth in the Rockies.
Barbara Bannon - Publishers Weekly
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
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Rivak's War
Marilyn Oser, 2013
Mill City Press
268 pp.
ISBN-13: 9781626520509
Summary
Russia, 1914. Rivka, daughter of a prosperous boot maker, seems destined by tradition for marriage and the humdrum rounds of shtetl life.
Then war breaks out, and things go badly for the tsar’s army. When demoralized troops begin deserting their posts in the trenches, one unlikely officer recruits a battalion of girls to set an example for the men.
Rivka seizes upon this chance for adventure as her once-in-a-lifetime opportunity to do something great in the world. She signs on, never suspecting the terrors that await her, or the trials that will test her, or the mishaps that will take her from the frozen steppes of Siberia to the hot, dusty hills of Palestine.
Based on actual events, Rivka’s War is a riveting tale of loss and survival. In vivid detail, it portrays the impact of the Great War on Jewish life, re-creating a vanished world. (From the author.)
Author Bio
Marilyn Oser lives in New York’s Hudson Valley and on Long Island. A Ph.D. in language and literature, she has taught English and history and has raised funds for arts, environmental and community organizations. Author of the novel Playing for Keeps and the blog Streets of Israel, she is a recipient of the University of Michigan’s coveted Avery Hopwood Prize for excellence in writing. (From tha author .)
Book Reviews
A figure steps forward from history and shows herself to be a strong and courageous character. In Rivka's War, Marilyn Oser gives us a hero to cheer. A thoughtful and inspiring novel.
Susan Issacs
Outstanding....Five stars.
Fran Lewis, Just Reviews
Discussion Questions
1. Many of the chapters in Rivka’s War are named for characters in the story. How does Rivka change and grow from her encounter with each of them? Which ones become role models for her?
2. One chapter is called “The Land.” How is the land also a kind of character that has its affect on Rivka?
3. Rivka wonders how she and Mischa have ended up on opposite sides of a political divide. How do you account for this?
4. Twice in Rivka's War, Rivka plunges into a deep depression. What are the factors that cause this? What factors help her overcome it?
5. Yashka is based on a historical figure. What attributes do you admire in her? What do you find less than admirable, even reprehensible?
6. Did biblical references in the novel enlarge your understanding of the events as they unfold?
7. Many horrifying scenes are portrayed in this novel, though these are mild compared to what actually occurred in Russia and Palestine during the war and its aftermath. Are such scenes appropriate in this novel? In any novel?
8. The story is based on events that happened a hundred years ago. What relevance does it have for our lives today?
(Questions provided courtesy of the author.)
The Road
Cormac McCarthy, 2006
Knopf Doubleday
287 pp.
ISBN-13: 9780307387899
Summary
Pulitizer Prize, 2007
A searing, postapocalyptic novel destined to become Cormac McCarthy's masterpiece. A father and his son walk alone through burned America.
Nothing moves in the ravaged landscape save the ash on the wind. It is cold enough to crack stones, and when the snow falls it is gray. They sky is dark.
Their destination is the coast, although they don't know what, if anything, awaits them there. They have nothing; just a pistol to defend themselves against the lawless bands that stalk the road, the clothes they are wearting, a cart of scavenged food-and each other.
The Road is the profoundly moving story of a journey. It boldly imagines a future in which no hope remains, but in which the father and his son, "each the other's world entire," are sustained by love.
Awesome in the totality of its vision, it is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation. (From the publisher.)
Author Bio
• Birth—July 20, 1933
• Where—Providence, Rhode Island, USA
• Education—University of Tennessee, US Air Force
• Awards— Ingram-Merrill Aware, 1959 and 1960; Faulkner
Prize, 1965; Traveling Fellowship from American Academy
of Arts and Letters, 1965; Guggenheim Fellowship, 1969;
MacArthur Fellowship, 1981; National Book Award, 1992;
National Book Critics Circle Award, 1992; James Tait Black
Memorial Prize UK, 2006; Pulitzer Prize, 2007 for The Road.
• Currently—lives in Tesuque, New Mexico (Santa Fe area)
Cormac McCarthy (born Charles McCarthy) is an American novelist and playwright. He has written ten novels, ranging from the Southern Gothic, western, and post-apocalyptic genres. He has also written plays and screenplays.
He received the Pulitzer Prize in 2007 for The Road, and his 2005 novel No Country for Old Men was adapted as a 2007 film of the same name, which won four Academy Awards, including Best Picture. He received a National Book Award and National Book Critics Circle Award for his 1992 novel, All the Pretty Horses.
His previous novel, Blood Meridian, (1985) was among Time Magazine's poll of the best English-language books published between 1923 and 2005 and he placed joint runner-up in a poll taken in 2006 by the New York Times of the best American fiction published in the last 25 years.
Literary critic Harold Bloom named him as one of the four major American novelists of his time, along with Don DeLillo, Thomas Pynchon and Philip Roth. In 2010 the London Times ranked The Road no.1 on its list of the 100 best fiction and non-fiction books of the past 10 years. He is frequently compared by modern reviewers to William Faulkner.
Early years
McCarthy was born in Providence, Rhode Island on July 20, 1933, and moved with his family to Knoxville, Tennessee, in 1937. He is the third of six children, with three sisters and two brothers. In Knoxville, he attended Knoxville Catholic High School. His father was a successful lawyer for the Tennessee Valley Authority from 1934 to 1967.
McCarthy entered the University of Tennessee in 1951-1952 and was a liberal arts major. In 1953, he joined the United States Air Force for four years, two of which he spent in Alaska, where he hosted a radio show. In 1957, he returned to the University of Tennessee. During this time in college, he published two stories in a student paper and won awards from the Ingram Merrill Foundation in 1959 and 1960. In 1961, he and fellow university student Lee Holleman were married and had their son Cullen. He left school without earning a degree and moved with his family to Chicago where he wrote his first novel. He returned to Sevier County, Tennessee, and his marriage to Lee Holleman ended.
Writing
McCarthy's first novel, The Orchard Keeper, was published by Random House in 1965. He decided to send the manuscript to Random House because "it was the only publisher [he] had heard of." At Random House, the manuscript found its way to Albert Erskine, who was William Faulkner's editor until Faulkner's death in 1962. Erskine continued to edit McCarthy for the next twenty years.
In the summer of 1965, using a Traveling Fellowship award from The American Academy of Arts and Letters, McCarthy shipped out aboard the liner Sylvania, hoping to visit Ireland. While on the ship, he met Anne DeLisle, who was working on the ship as a singer. In 1966, they were married in England. Also in 1966, McCarthy received a Rockefeller Foundation Grant, which he used to travel around Southern Europe before landing in Ibiza, where he wrote his second novel, Outer Dark. Afterward he returned to America with his wife, and Outer Dark was published in 1968 to generally favorable reviews.
In 1969, McCarthy and his wife moved to Louisville, Tennessee, and purchased a barn, which McCarthy renovated, even doing the stonework himself. Here he wrote his next book, Child of God, based on actual events. Child of God was published in 1973. Like Outer Dark before it, Child of God was set in southern Appalachia. In 1976, McCarthy separated from Anne DeLisle and moved to El Paso, Texas. In 1979, his novel Suttree, which he had been writing on and off for twenty years, was finally published.
Supporting himself with the money from his 1981 MacArthur Fellowship, he wrote his next novel, Blood Meridian, which was published in 1985. The book has grown appreciably in stature in literary circles. In a 2006 poll of authors and publishers conducted by The New York Times Magazine to list the greatest American novels of the previous quarter-century, Blood Meridian placed third, behind only Toni Morrison's Beloved and Don DeLillo's Underworld.
McCarthy finally received widespread recognition in 1992 with the publication of All the Pretty Horses, which won the National Book Award and the National Book Critics Circle Award. It was followed by The Crossing and Cities of the Plain, completing a Western trilogy. In the midst of this trilogy came The Stonemason, McCarthy's second dramatic work. He had previously written a film for PBS in the 1970s, The Gardener's Son.
McCarthy's next book, 2005's No Country for Old Men, stayed with the western setting and themes, yet moved to a more contemporary period. It was adapted into a film of the same name by the Coen Brothers, winning four Academy Awards and more than 75 film awards globally. McCarthy's latest book, The Road, was published in 2006 and won international acclaim and the Pulitzer Prize for literature. A film adaptation starring Viggo Mortensen and Kodi Smit-McPhee was released on November 25, 2009. Also in 2006, McCarthy published a play entitled The Sunset Limited.
Extras
• According to Wired magazine in December, 2009, McCarthy's Olivetti Lettera 32 typewriter was put up for auction at Christie's. The Olivetti Lettera 32 has been in his care for 46 years, since 1963. He picked up the used machine for $50 from a pawn shop in Knoxville, Tennessee. McCarthy reckons he has typed around five million words on the machine, and maintenance consisted of “blowing out the dust with a service station hose”. The typewriter was auctioned on Friday, December 4 and the auction house, Christie’s, estimated it would fetch between $15,000 and $20,000; it sold for $254,500. The Olivetti’s replacement for McCarthy to use is another Olivetti, bought by McCarthy’s friend John Miller for $11. The proceeds of the auction are to be donated to the Santa Fe Institute, a nonprofit interdisciplinary scientific research organization.
• McCarthy now lives in the Tesuque, New Mexico, area, north of Santa Fe, with his wife, Jennifer Winkley, and their son, John. He guards his privacy. In one of his few interviews (with The New York Times), McCarthy reveals that he is not a fan of authors who do not "deal with issues of life and death," citing Henry James and Marcel Proust as examples. "I don't understand them," he said. "To me, that's not literature. A lot of writers who are considered good I consider strange." McCarthy remains active in the academic community of Santa Fe and spends much of his time at the Santa Fe Institute, which was founded by his friend, physicist Murray Gell-Mann.
• Talk show host Oprah Winfrey chose McCarthy's 2006 novel The Road as the April 2007 selection for her Book Club. As a result, McCarthy agreed to his first television interview, which aired on The Oprah Winfrey Show on June 5, 2007. The interview took place in the library of the Santa Fe Institute; McCarthy told Winfrey that he does not know any writers and much prefers the company of scientists.
• During the interview he related several stories illustrating the degree of outright poverty he has endured at times during his career as a writer. He also spoke about the experience of fathering a child at an advanced age, and how his now-eight-year-old son was the inspiration for The Road. Cormac noted to Oprah that he prefers "simple declarative sentences" and that he uses capital letters, periods, an occasional comma, a colon for setting off a list, but "never a semicolon." He does not use quotation marks for dialogue and believes there is no reason to "block the page up with weird little marks." (From Wikipedia.)
Book Reviews
This is an exquisitely bleak incantation — pure poetic brimstone. Mr. McCarthy has summoned his fiercest visions to invoke the devastation. He gives voice to the unspeakable in a terse cautionary tale that is too potent to be numbing, despite the stupefying ravages it describes. Mr. McCarthy brings an almost biblical fury as he bears witness to sights man was never meant to see.
Janet Maslin - New York Times
The Road is a dynamic tale, offered in the often exalted prose that is McCarthy's signature, but this time in restrained doses—short, vivid sentences, episodes only a few paragraphs or a few lines long…the most readable of his works, and consistently brilliant in its imagining of the posthumous condition of nature and civilization—"the frailty of everything revealed at last. Old and troubling issues resolved into nothingness and night."
William Kennedy - The New York Times Book Review
In Cormac McCarthy's new novel, The Road, the bloodbath is finally complete. The violence that animated his great Western novels has been superseded by a flash of nuclear annihilation, which also blasts away some of what we expect from the reclusive author's work. With this apocalyptic tale, McCarthy has moved into the allegorical realm of Samuel Beckett and José Saramago — and, weirdly, George Romero [Night of the Living Dead].
Ron Charles - The Washington Post
(Audio version.) McCarthy's latest novel, a frightening apocalyptic vision, is narrated by a nameless man, one of the few survivors of an unspecified civilization-ending catastrophe. He and his young son are trekking along a treacherous highway, starving and freezing, trying to avoid roving cannibal armies. The tale, and their lives, are saved from teetering over the edge of bleakness thanks to the man's fierce belief that they are "the good guys" who are preserving the light of humanity. In this stark, effective production, Stechschulte gives the father an appropriately harsh, weary voice that sways little from its numbed register except to urge on the weakening boy or soothe his fears after an encounter with barbarians. When they uncover some vestige of the former world, the man recalls its vanished wonder with an aching nostalgia that makes the listener's heart swell. Stechschulte portrays the son with a mournful, slightly breathy tone that emphasizes the child's whininess, making him much less sympathetic than his resourceful father. With no music or effects interrupting Stechschulte's carefully measured pace and gruff, straightforward delivery, McCarthy's darkly poetic prose comes alive in a way that will transfix listeners.
Publishers Weekly
Winner of the National Book Award and the National Book Critics Circle Award, McCarthy (All the Pretty Horses) here offers a prescient account of a man and his son trying to survive in a devastated country where food is scarce and everyone has become a scavenger. The term survival of the fittest rings true here—very few people remain, and friends are extinct. Essentially, this is a story about nature vs. nurture, commitment and promises, and though there aren't many characters, there is abundant life in the prose. We are reminded how McCarthy has mastered the world outside of our domestic and social circles, with each description reading as if he had pulled a scene from the landscape and pasted it in the book. He uses metaphors the way some writers use punctuation, sprinkling them about with an artist's eye, showing us that literature from the heart still exists. Recommended for all libraries. —Stephen Morrow, Columbus, OH
Library Journal
Even within the author's extraordinary body of work, this stands as a radical achievement, a novel that demands to be read and reread. McCarthy (No Country for Old Men, 2005, etc.) pushes his thematic obsessions to their extremes in a parable that reads like [George Romero's camp film] Night of the Living Dead as rewritten by Samuel Beckett. Where much of McCarthy's fiction has been set in the recent past of the South and West, here he conjures a nightmare of an indeterminate future. A great fire has left the country covered in layers of ash and littered with incinerated corpses. Foraging through the wasteland are a father and son, neither named (though the son calls the father "Papa"). The father dimly remembers the world as it was and occasionally dreams of it. The son was born on the cusp of whatever has happened—apocalypse? holocaust?—and has never known anything else. His mother committed suicide rather than face the unspeakable horror. As they scavenge for survival, they consider themselves the "good guys," carriers of the fire, while most of the few remaining survivors are "bad guys," cannibals who eat babies. In order to live, they must keep moving amid this shadowy landscape, in which ashes have all but obliterated the sun. In their encounters along their pilgrimage to the coast, where things might not be better but where they can go no further, the boy emerges as the novel's moral conscience. The relationship between father and son has a sweetness that represents all that's good in a universe where conventional notions of good and evil have been extinguished. Amid the bleakness of survival—through which those who wish they'd never been born struggle to persevere—there are glimmers of comedy in an encounter with an old man who plays the philosophical role of the Shakespearean fool. Though the sentences of McCarthy's recent work are shorter and simpler than they once were, his prose combines the cadence of prophecy with the indelible images of poetry. A novel of horrific beauty, where death is the only truth.
Kirkus Reviews
Discussion Questions
Introduction: Set in the smoking ashes of a postapocalyptic America, Cormac McCarthy's The Road tells the story of a man and his son's journey toward the sea and an uncertain salvation. The world they pass through is a ghastly vision of scorched countryside and blasted cities "held by cores of blackened looters who tunneled among the ruins and crawled from the rubble white of tooth and eye carrying charred and anonymous tins of food in nylon nets like shoppers in the commissaries of hell" [p. 181]. It is a starved world, all plant and animal life dead or dying, some of the few human survivors even eating each other alive.
The father and son move through the ruins searching for food and shelter, trying to keep safe from murderous, roving bands. They have only a pistol to defend themselves, the clothes they are wearing, a cart of scavenged food—and each other.
Awesome in the totality of its vision, The Road is an unflinching meditation on the worst and the best that we are capable of: ultimate destructiveness, desperate tenacity, and the tenderness that keeps two people alive in the face of total devastation.
1. Cormac McCarthy has an unmistakable prose style. What do you see as the most distinctive features of that style? How is the writing in The Road in some ways more like poetry than narrative prose?
2. Why do you think McCarthy has chosen not to give his characters names? How do the generic labels of "the man" and "the boy" affect the way in which readers relate to them?
3. How is McCarthy able to make the postapocalyptic world of The Road seem so real and utterly terrifying? Which descriptive passages are especially vivid and visceral in their depiction of this blasted landscape? What do you find to be the most horrifying features of this world and the survivors who inhabit it?
4. McCarthy doesn't make explicit what kind of catastrophe has ruined the earth and destroyed human civilization, but what might be suggested by the many descriptions of a scorched landscape covered in ash? What is implied by the father's statement that "On this road there are no godspoke men. They are gone and I am left and they have taken with them the world" [p. 32]?
5. As the father is dying, he tells his son he must go on in order to "carry the fire." When the boy asks if the fire is real, the father says, "It's inside you. It was always there. I can see it" [p. 279]. What is this fire? Why is it so crucial that they not let it die?
6. McCarthy envisions a postapocalyptic world in which "murder was everywhere upon the land" and the earth would soon be "largely populated by men who would eat your children in front of your eyes" [p. 181]. How difficult or easy is it to imagine McCarthy's nightmare vision actually happening? Do you think people would likely behave as they do in the novel, under the same circumstances? Does it now seem that human civilization is headed toward such an end?
7. The man and the boy think of themselves as the "good guys." In what ways are they like and unlike the "bad guys" they encounter? What do you think McCarthy is suggesting in the scenes in which the boy begs his father to be merciful to the strangers they encounter on the road? How is the boy able to retain his compassion—to be, as one reviewer put it, "compassion incarnate"?
8. The sardonic blind man named Ely who the man and boy encounter on the road tells the father that "There is no God and we are his prophets" [p. 170]. What does he mean by this? Why does the father say about his son, later in the same conversation, "What if I said that he's a god?" [p. 172] Are we meant to see the son as a savior?
9. The Road takes the form of a classic journey story, a form that dates back to Homer's Odyssey. To what destination are the man and the boy journeying? In what sense are they "pilgrims"? What, if any, is the symbolic significance of their journey?
10. McCarthy's work often dramatizes the opposition between good and evil, with evil sometimes emerging triumphant. What does The Road ultimately suggest about good and evil? Which force seems to have greater power in the novel?
11. What makes the relationship between the boy and his father so powerful and poignant? What do they feel for each other? How do they maintain their affection for and faith in each other in such brutal conditions?
12. Why do you think McCarthy ends the novel with the image of trout in mountain streams before the end of the world: "In the deep glens where they lived all things were older than man and they hummed of mystery" [p. 287]. What is surprising about this ending? Does it provide closure, or does it prompt a rethinking of all that has come before? What does it suggest about what lies ahead?
(Questions issued by publisher.)
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The Road Home
Rose Tremain, 2007
Little, Brown & Co.
432 pp.
ISBN-13: 9780316002622
Summary
In the wake of factory closings and his beloved wife's death, Lev makes his way from Eastern Europe to London, seeking work to support his mother and his little daughter. After a spell of homelessness, he finds a job in the kitchen of a posh restaurant and a room in the house of an appealing Irishman who has already lost his family.
Never mind that Lev must sleep in a bunk bed surrounded by plastic toys—he has found a friend and shelter. However constricted his life in England remains, he compensates by daydreaming of home, by having an affair with a younger restaurant worker, and by trading gossip and ambitions via cell phone with his hilarious friend Rudi, who, dreaming of the wealthy West, lives largely for his battered Chevrolet.
Homesickness dogs Lev, not only for nostalgic reasons, but because he doesn't belong, body or soul, to his new country—but can he really go home again?
Rose Tremain's prodigious talents as a prose writer are on full display in The Road Home, and her novel never loses sight of what is truly important in the lives we lead. (From the publisher.)
Author Bio
• Birth—1943
• Where—London, England, UK
• Education—Sorbonne, Paris; B.A., University of East Anglia
• Awards—James Tait Black Memorial Prize, Prix Fémina
Etranger, Whitbread Award, Orange Prize
• Currently—lives in East Anglia, UK
Rose Tremain was born Rosemary Jane Thomson in 1943 in London, the daughter of Viola (known as Jane) and Keith Thomson, a playwright.
She went to boarding school at Crofton Grange in Hertfordshire, an experience of which she later said in a Guardian interview, "It had all the horrors of boarding school— it was very cold and the food was disgusting. But the good thing about being sent away to school is that there’s a lot of what I would call dead time. You had to really use your own resources and what some of us did was to write our own plays and put them on. We starred in them, made the costumes, made the scenery, and it was thrilling."
After school she studied at the Sorbonne in Paris, and then graduated with a degree in English from the University of East Anglia, where she later taught creative writing from 1988-1995.
She married Jon Tremain in 1971 and in 1972 had a daughter, Eleanor. Her second marriage was to the theatre director Jonathan Dudley. She now lives in East Anglia with the writer and biographer Richard Holmes.
Her first novel, Sadler’s Birthday, was published in 1976, and picked up by the editor Penelope Hoare, who later said, "I remember feeling utterly thrilled when I read it.... It was so unlike most people’s first novels, in the sense that it didn’t seem to be in the least bit autobiographical." Hoare has been Tremain’s editor ever since, working together on ten novels and several short story collections.
In the course of her writing career, Tremain has garnered a host of prizes, including the James Tait Black Memorial Prize (for fiction) and the prestigious Prix Fémina Etranger, the Whitbread Novel Award, and several others. She has been nominated for the Booker and Orange Prize several times. She won the Orange Prize in 2008 for The Road Home. (Author bio from Chatto & Windus, a division of Random House, UK.)
Book Reviews
Journeys like Lev's are very much a part of Britain's present reality, with discussion of the Eastern European invasion appearing all over. But Tremain elevates the subject beyond its outlines by making Lev not a statistic or a caricature or the standard-bearer of a trend but simply a man—fully embodied, his ignoble and noble acts presented without exaggeration, without excessive praise or condemnation.... A less disciplined and agile author might have been tempted to ease Lev's transition from daydreamer to doer. Or she might have jollied Lev into a toque at London's River Cafe and set Rudi up as a chauffeur on Belisha Road. But Rose Tremain is in the business of inventing not so much fantasies as alternate realities.
Liesl Schillinger - New York Times
Rose Tremain brings the full tone and range of her novelist's imagination to bear on Lev, giving him, besides his enduring and endearing grief, humour, a romantic temperament, a genius for intimate male friendship and a poets' eye for images.
Times Literary Supplement (UK)
A classic work by the gifted Tremain.... She has the art of finding the improbable graces in human connection.
Guardian (UK)
This is a finely balanced novel of urgent humanity.... The Road Home should keep you gripped...and fraught with anxious sympathy.
Sunday Telegraph (UK)
The pleasure, the wit and the joy in humanity that Tremain brings to every page do what literature, at its best, should do: connect us, as E.M. Forester famously exhorted.
Stacey D'Erasmo - Los Angeles Times
It's not difficult to see why author Rose Tremain won the Orange Prize—a prestigious British fiction award--for her latest novel, The Road Home. From page one, Tremain plunges readers deep into the journey of Lev, an immigrant from an unnamed Eastern European country.... An unexpected, poignant story.
Allecia Vermillion - Chicago Sun Times
Tremain transforms this episodic road story into a gem of a novel, driven by a memorable character whose caring and ambition move him from a difficult personal situation and damaging historical past toward a positive new life.
Robert Allen Papinchak - Seattle Times
Why do I love Rose Tremain? It's not just the clarity of her prose, the liveliness of her plots, the precision of her settings, or the depth of her characters. I love Tremain because she is so compassionate. Her novels exemplify this moral quality, even as they excel at all the others.
Susan Balee - Philadelphia Inquirer
Tremain's protagonists are often faced with trials that have a fabled quality...and her latest novel is no exception...At once timeless and bitingly contemporary, this novel explores the life now lived by millions—when one's hope lies in one country and one's heart in another.
The New Yorker
Tremain (Restoration) turns in a low-key but emotionally potent look at the melancholia of migration for her 14th book. Olev, a 42-year-old widower from an unnamed former east bloc republic, is taking a bus to London, where he imagines every man resembles Alec Guinness and hard work will be rewarded by wealth. He has left behind a sad young daughter, a stubborn mother and the newly shuttered sawmill where he had worked for years. His landing is harsh: the British are unpleasant, immigrants are unwelcome, and he's often overwhelmed by homesickness. But Lev personifies Tremain's remarkable ability to craft characters whose essential goodness shines through tough, drab circumstances. Among them are Lydia, the fellow expatriate; Christy, Lev's alcoholic Irish landlord who misses his own daughter; and even the cruelly demanding Gregory, chef-proprietor of the posh restaurant where Lev first finds work. A contrived but still satisfying ending marks this adroit emigre's look at London.
Publishers Weekly
A displaced European's Candide-like progress through contemporary London is charted in this ambitious novel from the Whitbread Award-winning British author (The Colour, 2003, etc.). The protagonist is Lev, a recently widowed and also jobless former sawmill worker. He has left his young daughter and his (also widowed) mother behind (in a generically economically disadvantaged country that is and isn't Poland), hoping to find work and send money home. Debarking from the Trans-Euro bus on which he meets a similarly down-at-heels countrywoman (Lydia, who'll re-enter Lev's new life at variously crucial moments), Lev acquires a fragile living working as a distributor of leaflets, as a dishwasher, and so on, slowly ascending the ladder of minimal solvency, making a painstaking adaptation to a society that seems, to his bemused view, inexplicably self-indulgent, pampered and unmotivated. While sticking close to Lev's roiling thought processes, Tremain simultaneously constructs a subtly detailed mosaic of personal and cultural distinctions and conflicts-notably in Lev's cautious approach to reclaiming a sex life (perhaps even a love life?) and in generously developed conversations between Lev and his fulsome Irish landlord, bibulous plumber and compulsive worrywart Christy Slane. The novel's texture is further enriched by lengthy flashbacks spun from Lev's wistful memories, which acquaint us more fully with his warmhearted late wife Marina and his best friend Rudi, a resourceful hustler whose busy head is filled with visions of all things American, and foolproof scams by which such riches may be acquired. Rudi is an ingenious comic counterpart to Candide's annoyingly optimistic mentor Pangloss, and the novel dances into vigorous life whenever he takes hold of it. Still, Lev offers readers ample reason to get lost in this immensely likable novel's many pleasures. One of the best from the versatile Tremain, who keeps on challenging herself, and rewarding readers.
Kirkus Reviews
Discussion Questions
1. "Through Lev’s eyes, we see London as the incomer views it and it is not an attractive sight: alternately moneyed and poverty-stricken, its inhabitants obsessed by status and success." (Edward Marriott, Observer)
Do you agree with Marriot’s assessment of how Lev views London, and do you feel Tremain paints a realistic picture?
2. In her author interview Rose Tremain says "I've deliberately built my fictions around characters who are distant from me, in gender, place or time—or all of these. The moment I get close to my own biography, I feel boredom (and even mild self-dislike) creeping up on me."
Does this reflect your own feelings as a reader? Do you prefer novels which reflect your own experiences or take you somewhere else? What do you think you have in common with Lev?
3. Food is a very important motif in the novel. How does Tremain illustrate Lev’s journey in terms of food? Why do you think she only begins to describe the food of his own country towards the end?
4. In the author interview Tremain says that in her view, "most Brits want to be welcoming to migrants, but have worries—or indeed extreme anxieties—of their own which sometimes prevent them from doing this."
Do you believe that is true in your country? What worries and anxieties do you think Tremain is referring to and how are these played out in the novel?
5. Have you ever lived in another country? If so, how far did your experiences reflect Lev’s? What did you find challenging about establishing a new life in a different culture? Did it affect the way you read the novel? If not, do you think you could ever do what Lev did? What would you find hardest to leave behind?
6. Lev’s relationship with Sophie becomes very dark when he turns violent towards her. Why do you think he has such difficult relationships with women?
7. In the end Lev returns to his family and builds a life with his new found skills and money. Why do you think that the novel has ended in such an idealistic way? Do you think that this ending is possible for immigrants?
(Questions issued by Chatto & Windus, a division of Random House, UK.)
The Road to Little Dribbling: Adventures of an American in Britain
Bill Bryson, 2016
Knopf Doubleday
400 pp.
ISBN-13: 9780385539289
Summary
The hilarious and loving sequel to a hilarious and loving classic of travel writing: Notes from a Small Island, Bill Bryson’s valentine to his adopted country of England
In 1995 Bill Bryson got into his car and took a weeks-long farewell motoring trip about England before moving his family back to the United States. The book about that trip, Notes from a Small Island, is uproarious and endlessly endearing, one of the most acute and affectionate portrayals of England in all its glorious eccentricity ever written.
Two decades later, Bryson sets out again to rediscover that country, and the result is The Road to Little Dribbling. Nothing is funnier than Bill Bryson on the road—prepare for the total joy and multiple episodes of unseemly laughter. (From the publisher.)
Author Bio
• Birth—December 8 1951
• Where—Des Moines, Iowa, USA
• Education—B.A., Drake University
• Awards—(see below)
• Currently—lives in Norfolk, England, UK
William McGuire "Bill" Bryson is a best-selling American author of humorous books on travel, as well as books on the English language and on science. Born an American, he was a resident of North Yorkshire, UK, for most of his professional life before moving back to the US in 1995. In 2003 Bryson moved back to the UK, living in Norfolk, and was appointed Chancellor of Durham University.
Early years
Bill Bryson was born in Des Moines, Iowa, the son of William and Mary Bryson. He has an older brother, Michael, and a sister, Mary Jane Elizabeth.
He was educated at Drake University but dropped out in 1972, deciding to instead backpack around Europe for four months. He returned to Europe the following year with a high school friend, the pseudonymous Stephen Katz (who later appears in Bryson's A Walk in the Woods). Some of Bryson's experiences from this European trip are included as flashbacks in a book about a similar excursion written 20 years later, Neither Here Nor There: Travels in Europe.
Staying in the UK, Bryson landed a job working in a psychiatric hospital—the now defunct Holloway Sanatorium in Virginia Water in Surrey. There he met his wife Cynthia, a nurse. After marring, the couple moved to the US, in 1975, so Bryson could complete his college degree. In 1977 they moved back to the UK where they remained until 1995.
Living in North Yorkshire and working primarily as a journalist, Bryson eventually became chief copy editor of the business section of The Times, and then deputy national news editor of the business section of The Independent.
He left journalism in 1987, three years after the birth of his third child. Still living in Kirkby Malham, North Yorkshire, Bryson started writing independently, and in 1990 their fourth and final child, Sam, was born.
Books
Bryson came to prominence in the UK with his 1995 publication of Notes from a Small Island, an exploration of Britain. Eight years later, as part of the 2003 World Book Day, Notes was voted by UK readers as the best summing up of British identity and the state of the nation. (The same year, 2003, saw Bryson appointed a Commissioner for English Heritage.)
In 1995, Bryson and his family returned to the US, living in Hanover, New Hampshire for the next eight years. His time there is recounted in the 1999 story collection, I'm A Stranger Here Myself: Notes on Returning to American After 20 Years Away (known as Notes from a Big Country in the UK, Canada and Australia).
It was during this time that Bryson decided to walk the Appalachian Trail with his friend Stephen Katz. The resulting book is the 1998 A Walk in the Woods: Rediscovering America on the Appalachian Trail. The book became one of Bryson's all-time bestsellers and was adapted to film in 2015, starring Robert Redford and Nick Nolte.
In 2003, the Brysons and their four children returned to the UK. They now live in Norfolk.
That same year, Bryson published A Short History of Nearly Everything, a 500-page exploration, in nonscientific terms, of the history of some of our scientific knowledge. The book reveals the often humble, even humorous, beginnings of some of the discoveries which we now take for granted.
The book won Bryson the prestigious 2004 Aventis Prize for best general science book and the 2005 EU Descartes Prize for science communication. Although one scientist is alleged to have jokingly described A Brief History as "annoyingly free of mistakes," Bryson himself makes no such claim, and a list of nine reported errors in the book is available online.
Bryson has also written two popular works on the history of the English language—Mother Tongue: English and How It Got That Way (1990) and Made in America: An Informal History of the English Language in the United States (1994). He also updated of his 1983 guide to usage, Bryson's Dictionary of Troublesome Words. These books were popularly acclaimed and well-reviewed, despite occasional criticism of factual errors, urban myths, and folk etymologies.
In 2016, Bryson published The Road to Little Dribbling: Adventures of an American in England, a sequel to his Notes from a Small Island.
Honors
In 2005, Bryson was appointed Chancellor of Durham University, succeeding the late Sir Peter Ustinov, and has been particularly active with student activities, even appearing in a Durham student film (the sequel to The Assassinator) and promoting litter picks in the city. He had praised Durham as "a perfect little city" in Notes from a Small Island. He has also been awarded honorary degrees by numerous universities, including Bournemouth University and in April 2002 the Open University.
In 2006, Frank Cownie, the mayor of Des Moines, awarded Bryson the key to the city and announced that 21 October 2006 would be known as "Bill Bryson, The Thunderbolt Kid, Day."
In November 2006, Bryson interviewed the then Prime Minister of the United Kingdom Tony Blair on the state of science and education.
On 13 December 2006, Bryson was awarded an honorary OBE for his contribution to literature. The following year, he was awarded the James Joyce Award of the Literary and Historical Society of University College Dublin.
In January 2007, Bryson was the Schwartz Visiting Fellow of the Pomfret School in Connecticut.
In May 2007, he became the President of the Campaign to Protect Rural England. His first area focus in this role was the establishment of an anti-littering campaign across England. He discussed the future of the countryside with Richard Mabey, Sue Clifford, Nicholas Crane and Richard Girling at CPRE's Volunteer Conference in November 2007. (From Wikipedia. Adapted 2/1/2016.)
Book Reviews
Although he's now entering what he fondly calls his "dotage"…Bryson seems merely to have sharpened both his charms and his crotchets…. [H]e remains devoted to Britain's eccentric place names as well as its eccentric pastimes…. He's still apt to seek out the obscure.
Alida Becker - New York Times Book Review
Bryson’s capacity for wonder at the beauty of his adopted homeland seems to have only grown with time.... Britain is still his home four decades later, a period in which he went from lowly scribe at small-town British papers to best-selling travel writer. But he retains an outsider’s appreciation for a country that first struck him as "wholly strange...and yet somehow marvelous."
Griff Witte - Washington Post
[Y]ou could hardly ask for a better guide to Great Britain than Bill Bryson. Bryson’s new book is in most ways a worthy successor and sequel to his classic Notes From A Small Island. Like its predecessor, The Road to Little Dribbling is a travel memoir, combining adventures and observations from his travels around the island nation with recounting of his life there, off and mostly on, over the last four decades. Bryson is such a good writer that even if you don’t especially go in for travel books, he makes reading this book worthwhile.
Nancy Klingener - Miami Herald
Fans should expect to chuckle, snort, snigger, grunt, laugh out loud and shake with recognition…a clotted cream and homemade jam scone of a treat.
Sunday Times (UK)
At its best as the history of a love affair, the very special relationship between Bryson and Britain. We remain lucky to have him.
Matthew Engel - Financial Times (UK)
We have a tradition in this country of literary teddy bears—John Betjeman and Alan Bennett among them—whose cutting critiques of the absurdities and hypocrisies of the British people are carried out with such wit and good humour that they become national treasures. Bill Bryson is American but is now firmly established in the British teddy bear pantheon.... The fact that this wonderful writer can unerringly catalogue all our faults and is still happy to put up with us should make every British reader’s chest swell with pride.
Jake Kerridge - Sunday Express (UK)
There were moments when I snorted out loud with laughter while reading this book in public... He can be as gloriously silly as ever.
London Times
Everybody loves Bill Bryson, don’t they? He’s clever, witty, entertaining, a great companion... his research is on show here, producing insight, wisdom and startling nuggets of information... Bill Bryson and his new book are the dog’s bollocks.
Independent on Sunday (UK)
Stuffed with eye-opening facts and statistics.... Bryson's charm and wit continue to float off the page....Recognising oneself is part of the pleasure of reading Bryson's mostly affable rants about Britain and Britishness.
Daily Mail (UK)
We go to him less for insights—though there are plenty of these—and more for the pleasure of his company. And he can be very funny indeed. Almost every page has a line worth quoting.
Glasgow Herald
At last, Bill Bryson has got back to what he does best—penning travel books that educate, inform and will have you laughing out loud... I was chuckling away by page four and soaking up his historic facts to impress my mates with. Sure to be a bestseller.
Sun (UK)
Bryson has no equal. He combines the charm and humour of Michael Palin with the cantankerousness of Victor Meldrew and the result is a benign intolerance that makes for a gloriously funny read.
Daily Express (UK)
As usual, [Bryson] scatters an entertaining mix of wacky anecdotes and factoids.... His wry observations and self-deprecating humor keep him from coming off as a bitter cynic, and his lyrical way with words keeps the pages turning.
Publishers Weekly
Bryson complements his expansive repertoire with a revisit of Great Britain, reflecting on his experiences over the past several decades as a British immigrant as he travels "The Bryson Line" from southern England to the northernmost point of Scotland.... Britain and all its quirks. —Lacy S. Wolfe, Ouachita Baptist Univ. Lib. Arkadelphia, AR
Library Journal
(Starred review.) This being Bryson, one chuckles every couple of pages, of course, saying, "yup, that sounds about right."... He clearly adores his adopted country. There are no better views, finer hikes, more glorious castles, or statelier grounds than the ones he finds, and Bryson takes readers on a lark of a walk across this small island with megamagnetism.
Booklist
[A]nother fascinating cross-country jaunt [with Bryson].... No words are minced or punches pulled where he finds social decline.... However, the majority of his criticisms bear his signature wit, and the bulk of his love/hate relationship with Britain falls squarely on the love side.... [E]ntertaining and educational.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also, consider these LitLovers talking points to start a discussion for The Road to Little Dribbling—then take it from there...
1. In his 1995 Notes from a Small Island, Bryson referred to what he saw as a consideration for others that permeated British communal life. Now, in The Road to Little Dribbling, he sees the absence of consideration:
The Britain I came to [in 1977] was predicated on the idea of doing the right thing most of the time whether anyone knew you were doing it or not.... You might not leave a tip...but you wouldn't pretend to leave a decent tip and then stick in a small coin.
Talk about the above observation. Is Bryson correct? Is what he sees as Britain's current self-absorption endemic to other countries? Is it true for all age groups, or is it more prevalent in young people (thus it is always so)? Perhaps you disagree with him altogether.
2. The overriding theme of Bryson's book might be put this way: "in countless small ways the world around us grows gradually [lousier]." Is Bryson simply a cantankerous older man, who uses his fame and prestige to take umbrage at whatever annoys him? Or has he earned the right to be genuinely concerned about what he perceives as England's decline, its carelessness, and its misplaced values?
3. Bryson weaves a substantial amount of research with numerous facts into his tale. For instance, 600,000 riders populate the London Underground at any one time, "making it both a larger and more interesting place than Oslo." What other tidbits of information surprised you, made you think, or even laugh out loud? Consider his stops at Sutton Hoo where he contemplates Britain's long ago past; New Forest where he considers Arthur Conan Doyle's spiritualism; or Oxford where Roger Bannister ran the first sub-four-minute mile. Was all this of interest to you...or did it drag down the book's pace?
4. Bryson lists very specific reasons for continuing to live in England. Talk about his list...and make your own list, if not for Britain, than for the place you do live.
5. Do you find Bill Bryson funny? What are some of the funniest parts of his book? Where is the humor (perhaps) strained?
6. Have you read other Bill Bryson works, specifically his 1995 Notes on a Small Island, the prequel to this book, or A Walk in the Woods (1998) an account of his trek along America's Appalachian Trail? If so, how does this book compare to either of those?
(Questions by LitLovers. Feel free to use them, online or off, with attribution. Thanks.)
The Roanoke Girls
Amy Engle, 2017
Crown/Archetype
288 pp.
ISBN-13: 9781101906668
Summary
Roanoke girls never last long around here. In the end, we either run or we die.
After her mother's suicide, fifteen year-old Lane Roanoke came to live with her grandparents and fireball cousin, Allegra, on their vast estate in rural Kansas.
Lane knew little of her mother's mysterious family, but she quickly embraced life as one of the rich and beautiful Roanoke girls. But when she discovered the dark truth at the heart of the family, she ran…fast and far away.
Eleven years later, Lane is adrift in Los Angeles when her grandfather calls to tell her Allegra has gone missing. Did she run too? Or something worse?
Unable to resist his pleas, Lane returns to help search, and to ease her guilt at having left Allegra behind. Her homecoming may mean a second chance with the boyfriend whose heart she broke that long ago summer. But it also means facing the devastating secret that made her flee, one she may not be strong enough to run from again.
As it weaves between Lane’s first Roanoke summer and her return, The Roanoke Girls shocks and tantalizes, twisting its way through revelation after mesmerizing revelation, exploring the secrets families keep and the fierce and terrible love that both binds them together and rips them apart. (From the publisher.)
Author Bio
• Birth—N/A
• Where—Kansas
• Raised—Iran; Taiwan; Kansas City, Missouri, USA
• Education—University of Kansas; J.D. Georgetown University
• Currently—lives near Kansas City, Missouri
Amy Engle is best known as a young adult writer, but in 2017 she made her first foray into adult books with the gothic thriller The Roanoke Girls.
Born in Kansas, Amy's family moved to Iran when she was three. After her parents' divorced, she returned to the States, to Kansas City, Missouri. When her mother remarried, she moved with her mother and stepfather to Taiwan. The family eventually returned to Kansas City, Missouri, where Amy graduated from high school. She received her B.A. in English from the University of Kansas and then headed to Washington, D.C., where she earned a law degree from Georgetown University.
With her law degree in hand, Amy returned to Kansas City. During the next 10 years, she worked as a criminal defense attorney, married a another attorney, and started a family. Once her children were born, Amy decided to leave law and stay at home. However, she set a 10-year goal for herself: to write and publish a book.
The results of her efforts, after some procrastination and a false start or two, were her popular 2014 The Book of Ivy, and its sequel, The Revolution of Ivy, in 2015. Both are young adult novels. Between the two Ivy novels, Amy began work on her first adult novel, which became The Roanoke Girls, released in 2017. Amy said she enjoyed "exploring the shadowy side of the human experience." (Adapted from the author's website.)
Book Reviews
With more twists than a bag of pretzels, this compelling family saga may make you question what you think you know about your own relatives.
Cosmopolitan
A page-turning thriller that will allow you to escape into another world…filled with family secrets and a legacy of death and disappearance for the infamous “Roanoke Girls” — a privileged Kansas matriarchy with more than its fair share of tragic drama.
Bustle
A crime must-read to devour.… The Roanoke Girls has nothing to do with Virginia but everything to do with missing girls, as the females in the Roanoke family, who live in a tiny town in rural Kansas not worth naming, are rich, beautiful, and generally short-lived…The farmhouse, which is "equal parts horrifying and mesmerizing," is a perfect setting for a gothic mystery full of small-town secrets, lies, and guilt.
Literary Hub
Engel drops a wicked twist in the first 35 pages—in the middle of a paragraph on the middle of the page—and lets it sit like a coiled snake…from that point on, The Roanoke Girls becomes a thrilling mystery and a satisfyingly gothic portrait of Middle America…a dark fable of trauma and acceptance about damaged people accepting their crooked parts and using them to move forward.
Bookpage
Engel hits a homerun with this “gothic suspense novel” that tells the story of the Roanoke family, a prominent and very private Kansas family…a rollercoaster ride through a dark family history and the one devastating family secret.
Pulse Magazine
[A] gripping if creepy thriller set on the Kansas prairie.… Skipping lightly between past and present…this gothic page-turner speeds inexorably toward the kinds of devastating revelations readers won’t soon forget.
Publishers Weekly
[D]ark family secrets…bring the ugly past to light. Engel… memorable cast of characters and a twisting, tangled plot that attracts readers from the first page.… [An] atmospheric and unsettling tale of the secrets and bonds of family. —Amy Hoseth, Colorado State Univ. Lib., Fort Collins
Library Journal
An emotionally captivating story.
Booklist
Whole lotta dead girls in this rural Kansas family.… In her acknowledgments, the author thanks her grandparents for showing her the joys of small-town life, but, unfortunately, the book traffics in the most vicious stereotypes.… Sordid, unrealistic, and unredeemed.
Kirkus Reviews
Discussion Questions
(We'll add specific questions if and when they're made available by the publisher. In the meantime, use our generic mystery questions.)
GENERIC DISCUSSION QUESTIONS
Mystery / Crime / Suspense Thrillers
1. Talk about the characters, both good and bad. Describe their personalities and motivations. Are they fully developed and emotionally complex? Or are they flat, one-dimensional heroes and villains?
2. What do you know...and when do you know it? At what point in the book do you begin to piece together what happened?
3. Good crime writers embed hidden clues in plain sight, slipping them in casually, almost in passing. Did you pick them out, or were you...clueless? Once you've finished the book, go back to locate the clues hidden in plain sight. How skillful was the author in burying them?
4. Good crime writers also tease us with red-herrings—false clues—to purposely lead readers astray? Does your author try to throw you off track? If so, were you tripped up?
5. Talk about the twists & turns—those surprising plot developments that throw everything you think you've figured out into disarray.
- Do they enhance the story, add complexity, and build suspense?
- Are they plausible or implausible?
- Do they feel forced and gratuitous—inserted merely to extend the story?
6. Does the author ratchet up the suspense? Did you find yourself anxious—quickly turning pages to learn what happened? A what point does the suspense start to build? Where does it climax...then perhaps start rising again?
7. A good ending is essential in any mystery or crime thriller: it should ease up on tension, answer questions, and tidy up loose ends. Does the ending accomplish those goals?
- Is the conclusion probable or believable?
- Is it organic, growing out of clues previously laid out by the author (see Question 3)?
- Or does the ending come out of the blue, feeling forced or tacked-on?
- Perhaps it's too predictable.
- Can you envision a different or better ending?
8. Are there certain passages in the book—ideas, descriptions, or dialogue—that you found interesting or revealing...or that somehow struck you? What lines, if any, made you stop and think?
9. Overall, does the book satisfy? Does it live up to the standards of a good crime story or suspense thriller? Why or why not?
(Generic Mystery Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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Rodham: A Novel
Curtis Sittenfeld, 2020
Random House
432 pp.
ISBN-13: 9780399590917
Summary
From the author of American Wife and Eligible … He proposed. She said no. And it changed her life forever.
In 1971, Hillary Rodham is a young woman full of promise: Life magazine has covered her Wellesley commencement speech, she’s attending Yale Law School, and she’s on the forefront of student activism and the women’s rights movement.
And then she meets Bill Clinton. A handsome, charismatic southerner and fellow law student, Bill is already planning his political career. In each other, the two find a profound intellectual, emotional, and physical connection that neither has previously experienced.
In the real world, Hillary followed Bill back to Arkansas, and he proposed several times; although she said no more than once, as we all know, she eventually accepted and became Hillary Clinton.
But in Curtis Sittenfeld’s powerfully imagined tour-de-force of fiction, Hillary takes a different road. Feeling doubt about the prospective marriage, she endures their devastating breakup and leaves Arkansas.
Over the next four decades, she blazes her own trail—one that unfolds in public as well as in private, that involves crossing paths again (and again) with Bill Clinton, that raises questions about the tradeoffs all of us must make in building a life.
Brilliantly weaving a riveting fictional tale into actual historical events, Curtis Sittenfeld delivers an uncannily astute and witty story for our times.
In exploring the loneliness, moral ambivalence, and iron determination that characterize the quest for political power, as well as both the exhilaration and painful compromises demanded of female ambition in a world still run mostly by men, Rodham is a singular and unforgettable novel. (From the publisher.)
Author Bio
• Birth—August 23, 1975
• Where—Cincinnati, Ohio, USA
• Education—B.A., Stanford University; M.F.A., Iowa Writers' Workshop
• Currently—lives in St. Louis, Missouri
Elizabeth Curtis Sittenfeld is an American writer, the author of several novels and a collection of short stories.
Sittenfeld was the second of four children (three girls and a boy) of Paul G. Sittenfeld, an investment adviser, and Elizabeth (Curtis) Sittenfeld, an art history teacher and librarian at Seven Hills School, a private school in Cincinnati.
She attended Seven Hills School through the eighth grade, then attended high school at Groton School, a boarding school in Groton, Massachusetts, graduating in 1993. In 1992, the summer before her senior year, she won Seventeen magazine's fiction contest.
She attended Vassar College in Poughkeepsie, New York, before transferring to Stanford University in Palo Alto, California. At Stanford, she studied Creative Writing, wrote articles for the college newspaper, and edited that paper's weekly arts magazine. At the time, she was also chosen as one of Glamour magazine's College Women of the Year. She earned an MFA from the Iowa Writers' Workshop at the University of Iowa.
Novels
• Prep
Her first novel Prep (2005) deals with coming of age, self-identity, and class distinctions in the preppy and competitive atmosphere of a private school.
• The Man of My Dreams
Sittenfeld's second novel, The Man of My Dreams (2006), follows a girl named Hannah from the end of her 8th grade year through her college years at Tufts and into her late twenties.
• American Wife
Sittenfeld's third novel, American Wife (2008), is the tale of Alice Blackwell, a fictional character who shares many similarities with former First Lady Laura Bush.
• Sisterland
Her fourth novel, Sisterland (2013), concerns a set of identical twins who have psychic powers, one of whom hides her strange gift while the other has become a professional psychic.
• Eligible
A 21st-century retelling of Jane Austen's Pride and Prejudice, Eligible was released in 2016. (Adapted from Wikipedia. Retrieved 6/12/2013.)
Book Reviews
[I]ntelligent and respectful and well made but bland…. Rodham never has a thought, in this novel, that stabs you or comes from anywhere close to left field. As if it were the Great Salt Lake, you won’t sink in this book—but it won’t quench your thirst, either…. The best thing about reading Rodham, while living through our government’s response to the coronavirus, is that it allows us to do something some of us were doing already, which is to recall her competence and empathy and to miss her enormously.
Dwight Garner - New York Times
[R]eadable and psychologically acute…. Ms. Sittenfeld is at her best in depicting the bizarre freak show into which presidential elections have devolved…. Ms. Sittenfeld’s one misstep in this hugely enjoyable book was in turning Bill Clinton into a comic-book villain…. Caught up in the novel, I was almost surprised to remember… that these two forged a partnership that has endured in spite of everything— [which] is more interesting than Ms. Sittenfeld’s simplistic good feminist/bad sexist dichotomy.
Brooke Allen - Wall Street Journal
Curtis Sittenfeld’s Rodham descends like an avenging angel… a high-profile novel—not a parody or a joke book, but a serious work of literary fiction…. While telling a compelling story, Rodham provides an insightful analysis of the function of sexism in our political discourse…. Sittenfeld is at her wittiest when re-creating the men who dominate modern American politics… captures Trump better than any other novel has so far… It’s an astounding, slaying parody.
Ron Charles - Washington Post
Smart, engaging, and heartbreakingly plausible…. Hillary always was a policy wonk, and Sittenfeld evokes her smart, detailed voice for good and ill…. In the longing and loneliness, the anger as well as ambition, this Hillary makes Rodham a compelling portrait of a future that might have been.
Clea Simon - Boston Globe
In this entertaining political fantasy, Sittenfeld… begins with an intimate perspective on historical events… [and] movingly captures Hillary’s awareness of her transformation into a complicated public figure…. [An] often funny, mostly sympathetic, and always sharp what-if.
Publishers Weekly
[A] fascinating premise…. Successfully interspersing fact with fiction, Sittenfeld imagines Rodham's personal and professional life without marriage in aching detail in this captivating novel. —Melissa DeWild, Comstock Park, MI
Library Journal
Daring, seductive, and provocative… [an] exhilaratingly trenchant, funny, and affecting tale…. Sittenfeld orchestrates a gloriously cathartic antidote to the actual struggles women presidential candidates face in a caustically divided America.
Booklist
Sittenfeld… [creates] an interior world for a woman everyone thinks they know. This Hillary tracks with the real person who’s been living in public all these years, and it’s enjoyable to hear her think about her own desires, her strengths and weaknesses.
Kirkus Reviews
Rodham is a provocative, bitingly funny re-imagining of what a woman’s life could be if she didn’t need to compromise her own ambitions in support of her partner’s. Sittenfeld has written a nuanced, astute portrait of one of modern history’s most contentious figures, and never shies away from either the thornier aspects of her character, or those of our society.
Refinery29
Discussion Questions
We'll add publisher questions if and when they're available; in the meantime, use our LitLovers talking points to help start a discussion for RODHAM ... and then take off on your own:
1. How does this book portray the Hillary we know from her long years in the public's eye? Is the portrayal credible? Is the Hillary Rodham in this novel the same woman (we think) we have known through years of watching and hearing her? What kind of inner life does the novel reveal?
2. Talk about Hillary's 1969 commencement speech at Wellsley, which has been a famous touchstone throughout her public career. Why do you think Curtis Sittenfeld included it in this novel? What does it reveal about Hillary?
3. Talk about Bill Clinton. How does he come across in the novel? Is it a fair portrait, unfair, a funny one, or unpleasant one?
4. Talk about the sexism and the double standard ever present in American politics that Settinfeld details explicitly. Does her depiction feel about right to you? Does she over- or under-do it?
5. What about portrayals of other real-life characters, primarily Donald Trump?
6. In what way does Hillary's youthful idealism fade as she engages with the realities of politics? Is that loss of idealism inevitable? Why or why not?
(Questions by LitLovers. Please feel free to use them, online and off, with attribution. Thanks.)
Roger's Version
John Updike, 1986
Knopf Doubleday
480 pp.
ISBN-13: 9780449912188
Summary
A born-again computer whiz kid bent on proving the existence of God on his computer meets a middle-aged divinity professor, Roger Lambert, who'd just as soon leave faith a mystery.
Soon the computer hacker begins an affair with professor Lambert's wife — and Roger finds himself experiencing deep longings for a trashy teenage girl. (From the publisher.)
Author Bio
• Birth—March 18, 1932
• Where—Reading, Pennsylvania, USA
• Death—January 27, 2009
• Where—Danvers, Massachusetts
• Education—A.B., Harvard University; also studied at the
Ruskin School of Drawing and Fine Art in Oxford, England
• Awards—National Book Award for The Centaur, 1964;
Pulitzer Prizer, National Book Critics Circle Award, and
National Book Award for Rabbit Is Rich, 1982; Pulitzer Prize
and National Book Critics Circle Award for Rabbit at Rest,
1990
With an uncommonly varied oeuvre that includes poetry, criticism, essays, short stories, and novels, two-time Pulitzer Prize winner John Updike has helped to change the face of late-20th-century American literature.
Born in Reading, Pennsylvania, Updike graduated summa cum laude from Harvard in 1954. Following a year of study in England, he joined the staff of The New Yorker, establishing a relationship with the magazine that continues to this day. Since 1957, he has lived in two small towns in Massachusetts that have inspired the settings for several of his stories.
In 1958, Updike's first collection of poetry was published. A year later, he made his fiction debut with The Poorhouse Fair. But it was his second novel, 1960's Rabbit, Run, that forged his reputation and introduced one of the most memorable characters in American fiction. Former small-town basketball star Harry "Rabbit" Angstrom struck a responsive chord with readers and critics alike and catapulted Updike into the literary stratosphere.
Updike would revisit Angstrom in 1971, 1981, and 1990, chronicling his hapless protagonist's jittery journey into undistinguished middle age in three melancholy bestsellers: Rabbit Redux, Rabbit Is Rich, and Rabbit at Rest. A concluding novella, "Rabbit Remembered," appears in the 2001 story collection Licks of Love.
Although autobiographical elements appear in the Rabbit books, Updike's true literary alter ego is not Harry Angstrom but Harry Bech, a famously unproductive Jewish-American writer who stars in his own story cycle. In between—indeed, far beyond—his successful series, Updike has gone on to produce an astonishingly diverse string of novels. In addition, his criticism and short fiction remain popular staples of distinguished literary publications.
Extras
• Updike first became entranced by reading when he was a young boy growing up on an isolated farm in Pennsylvania. Afflicted with psoriasis and a stammer, he escaped from his into mystery novels.
• He decided to attend Harvard University because he was a big fan of the school's humor magazine, The Harvard Lampoon.
• Updike has basically won every major literary prize in America, including the Guggenheim Fellow, the Rosenthal Award, the National Book Award in Fiction, the O. Henry Prize, the American Book Award, the National Book Critics Circle Award, the Union League Club Abraham Lincoln Award, the National Arts Club Medal of Honor, and the National Medal of the Arts. (Author bio from Barnes & Noble.)
Book Reviews
[Discussions of God's existence] might at first sound like alien territory for Mr. Updike, and yet ... it provides him with a comfortable armature on which to drape some of his favorite preoccupations. Questions of faith and existential doubt, after all, hover along the margins of many of his novels—surfacing ... most recently in The Witches of Eastwick, which featured the Devil in a starring role—and his heroes, over the years, have all suffered from ''the tension and guilt of being human.'' Torn between ... spiritual yearnings and ... self-fulfillment, they hunger for salvation even as they submit to the demands of the flesh .... [In this novel, Updike's] unpleasant characters might make for rather grim reading, but by presenting them through the scrim of his narrator, Mr. Updike diffuses some of their vitriol. Further, his command of narrative techniques—his orchestration of emotional and physical details, his modulation of voice, his quick, lyric facility with language—is so assured in this novel, so fluent, that even the most hesistant reader is soon drawn irresistibly into Roger's fictional world.
Michiko Kakutani - New York Times
Sex and its combinations and permutations apart, two of Updike's commanding, long-standing interests in theology and various kinds of science come together to form the matrix of his new novel. The conflicting ideas are as ancient as time: reason versus faith; science versus religion; belief versus any of the forms of unbelief. The contestants representing the fundamental opposition are the narrator, Roger Lambert, 52, a former minister, now a professor of divinity at a New England university, theologically a (Karl) "Barthian all the way" with a civilized tolerance for heretics and the steadfast conviction that God must be taken on faith; and Dale Kohler, 28, a computer scientist fixed in the belief that at the base of all science "God is showing through,'' now working on a definitive demonstration by computer technology of God's existence. That would keep anyone busy, but Dale finds a few hours a week for an affair with Roger's angry, unhappy wife, and Roger's version of belief does not prevent him from having a brief fling with his half-sister's daughter, herself an unmarried mother. For all Updike's finesse and dexterity in the deployment of ideas, there is more arcane computerology here than readers, including his most devoted, can digest by force-feeding, and probably more theology as well. Most readers will also think the characters contrived, mouthpieces for the perspectives they espouse.
Publishers Weekly
Updike's 12th novel continues his portrayal of middle America in all its social, religious, and cultural ramifications. Divinity professor Roger Lambert is visited by Dale Kohler, an earnest young student who wants a grant to prove the existence of God by computer. The visit disrupts Roger's ordinary existence, bringing him into contact with the wild and sexy Verna (his half-sister's daughter), and leading to his wife's affair with Dale. Updike spends a great deal of time in this novel discussing religion, sex, and computers, not always to the advantage of the characters. There are some fine Updike touches—just the right phrase or detail—but it still adds up to a rather lifeless work (perhaps intentionally so). Roger's is an unattractive character with whom we only occasionally become truly involved. Roger's Version is more Marry Me than Rabbit Is Rich. —Thomas Lavoie, formerly with English Dept., Syracuse Univ., N.Y.
Library Journal
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Roger's Version:
1. The subject of Roger's Version is the age-old argument between faith and science—and how one can know the existence of God. Talk about the ways in which Updike uses his novel to portray this philosophical debate?
2. Do you find the discussions between Roger and Dale intriguing and enlightening? Or do you find them a heavy-handed drag on the flow of the novel? In other words, were you interested or bored with this book?
3. How does Esther's pregnancy reflect, in a very human way, the theological questions that Kohler and Lambert ponder?
4. Consider the parallels of this novel with Hawthorne's The Scarlet Letter (1850): the names Roger (Chillingworth), (Dimmes)Dale and (H)Esther (Prynne) are clues.
5. Is Roger's "version" the only version in this story? Could there be other versions as well? Can Roger be trusted as a reliable narrator?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The Romance Reader's Guide to Life
Sharon Pywell, 2017
Flatiron Books
320 pp.
ISBN-13: 9781250101754
Summary
As a young girl, Neave was often stuck in a world that didn’t know what to do with her. As her mother not unkindly told her, she was never going to grow up to be a great beauty.
Her glamorous sister, Lilly, moved easily through the world, a parade of handsome men in pursuit. Her brother didn’t want a girl joining his group of friends.
And their small town of Lynn, Massachusetts, didn’t have a place for a girl whose feelings often put her at war with the world — often this meant her mother, her brother, and the town librarian who wanted to keep her away from the Dangerous Books she really wanted to read.
But through an unexpected friendship, Neave finds herself with a forbidden copy of The Pirate Lover, a steamy romance, and Neave discovers a world of passion, love, and betrayal. And it is to this world that as a grown up she retreats to again and again when real life becomes too much.
Neave finds herself rereading The Pirate Lover more than she ever would have expected because as she gets older, life does not follow the romances she gobbled up as a child. When Neave and Lilly are about to realize their professional dream, Lilly suddenly disappears.
Neave must put her beloved books down and take center stage, something she has been running from her entire life. And she must figure out what happened to Lilly — and if she’s next.
Who Neave turns to help her makes Sharon Pywell's The Romance Reader's Guide to Life one of the most original, entertaining, exciting, and chilling novels you will read this year. (From the publisher.)
Author Bio
Sharon Pywell grew up on the edge of the snow belt in upstate New York. She has published in a number of literary quarterlies and held residencies at the MacDowell Colony. Her previous novels include What Happened to Henry and Everything After. Professionally, she has run dog kennels and dance companies, though she now teaches and writes in Boston. (From the author's website.)
Book Reviews
A lively blend of suspense, comedy, and paranormal fiction and women’s fiction, Romance Reader’s Guide to Life pulls the reader into the post WW II life of two sisters, one a daring, world wise woman eager to find and exercise her power as an adult, the other a shy bookworm who never quite manages to fit in neatly with what the world expects of a woman. With touching irony, it turns out that the more experienced of the two is not as adept at seeing people for who they are as her less worldly sister. Fans of Hoffman’s Practical Magic will appreciate the touch of whimsy that turns what might have been a heavy handed sermon of a story in the hands of a less adroit writer into a touching portrayal of the bond sisters share. Read more…
Clara Kless - LitLovers
Beautiful and perfectly paced.
People
Haunting yet touching.… Equal parts beautiful and heartbreaking, rippling outward like a pebble in a lake.
Charleston Post and Courier
One of those books that pulls and tugs at you.
Denver Post
[A] tongue-in-cheek commentary on the influence of romances on societal expectations.… This is simultaneously the leisurely coming-of-age of two sisters, a bodice-ripper pastiche, and a psychological thriller that never truly embraces its romantic aspects.
Publishers Weekly
A compelling mix of mystery, love, family dynamics, and growing up. Smart and smartly told.… A pirate romance novel, as unlikely as that seems, plays an important role, revealing to Neave some of the secrets of life.
Library Journal
Equal parts mystery, romance, and family saga, with a dash of dark comedy, this book has something for fans of all genres.
Booklist
[A] zesty fictional stew. The author throws us off balance from the get-go, as older sister Lilly opens the story by revealing that she’s dead.… Smart, funny, and compulsively readable: this one may finally win the under-recognized author the wider audience her talent deserves.
Kirkus Reviews
Discussion Questions
1. Discuss Mrs. Daniels’s defense of romance novels: "The first thing that might happen to you is that people mock you for reading them. They think that women who read romances are idiots. I assure you, they are not…They are people who trust that love exists and that it is more powerful than bad logic or bad writing." What do you think? Did The Romance Reader’s Guide to Life change your opinion of romance novels?
2. When Electra Gates meets Basil Le Cherche, her mood is that "of a huntress who, at the same moment that she understood herself to be engaged in a blood sport, felt that she was the hunted as well as the hunter." She revels in these new feelings. Discuss the power dynamics within The Pirate Lover and how they compare to those within Neave and Lilly’s stories.
3. Neave tells us: "This was the first time in my life, listening to Mrs. Daniels with The Pirate Lover and Leaves of Grass all tangled up in my head, that I felt the truth of this — everybody died. Such a dark discovery, but also so wild and satisfying. There was a pull toward dark things in the poem and in the romance, both. What did it mean that there was this terrible sweet pull?" How is that "terrible sweet pull" explored in The Romance Reader’s Guide to Life? What is the connection between pleasure and danger for the various characters?
4. Neave’s mother often criticizes her daughter’s outspokenness and lack of femininity: "Happy women aren’t like that, Neave. They understand that others depend on them and they shape themselves to others. You’re just going to make yourself unhappy by insisting on your own way. Smart women don’t do that…You’re going to have to start damping yourself down. You’ll do yourself mischief if you don’t. You’ll end up alone. You’ll be too hard to love." Discuss how this novel explores and subverts traditional gender roles. Would you consider it feminist?
5. Neave is shocked to learn that Snyder read The Pirate Lover, too: "My brother had turned the same pages that I had, but read an entirely different story." Compare and contrast the romance novels and comics that are so important to the siblings growing up. Have you ever experienced men and women interpreting the same thing very differently?
6. From "Where She Is Now," Lilly wryly remarks: "If you’ve never been treated like a goddess, I’ll tell you, it messes with your judgment. You forget, if you ever knew it to begin with, that lots of goddesses end up sacrificed on some altar or other." Do you agree? Can you think of a modern-day "altar" and a modern-day "goddess" who sits upon it?
7. Lilly tells Boppit: "Neave’s so vulnerable…. You know that book she rereads every year? The one with the pirate? She actually thinks that that book is the truth: good triumphing over evil, love triumphing over everything." He responds: "But that is the truth, Lilly." Do you agree? Does The Romance Reader’s Guide to Life argue that good is the more powerful force in the universe, or evil?
8. Boppit argues that "glamour has always required a little touch of tramp. It’s why your ‘Fast Girl’ hot pink and ‘Vampy Red’ flew out the door. Every girl wants a little Pirate Lover in her life." Be Your Best cosmetics is in large part about female empowerment, encouraging women to achieve success in business, but it stands out from its competitors largely because of its "bad girl" line of makeup. Are those contradictory impulses?
9. The Pirate Lover is very much Electra’s coming-of-age story: "That young woman was gone, and here in her place was a creature who could embrace both battle and lovemaking, and the only opinion in the world besides her own that swayed her was his — because he was hers, chosen with the full freedom of her heart and soul, given to him with the surging fullness of her own desires." Discuss how her story’s resolution compares to Neave’s and Lilly’s. What can they teach us about the relationship between being in love and being independent?
10. The Romance Reader’s Guide to Life plays with genre in surprising ways, juxtaposing the romance novel with the more traditional historical narrative, and including a talking, cross-dressing dog and narration from the afterlife. Did this unconventional structure work for you? What does it suggest about the difficulty (or futility) of categorizing books or elevating certain genres above others?
11. In her author’s note, Sharon Pywell writes: "In Romancelandia, sex and power were tangled, even interdependent. But wasn’t that the way it really was? Weren’t they also linked in The Taming of the Shrew, in Wuthering Heights, in the evening news reports of recent domestic murders?" Neave discovers this, too, when she has similar kinds of revelations reading The Pirate Lover and books by Walt Whitman and Charlotte Bronte. Do you agree with the suggestion that romance novels are rooted in the classics, in some universally shared idea of the mating dance?
(Questions issued by the publisher.)
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Room
Emma Donoghue, 2010
Little, Brown & Co.
352 pp.
ISBN-13: 9781443449625
Summary
To five-year-old Jack, Room is the entire world. It is where he was born and grew up; it's where he lives with his Ma as they learn and read and eat and sleep and play. At night, his Ma shuts him safely in the wardrobe, where he is meant to be asleep when Old Nick visits.
Room is home to Jack, but to Ma, it is the prison where Old Nick has held her captive for seven years. Through determination, ingenuity, and fierce motherly love, Ma has created a life for Jack. But she knows it's not enough...not for her or for him. She devises a bold escape plan, one that relies on her young son's bravery and a lot of luck. What she does not realize is just how unprepared she is for the plan to actually work.
Told entirely in the language of the energetic, pragmatic five-year-old Jack, Room is a celebration of resilience and the limitless bond between parent and child, a brilliantly executed novel about what it means to journey from one world to another. (From the publisher.)
See the 2015 movie with Brie Larson (Oscar winner) and Jacob Trimblay.
Author Bio
• Birth—October 24, 1969
• Where—Dublin, Ireland
• Education—B.A., University College Dublin; Ph.D., Cambridge University
• Awards—Irish Book Award
• Currently—lives in London, Ontario, Canada
Emma Donoghue was born in Dublin, Ireland, the youngest of eight children. She is the daughter of Frances (nee Rutledge) and academic and literary critic Denis Donoghue. Other than her tenth year, which she refers to as "eye-opening" while living in New York, Donoghue attended Catholic convent schools throughout her early years.
She earned a first-class honours BA from the University College Dublin in English and French (though she admits to never having mastered spoken French). Donoghue went on receive her PhD in English from Girton College at Cambridge University. Her thesis was on the concept of friendship between men and women in 18th-century English fiction.
At Cambridge, she met her future life partner Christine Roulston, a Canadian, who is now professor of French and Women's Studies at the University of Western Ontario. They moved permanently to Canada in 1998, and Donoghue became a Canadian citizen in 2004. She lives in London, Ontario, with Roulston and their two children, Finn and Una.
Works
Donoghue has been able to make a living as a writer since she was 23. Doing so enables her to claim that she's never had an "honest job" since she was sacked after a summer as a chambermaid. In 1994, at only 25, she published first novel, Stir Fry, a contemporary coming of age novel about a young Irish woman discovering her sexuality.
Donoghue is perhaps best known for her 2010 novel, Room—its popularity practically made her a household name. Room spent months on bestseller lists and won the Irish Book Award; it was shortlisted for the Man Booker Prize, the Orange prize, and the (Canadian) Governor General's Award. In 2015, the novel was adapted to film. Donoghue wrote the screenplay, which earned her a nomination for an Academy Award, Golden Globe, and Bafta Award.
Since Room, Donoghue has published seven books, her most recent released in 2020—The Pull of the Stars. (Adapted from the author's website and Wikipedia. Retrieved 9/22/2016.)
Book Reviews
Here come the debating points that are embedded in Ms. Donoghue's story. Was the world inside Room somehow safer than the world outside? Will it be damaging for Jack to have to share his mother with new people in her life—or with the people she left behind? Will Ma still be content to do nothing but interact with her frisky son? Is it harder to choose freely from a whole bowl of lollipops than to have no choice at all? Room is sophisticated in outlook and execution, but it's not too complicated to use actual lollipops to frame that theoretical question. Fortunately Ms. Donoghue makes both Ma and Jack too unpredictable for any of those answers to be easy.
Janet Maslin - New York Times
Jack's voice is one of the pure triumphs of the novel: in him, [Donoghue] has invented a child narrator who is one of the most engaging in years—his voice so pervasive I could hear him chatting away during the day when I wasn't reading the book. Donoghue rearranges language to evoke the sweetness of a child's learning without making him coy or overly darling… Through dialogue and smartly crafted hints of eavesdropping, Donoghue fills us in a on Jack's world without heavy hands or clunky exposition…a truly memorable novel…It presents an utterly unique way to talk about love, all the while giving us a fresh, expansive eye on the world in which we live.
Aimee Bender - New York Times Book Review
[O]ne of the most affecting and subtly profound novels of the year.... Not too cute, not too weirdly precocious, not a fey mouthpiece for the author's profundities, Jack expresses a poignant mixture of wisdom, love and naivete that will make you ache to save him—whatever that would mean: Delivering him to the outside world? Keeping him preserved here forever?…until you finish it, beware talking about Room with anyone who might clumsily strip away the suspense that's woven through its raw wonder. You need to enter this small, harrowing place prepared only to have your own world expanded.
Ron Charles - Washington Post
[A] riveting, powerful novel.... Donoghue's inventive storytelling is flawless and absorbing. She has a fantastic ability to build tension in scenes where most of the action takes place in the 12-by-12 room where her central characters reside. Her writing has pulse-pounding sequences that cause the reader's eyes to race over the pages to find out what happens next.... Room is likely to haunt readers for days, if not longer. It is, hands down, one of the best books of the year.
Liz Raftery - Boston Globe
Only a handful of authors have ever known how to get inside the mind of a child and then get what they know on paper. Henry James, Mark Twain, William Faulkner, and, more recently, Jean Stafford and Eric Kraft come to mind, and after that one gropes for names. But now they have company. Emma Donoghue's latest novel, Room, is narrated by a 5-year-old boy so real you could swear he was sitting right beside you.... Room is so beautifully contrived that it never once seems contrived. But be warned: once you enter, you'll be Donoghue's willing prisoner right down to the last page.
Malcolm Jones - Newsweek
[T]he developments in this novel—there are enough plot twists to provide a dramatic arc of breathtaking suspense—are astonishing.... While there have been several true-life stories of women and children held captive, little has been written about the pain of re-entry, and Donoghue's bravado in investigating that potentially terrifying transformation grants the novel a frightening resonance that will keep readers rapt.
Publishers Weekly
Gripping, riveting, and close to the bone, this story grabs you and doesn't let go. Donoghue skillfully builds a suspenseful narrative evoking fear and hate and hope—but most of all, the triumph of a mother's ferocious love. Highly recommended for readers of popular fiction. —Susanne Wells, P.L. of Cincinnati & Hamilton Cty.
Library Journal
Room is beautifully written as a first-person narrative from Jack’s perspective, and within it, Donoghue has constructed a quiet, private, and menacing world that slowly unbends with a mother and son’s love and determination. —Vanessa Bush
Booklist
Talented, versatile Donoghue relates a searing tale of survival and recovery, in the voice of a five-year-old boy.... Donoghue brilliantly shows mother and son grappling with very different issues as they adjust to freedom.... Wrenching, as befits the grim subject matter, but also tender, touching and at times unexpectedly funny.
Kirkus Reviews
Discussion Questions
1. Why do you think the entire book is told in Jack’s voice? Do you think it is effective?
2. What are some of the ways in which Jack’s development has been stunted by growing up in Room? How has he benefited?
3. If you were Ma, what would you miss most about the outside world?
4. What would you do differently if you were Jack’s parent? Would you tell Jack about the outside world from the start?
5. If Ma had never given birth to Jack, what would her situation in Room be like?
6. What would you ask for, for Sundaytreat, if you were Jack? If you were Ma?
7. Describe the dynamic between Old Nick and Ma. Why does the author choose not to tell us Old Nick’s story?
8. What does joining the outside world do to Jack? To Ma?
9. What role do you think the media play in the novel?
10. In a similar situation, how would you teach a child the difference between the real world and what they watch on television?
11. Why are we so fascinated by stories of long-term confinement?
12. What were you most affected by in the novel?
(Questions issued by publisher.)
Room of Marvels
James Bryan Smith, 2007
B & H Publishing
197 pp.
ISBN-13: 9780805445633
Summary
In one tragic blow after another, accomplished Christian writer Tim Hudson lost his mother, his close friend, and his two-year-old daughter. Now he’s on the brink of losing his faith.
Room of Marvels takes readers on a silent spiritual retreat with Tim where he is swept up in a dream vision of heaven and given a guided tour by those he has lost. Reminiscent of the C. S. Lewis classic, The Great Divorce, the book carries a contemporary voice that made Library Journal declare it “a good companion to Mitch Albom’s The Five People You Meet in Heaven.
Remarkably, Room of Marvels mirrors author James Bryan Smith’s own heart-wrenching season of loss when his mother (Wanda), close friend (“Awesome God” singer Rich Mullins), and two-year-old daughter (Madeline) passed away within months of each other.
Room of Marvels will comfort those touched by grief and stir the hunger for heaven in every reader. (From the publisher.)
Author Bio
James Bryan Smith teaches theology at Friends University in Wichita, Kansas. His previous books include A Spiritual Formation Workbook, Devotional Classics (coauthored with Richard Foster), and Rich Mullins: An Arrow Pointing to Heaven. Jim and his wife, Meghan, have two children, Jacob and Hope. (From the publisher.)
Book Reviews
If you’ve ever felt the sting of death from the loss of one you love, Smith’s book will lead you into a warm, inviting room.
Knight Ridder
One of those profound, special books that only comes along once in awhile.
InfuzeMag.con
There's some serious theology here, but communicated in a way that brings it to life, as a story…Highly recommended.
Christian Fiction Review
Revealing the hope of heaven, this book gives more than platitudes. It portrays a different—and comforting—mindset about death, showing in story form that for the Christian, what appears to be death is really life. Though I’ve never lost someone close to me, it will be the first book I reach for when I do. If you can’t find the words to say to a friend who has lost someone, let Room of Marvels speak for you.
Katie Hart - Christian Book Previews
[All of what Tim encounters in the dream] sounds very kitschy and schtick-y.... Yet it's not. Smith, who is Chaplain and Assistant Professor of Theology at Wichita's Friends University, has crafted a deceptively simple and psychologically clever read about the things—thing, really—that matter most to Christian faith.
Faithful Reader.com
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Room of Marvels:
1. When Tim Hudson says he has arrived at "God's address," what does he mean? Is that a literal...or metaphorical address?
2. Why does Hudson head to a monastery? What is he hoping to find...or escape from?
3. What is the state of Hudson's faith at this point? What is he questioning?
4. Why does Tim find Brother Taylor irritating? What role does Brother Taylor play in Tim's soul journey?
5. Talk about the significance of Tim's dream. What happens, whom does he meet and where is he taken? Is it a dream, or is it something else? (For Narnia lovers, who is Jack?!)
6. What does Tim learn through his dream? What are the lessons or insights he gains about himself and his life? Are those insights applicable to you...to others?
7. A review by Faithful Reader says that everything in this "dream revolves around love: love given, taken, rejected, fulfilled." Discuss that observation: what does it mean; do you agree?
8. How does this book portray death? Does it open up, or offer, a different perspective? Or does it align with your own perspective?
9. Has this book altered you? How does Smith present Christianity, or what it means to be religious? Does he present a different view or one that is similar to your own?
10.Would this book—its message—be of help to someone grieving the loss of a loved one? Would you recommend it to others who are not in the midst of grief?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The Room on Rue Amelie
Kristin Harmel, 2018
Gallery Books
400 pp.
ISBN-13: 9781501171406
Summary
This powerful novel of fate, resistance, and family tells the tale of an American woman, a British RAF pilot, and a young Jewish teenager whose lives intersect in occupied Paris during the tumultuous days of World War II.
When newlywed Ruby Henderson Benoit arrives in Paris in 1939 with her French husband Marcel, she imagines strolling arm in arm along the grand boulevards, awash in the golden afternoon light.
But war is looming on the horizon, and as France falls to the Nazis, her marriage begins to splinter, too.
Charlotte Dacher is eleven when the Germans roll into the French capital, their sinister swastika flags snapping in the breeze. After the Jewish restrictions take effect and Jews are ordered to wear the yellow star, Charlotte can’t imagine things getting much worse.
But then the mass deportations begin, and her life is ripped forever apart.
Thomas Clarke joins the British Royal Air Force to protect his country, but when his beloved mother dies in a German bombing during the waning days of the Blitz, he wonders if he’s really making a difference.
Then he finds himself in Paris, in the shadow of the Eiffel Tower, and he discovers a new reason to keep fighting—and an unexpected road home.
When fate brings them together, Ruby, Charlotte, and Thomas must summon the courage to defy the Nazis—and to open their own broken hearts—as they fight to survive.
Rich with historical drama and emotional depth, this is an unforgettable story that will stay with you long after the final page is turned. (From the publisher.)
Author Bio
• Birth—May 4, 1979
• Born—Newton, Massachesetts, USA
• Education—B.A., University of Florida
• Currently—lives in Orlando, Florida
Kristin Harmel is an American author with more than a dozen novels to her name. Originally from Massachusetts, she gained her first writing experience at the age of 16 as a sports reporter for the St. Petersburg Times, and Tampa Bay All Sports magazine while still attending Northeast High School in St. Petersburg, Florida.
A graduate of the University of Florida, Harmel was a reporter for People magazine starting in 2000. Her work has appeared in dozens of other publications, including Men's Health, Glamour, YM, Teen People, People en Español, Runner's World, American Baby, Every Day With Rachel Ray, and more.
Harmel is the author of more than 10 books, which have been translated into many languages around the world. They include more recently including The Book of Lost Names (2020), The Winemaker’s Wife (2019), The Room on Rue Amelie (2018), and The Sweetness of Forgetting (2012).
Harmel resides in Orlando, Florida with her husband Jason. (Adapted from Wikipedia. Retrieved 4/22/2015.)
Book Reviews
Harmel injects new life into a well-worn story… about the struggle to find normalcy amid the horrors of WWII.… [An] emotionally fraught story… [and] celebration of those…who found the courage to face life head-on.
Publishers Weekly
[F]ocusing primarily on the development of a wartime romance rather than on immersive details of life under German occupation…. [Harmel] does create likable if somewhat cliched protagonists… [but] the book's ending feels…emotionally manipulative. —Mara Bandy Fass, Champaign P.L., IL
Library Journal
Harmel writes a poignant novel based loosely on the true story of an American woman who helped on the Comet Line, which rescued hundreds of airmen and soldiers. This compelling story celebrates hope and bravery in the face of evil.
Booklist
Discussion Questions
1. Describe Ruby Henderson’s first encounter with Marcel Benoit. Who or what is responsible for the distance that grows between them during their short marriage?
2. "Why do we have to be Jewish anyhow?" (page 14) How does eleven-year-old Charlotte Dacher experience religious discrimination in the days leading up to the Nazi occupation of France? To what extent do her feelings of alienation facilitate her special bond with the American expatriate Ruby Benoit? What shared qualities make Charlotte and Ruby compatible?
3. Compare and contrast Marcel Benoit’s and Charlotte Dacher’s reactions to the news that Ruby is pregnant. What do their reactions reveal about their characters and their feelings about Ruby?
4. "I don’t understand. You’re working for the Allies? Why didn’t you tell me?"(page 60) Discuss Marcel’s secrecy about his underground Resistance efforts. How reasonable is his decision to keep his work concealed from his wife? Does Ruby’s sense of personal betrayal in light of Marcel’s secret seem justified? Why, or why not?
5. How does Ruby’s baby’s stillbirth impact her relationship with the Dacher family and her sense of personal responsibility for Charlotte? How does the child’s death affect Ruby’s relationship with her husband, Marcel?
6. "I must help. I must take over Marcel’s work on the [escape] line."(page 103) Why does Ruby volunteer to continue her late husband’s work in the immediate aftermath of his death? What does her determination suggest about her love for her adopted country?
7. How does the arrival of the injured RAF pilot Thomas Clarke help Ruby to regain her self-confidence and sense of purpose? What does his willingness to risk discovery in order to help Charlotte’s mother reveal about his nature?
8. "This is France, Madame Benoit. We are French citizens."(page 204) Discuss the roundups taking place in Paris during the German occupation. Why does Monsieur Dacher persist in believing his French citizenship will protect him and his family from being arrested? To what extent does Ruby’s eventual arrest and imprisonment as an American citizen seem surprising?
9. How does Lucien, the young forger, become an important part of Ruby’s extended Resistance family? What explains the intensity of Lucien’s connection with Charlotte?
10. How does Thomas’s return to Paris two years after Ruby helped him to escape the first time confirm the depth of their feelings for each other? Given her unique predicament—serving as a surrogate parent to Charlotte, sheltering wayward Allied pilots, and eking out survival during wartime without any steady income—why does Ruby surrender to Thomas’s affections? How does her eventual pregnancy transform her?
11. "This war, it has changed everything about the world. But our most important lives are still on the inside, aren’t they? What matters is what’s in your heart.” (page 312) Discuss Charlotte’s distinction between inside lives and outside lives. Why might difficult historical and cultural periods such as wartime serve as catalysts for more dramatic interior lives?
12. How would you describe Ravensbrück, the German work camp where Ruby is imprisoned? Why does her pregnancy make Ruby especially vulnerable in the camp? What does the altruism of fellow detainees and German civilians reveal about the potential for goodness in the midst of tremendous evil?
13. To what extent were the deaths of Ruby and Thomas a narrative surprise to you? Why do you think the author chose to end their lives at the same point in the dramatic arc of the novel? How would you describe your reaction to the author’s description of their afterlife reunion in the poppy fields of California?
14. Discuss the depictions of Paris in wartime in the novel. How do the author’s details of the behavior of German soldiers toward the French, of the detention camps, and of the efforts of the Resistance enable you to visualize the novel’s milieu? Which details did you find most compelling? Why?
15. Why do you think the author chose to frame her novel with beginning and ending chapters involving Charlotte and Lucien? Based on ambiguities in the book’s opening chapter, what assumptions did you make about Ruby and Thomas as you read the novel? How did you feel when you discovered the final chapter was about Charlotte and Lucien?
(Questions issued by the publisher.)
A Room with a View
E.M. Forster, 1908
~250 pp. (Varies by publisher.)
Summary
E.M. Forster's brilliant comedy of manners shines a gently ironic light on the attitudes and customs of the British middle class at the beginning of the 20th century.
When Lucy Honeychurch, visiting Italy, mentions the lack of a view from her room, George Emerson and his father offer to swap. But Lucy's suspicions that the Emersons are the wrong sort of people seem confirmed when George impulsively kisses her during a picnic in the Tuscan countryside. Soon, however, thoughts of that kiss have Lucy questioning her engagement to boorish, if utterly acceptable, Cecil Vyse.
All in all, the situation presents quite a muddle for a young woman who wishes to be absolutely truthful—even when she's lying to herself about the most important aspects of life and love. (From Penguin Classics—cover image, top-right.)
Author Bio
• Birth—January 1, 1879
• Where—London, UK
• Death—June 7, 1970
• Where—Coventry, UK
• Education—B. A., (two: in classics and in history); M.A.,
Cambridge
Edward Morgan Forster was an English novelist, short story writer, essayist and librettist. He is known best for his ironic and well-plotted novels examining class difference and hypocrisy in early 20th-century British society. Forster's humanistic impulse toward understanding and sympathy may be aptly summed up in the epigraph to his 1910 novel Howards End: "Only connect." His 1908 novel, A Room with a View, is his most optimistic work, while A Passage to India (1924) brought him his greatest success.
Early years
Forster was born into an Anglo-Irish and Welsh middle-class family at 6 Melcombe Place, Dorset Square, London NW1, in a building that no longer exists. He was the only child of Alice Clara "Lily" (nee Whichelo) and Edward Morgan Llewellyn Forster, an architect. His name was officially registered as Henry Morgan Forster, but at his baptism he was accidentally named Edward Morgan Forster. To distinguish him from his father, he was always called Morgan. His father died of tuberculosis in 1880, before Morgan's second birthday.
He inherited £8,000 (£659,300 as of 2013) from his paternal great-aunt Marianne Thornton (daughter of the abolitionist Henry Thornton), who died in 1887. The money was enough to live on and enabled him to become a writer. He attended the notable public school Tonbridge School in Kent as a day boy. The theatre at the school has been named in his honour.
At King's College, Cambridge, between 1897 and 1901, he became a member of a discussion society known as the Apostles (formally named the Cambridge Conversazione Society). Many of its members went on to constitute what came to be known as the Bloomsbury Group, of which Forster was a peripheral member in the 1910s and 1920s. There is a famous recreation of Forster's Cambridge at the beginning of The Longest Journey.
After leaving university, he travelled in continental Europe with his mother. In 1914, he visited Egypt, Germany and India with the classicist Goldsworthy Lowes Dickinson, by which time he had written all but one of his novels. In the First World War, as a conscientious objector, Forster volunteered for the International Red Cross, and served in Alexandria, Egypt.
Forster spent a second spell in India in the early 1920s as the private secretary to Tukojirao III, the Maharajah of Dewas. The Hill of Devi is his non-fictional account of this period. After returning to London from India, he completed his last novel, A Passage to India (1924), for which he won the James Tait Black Memorial Prize for fiction.
After A Passage to India
In the 1930s and 1940s Forster became a successful broadcaster on BBC Radio and a public figure associated with the Union of Ethical Societies. He was awarded a Benson Medal in 1937.
Forster was a closeted homosexual and lifelong bachelor. He developed a long-term, loving relationship with Bob Buckingham, a married policeman. Forster included Buckingham and his wife May in his circle, which included J. R. Ackerley, a writer and literary editor of The Listener, the psychologist W. J. H. Sprott and, for a time, the composer Benjamin Britten. Other writers with whom Forster associated included the poet Siegfried Sassoon and the Belfast-based novelist Forrest Reid.
From 1925 until his mother's death at age 90 in 1945, Forster lived with her at West Hackhurst, Abinger Hammer, finally leaving in 1946. His London base was 26 Brunswick Square from 1930 to 1939, after which he rented 9 Arlington Park Mansions in Chiswick until at least 1961.
Forster was elected an honorary fellow of King's College, Cambridge in 1946 and lived for the most part in the college, doing relatively little. He declined a knighthood in 1949 and was made a Companion of Honour in 1953. In 1969 he was made a member of the Order of Merit. Forster died of a stroke at the Buckinghams' home in Coventry on June 7, 1970. He was 91.
Novels
Forster had five novels published in his lifetime. Although Maurice was published shortly after his death, it had been written nearly sixty years earlier. He never finished a seventh novel Arctic Summer.
His first novel, Where Angels Fear to Tread (1905), is the story of Lilia, a young English widow who falls in love with an Italian man, and of the efforts of her bourgeois relatives to get her back from Monteriano (based on San Gimignano). Philip Herriton's mission to retrieve her from Italy has features in common with that of Lambert Strether in Henry James's The Ambassadors. Forster discussed that work ironically and somewhat disapprovingly in his book Aspects of the Novel (1927). Where Angels Fear to Tread was adapted to film in 1991.
Next, Forster published The Longest Journey (1907), an inverted bildungsroman following the lame Rickie Elliott from Cambridge to a career as a struggling writer and then to a post as a schoolmaster, married to the unappealing Agnes Pembroke. In a series of scenes on the hills of Wiltshire, which introduce Rickie's wild half-brother Stephen Wonham, Forster attempts a kind of sublime related to those of Thomas Hardy and D. H. Lawrence.
Forster's third novel, A Room with a View (1908), is his lightest and most optimistic. It was started as early as 1901, before any of his others; its earliest versions are entitled "Lucy." The book explores the young Lucy Honeychurch's trip to Italy with her cousin, and the choice she must make between the free-thinking George Emerson and the repressed aesthete Cecil Vyse. George's father Mr Emerson quotes thinkers who influenced Forster, including Samuel Butler. A Room with a View was adapted as a film in 1985 by the Merchant-Ivory team.
Where Angels Fear to Tread and A Room with a View can be seen collectively as Forster's Italian novels. Both include references to the famous Baedeker guidebooks and concern narrow-minded middle-class English tourists abroad. The books share many themes with his short stories collected in The Celestial Omnibus and The Eternal Moment.
Howards End (1910) is an ambitious "condition-of-England" novel concerned with different groups within the Edwardian middle classes, represented by the Schlegels (bohemian intellectuals), the Wilcoxes (thoughtless plutocrats) and the Basts (struggling lower-middle-class aspirants). Critics have observed that numerous characters in Forster's novels die suddenly. This is true of Where Angels Fear to Tread, Howards End and, most particularly, The Longest Journey.
Forster achieved his greatest success with A Passage to India (1924). The novel takes as its subject the relationship between East and West, seen through the lens of India in the later days of the British Raj. Forster connects personal relationships with the politics of colonialism through the story of the Englishwoman Adela Quested, the Indian Dr. Aziz, and the question of what did or did not happen between them in the Marabar Caves. Forster makes special mention of the author Ahmed Ali and his Twilight in Delhi in his Preface to its Everyman's Library Edition.
Maurice (1971) was published posthumously. It is a homosexual love story which also returns to matters familiar from Forster's first three novels, such as the suburbs of London in the English home counties, the experience of attending Cambridge, and the wild landscape of Wiltshire. The novel was controversial, given that Forster's homosexuality had not been previously known or widely acknowledged. Today's critics continue to argue over the extent to which Forster's sexuality and personal activities influenced his writing.
Critical reception
In the United States, interest in, and appreciation for, Forster was spurred by Lionel Trilling's E. M. Forster: A Study, which began:
E. M. Forster is for me the only living novelist who can be read again and again and who, after each reading, gives me what few writers can give us after our first days of novel-reading, the sensation of having learned something. (Trilling 1943).
Key themes
Forster was President of the Cambridge Humanists from 1959 until his death and a member of the Advisory Council of the British Humanist Association from 1963 until his death. His views as a humanist are at the heart of his work, which often depicts the pursuit of personal connections in spite of the restrictions of contemporary society.
His humanist attitude is expressed in the non-fictional essay "What I Believe." When Forster’s cousin, Philip Whichelo, donated a portrait of Forster to the Gay and Lesbian Humanist Association (GLHA), Jim Herrick, the founder, quoted Forster's words: "The humanist has four leading characteristics—curiosity, a free mind, belief in good taste, and belief in the human race."
Two of Forster's best-known works, A Passage to India and Howards End, explore the irreconcilability of class differences. A Room with a View also shows how questions of propriety and class can make human connection difficult. The novel is his most widely read and accessible work, remaining popular long after its original publication. His posthumous novel Maurice explores the possibility of class reconciliation as one facet of a homosexual relationship.
Sexuality is another key theme in Forster's works. Some critics have argued that a general shift from heterosexual to homosexual love can be observed through the course of his writing career. The foreword to Maurice describes his struggle with his homosexuality, while he explored similar issues in several volumes of short stories. Forster's explicitly homosexual writings, the novel Maurice and the short story collection The Life to Come, were published shortly after his death.
Forster is noted for his use of symbolism as a technique in his novels, and he has been criticised (as by his friend Roger Fry) for his attachment to mysticism. One example of his symbolism is the wych elm tree in Howards End. The characters of Mrs. Wilcox in that novel and Mrs. Moore in A Passage to India have a mystical link with the past, and a striking ability to connect with people from beyond their own circles. (From Wikipedia. Retrieved 5/25/2013.)
Book Reviews
(Older works have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
Like the heroines of Mansfield Park and Daisy Miller, Lucy begins the novel as a naif on the threshold of adulthood in a strange new world.... Certainly A Room with a View can be appreciated from this perspective as a story of sexual awakening.... But it can be read on other levels as well. As a domestic comedy in the tradition of Jane Austen, it brilliantly skewers the world of Edwardian manners and social codes, providing some of Forster's most riotous and revealing portraits in the characters of Cecil Vyse and Charlotte Bartlett. It also can be enjoyed as a book about the contradictions and conflicts of being human: how we reconcile our inner lives with outside expectations, and how it is possible, by opening one's mind, to find faith and love in unexpected places.
Penguin Classics
Discussion Questions
1. How are Lucy's character and mood captured in the descriptions of her piano playing throughout the novel? Why does she refuse to play Beethoven in Mrs. Vyse's well-appointed flat? What compels her to sing, after breaking her engagement with Cecil, the song that ends with the line "Easy live and quiet die"?
2. Forster's use of light and darkness, vision and blindness, day and night has transparent meaning in many passages: Lucy throws open the window of her room with a view while Charlotte closes the shades. Cecil is best suited to a room, while George is in his element in the naked sunlight of the Sacred Lake. Discuss the variations on the theme of clarity and shadow in the book, for example the twilight on the Piazza Signoria before Lucy witnesses the murder, or her attempts to flee "the king of terrors—Light" in the novel's second half.
3. Lucy and George both stand outside Britain's traditional class structure. George is a clerk, the son of a journalist and grandson of a laborer. Lucy is the daughter of a lawyer and her social status is "more splendid than her antecedents entitled her to." What role does social class play in the novel? Why did Forster choose Cecil to deliver the statement: "The classes ought to mix...There ought to be intermarriage—all sorts of things. I believe in democracy."?
4. Mr. Beebe is portrayed early in the novel as an observant, thoughtful counselor with a good sense of humor and an unusually open mind for a clergyman. Soon after meeting Lucy he predicts that "one day music and life shall mingle" for her. Why does he fail, in the end, to support her decision to leave Cecil for George?
5. In comparison, Charlotte Bartlett is absurdly prudish, forbidding her cousin even to sleep in the bed where George Emerson had slept. If George's surmise at the novel's end is correct, what motivates her to help bring the lovers together by facilitating Lucy's fateful meeting with Mr. Emerson? What does this turnabout suggest about the repressive forces in society? Is she, as George jokes, made of the "same stuff as parsons are made of"?
5. "Muddle" is one of Forster's favorite words and seems to carry more weight in his work than in current colloquial usage. Lucy declares at the end of Part 1, "I want not to be muddled. I want to grow older quickly." What does Mr. Emerson mean when he uses the word to describe Lucy's state of mind near the novel's end, saying, "It is easy to face Death and Fate...It is on my muddles that I look back with horror"?
6. Lucy and George's final happiness is clouded by their severed relations with those she left behind. The Honeychurches "were disgusted at her past hypocrisy," and Mr. Beebe will never forgive them. Do you think Forster believes, as Lucy asserts, that "if we act the truth, the people who really love us are sure to come back to us in the long run"?
7.What is "medieval" about Cecil's attitude toward women in general and toward Lucy in particular? What role is she allotted in his notion of chivalry? Why does Lucy feel, after George throws her blood-stained photographs into the Arno, that it is "hopeless to look for chivalry in such a man"? What kind of companionship and protection does George offer in exchange?
8. Forster, who was greatly influenced by the art of Italy during his first visit there, not only explores the proper relationship of life and art in A Room with a View but also uses art to illuminate his characters. What do we learn about the inner lives of George and Mr. Emerson from their views of Giotto's fresco in Santa Croce (Chapter 2)? Why is Lucy's outburst over Mr. Eager like "Leonardo on the ceiling of the Sistine"?
9.A frequent criticism of Forster's plots is his reliance on coincidence and chance. What improbable circumstances are required to unite Lucy and George? Is George right when he says of their reunion in England, "It is Fate. Everything is Fate"? Does the novel suggest an external force that brings the lovers together?
10.There are many kinds of deceit in the book: betrayal by friends, secrets between lovers, and most importantly Lucy's self-deceit. Four of the last five chapters show Lucy lying to nearly everyone else in the book. Which kinds of lies are most harmful to the "personal relations" that Forster cherished?
11.Though sparing in his descriptions of physical love, Forster often expresses the physical component of spiritual passion indirectly, as in his description of Lucy's piano playing: "Like every true performer she was intoxicated by the mere feel of the notes: they were fingers caressing her own; and by touch, not by sound alone, did she come to her desire." What balance between the physical and emotional expressions of love does Mr. Emerson suggest in his statement, "I know by experience that the poets are right: love is eternal.... I only wish poets would say this too: love is of the body; not the body, but of the body"?
(Questions from Penguin Classics—cover image, top right.)
top of page (summary)
A Room with a View
E.M. Forster, 1908
Penguin Random
240 pp.
ISBN-13: 9780141183299
Summary
E.M. Forster's vision of love struggling to assert itself in spite of the rigid class boundaries of Edwardian England.
Visiting Florence with her prim and proper cousin Charlotte as a chaperone, Lucy Honeychurch meets the unconventional, lower-class Mr Emerson and his son, George.
Upon her return to England, Lucy becomes engaged to the supercilious Cecil Vyse, but she finds herself increasingly torn between the expectations of the world in which she moves and the passionate yearnings of her heart.
More than a love story, A Room with a View is a penetrating social comedy and a brilliant study of contrasts—in values, social class, and cultural perspectives—and the ingenuity of fate.
In his sparkling introduction Malcolm Bradbury notes that A Room with a View...
was the work where Forster laid down most of his key themes, the place where he displayed both his warmth and sharpness, and developed his famous light style.
This edition also contains suggestions for further reading and explanatory notes. (From the publisher.)
Author Bio
• Birth—January 1, 1879
• Where—London, UK
• Death—June 7, 1970
• Where—Coventry, UK
• Education—B. A., (two: in classics and in history); M.A., Cambridge University
Edward Morgan Forster was an English novelist, short story writer, essayist and librettist. He is known best for his ironic and well-plotted novels examining class difference and hypocrisy in early 20th-century British society. Forster's humanistic impulse toward understanding and sympathy may be aptly summed up in the epigraph to his 1910 novel Howards End: "Only connect." His 1908 novel, A Room with a View, is his most optimistic work, while A Passage to India (1924) brought him his greatest success.
Early years
Forster was born into an Anglo-Irish and Welsh middle-class family at 6 Melcombe Place, Dorset Square, London NW1, in a building that no longer exists. He was the only child of Alice Clara "Lily" (nee Whichelo) and Edward Morgan Llewellyn Forster, an architect. His name was officially registered as Henry Morgan Forster, but at his baptism he was accidentally named Edward Morgan Forster. To distinguish him from his father, he was always called Morgan. His father died of tuberculosis in 1880, before Morgan's second birthday.
He inherited £8,000 (£659,300 as of 2013) from his paternal great-aunt Marianne Thornton (daughter of the abolitionist Henry Thornton), who died in 1887. The money was enough to live on and enabled him to become a writer. He attended the notable public school Tonbridge School in Kent as a day boy. The theatre at the school has been named in his honour.
At King's College, Cambridge, between 1897 and 1901, he became a member of a discussion society known as the Apostles (formally named the Cambridge Conversazione Society). Many of its members went on to constitute what came to be known as the Bloomsbury Group, of which Forster was a peripheral member in the 1910s and 1920s. There is a famous recreation of Forster's Cambridge at the beginning of The Longest Journey.
After leaving university, he travelled in continental Europe with his mother. In 1914, he visited Egypt, Germany and India with the classicist Goldsworthy Lowes Dickinson, by which time he had written all but one of his novels. In the First World War, as a conscientious objector, Forster volunteered for the International Red Cross, and served in Alexandria, Egypt.
Forster spent a second spell in India in the early 1920s as the private secretary to Tukojirao III, the Maharajah of Dewas. The Hill of Devi is his non-fictional account of this period. After returning to London from India, he completed his last novel, A Passage to India (1924), for which he won the James Tait Black Memorial Prize for fiction.
After A Passage to India
In the 1930s and 1940s Forster became a successful broadcaster on BBC Radio and a public figure associated with the Union of Ethical Societies. He was awarded a Benson Medal in 1937.
Forster was a closeted homosexual and lifelong bachelor. He developed a long-term, loving relationship with Bob Buckingham, a married policeman. Forster included Buckingham and his wife May in his circle, which included J. R. Ackerley, a writer and literary editor of The Listener, the psychologist W. J. H. Sprott and, for a time, the composer Benjamin Britten. Other writers with whom Forster associated included the poet Siegfried Sassoon and the Belfast-based novelist Forrest Reid.
From 1925 until his mother's death at age 90 in 1945, Forster lived with her at West Hackhurst, Abinger Hammer, finally leaving in 1946. His London base was 26 Brunswick Square from 1930 to 1939, after which he rented 9 Arlington Park Mansions in Chiswick until at least 1961.
Forster was elected an honorary fellow of King's College, Cambridge in 1946 and lived for the most part in the college, doing relatively little. He declined a knighthood in 1949 and was made a Companion of Honour in 1953. In 1969 he was made a member of the Order of Merit. Forster died of a stroke at the Buckinghams' home in Coventry on June 7, 1970. He was 91.
Novels
Forster had five novels published in his lifetime. Although Maurice was published shortly after his death, it had been written nearly sixty years earlier. He never finished a seventh novel Arctic Summer.
His first novel, Where Angels Fear to Tread (1905), is the story of Lilia, a young English widow who falls in love with an Italian man, and of the efforts of her bourgeois relatives to get her back from Monteriano (based on San Gimignano). Philip Herriton's mission to retrieve her from Italy has features in common with that of Lambert Strether in Henry James's The Ambassadors. Forster discussed that work ironically and somewhat disapprovingly in his book Aspects of the Novel (1927). Where Angels Fear to Tread was adapted to film in 1991.
Next, Forster published The Longest Journey (1907), an inverted bildungsroman following the lame Rickie Elliott from Cambridge to a career as a struggling writer and then to a post as a schoolmaster, married to the unappealing Agnes Pembroke. In a series of scenes on the hills of Wiltshire, which introduce Rickie's wild half-brother Stephen Wonham, Forster attempts a kind of sublime related to those of Thomas Hardy and D. H. Lawrence.
Forster's third novel, A Room with a View (1908), is his lightest and most optimistic. It was started as early as 1901, before any of his others; its earliest versions are entitled "Lucy." The book explores the young Lucy Honeychurch's trip to Italy with her cousin, and the choice she must make between the free-thinking George Emerson and the repressed aesthete Cecil Vyse. George's father Mr Emerson quotes thinkers who influenced Forster, including Samuel Butler. A Room with a View was adapted as a film in 1985 by the Merchant-Ivory team.
Where Angels Fear to Tread and A Room with a View can be seen collectively as Forster's Italian novels. Both include references to the famous Baedeker guidebooks and concern narrow-minded middle-class English tourists abroad. The books share many themes with his short stories collected in The Celestial Omnibus and The Eternal Moment.
Howards End (1910) is an ambitious "condition-of-England" novel concerned with different groups within the Edwardian middle classes, represented by the Schlegels (bohemian intellectuals), the Wilcoxes (thoughtless plutocrats) and the Basts (struggling lower-middle-class aspirants). Critics have observed that numerous characters in Forster's novels die suddenly. This is true of Where Angels Fear to Tread, Howards End and, most particularly, The Longest Journey.
Forster achieved his greatest success with A Passage to India (1924). The novel takes as its subject the relationship between East and West, seen through the lens of India in the later days of the British Raj. Forster connects personal relationships with the politics of colonialism through the story of the Englishwoman Adela Quested, the Indian Dr. Aziz, and the question of what did or did not happen between them in the Marabar Caves. Forster makes special mention of the author Ahmed Ali and his Twilight in Delhi in his Preface to its Everyman's Library Edition.
Maurice (1971) was published posthumously. It is a homosexual love story which also returns to matters familiar from Forster's first three novels, such as the suburbs of London in the English home counties, the experience of attending Cambridge, and the wild landscape of Wiltshire. The novel was controversial, given that Forster's homosexuality had not been previously known or widely acknowledged. Today's critics continue to argue over the extent to which Forster's sexuality and personal activities influenced his writing.
Critical reception
In the United States, interest in, and appreciation for, Forster was spurred by Lionel Trilling's E. M. Forster: A Study, which began:
E. M. Forster is for me the only living novelist who can be read again and again and who, after each reading, gives me what few writers can give us after our first days of novel-reading, the sensation of having learned something. (Trilling 1943).
Key themes
Forster was President of the Cambridge Humanists from 1959 until his death and a member of the Advisory Council of the British Humanist Association from 1963 until his death. His views as a humanist are at the heart of his work, which often depicts the pursuit of personal connections in spite of the restrictions of contemporary society.
His humanist attitude is expressed in the non-fictional essay "What I Believe." When Forster’s cousin, Philip Whichelo, donated a portrait of Forster to the Gay and Lesbian Humanist Association (GLHA), Jim Herrick, the founder, quoted Forster's words: "The humanist has four leading characteristics—curiosity, a free mind, belief in good taste, and belief in the human race."
Two of Forster's best-known works, A Passage to India and Howards End, explore the irreconcilability of class differences. A Room with a View also shows how questions of propriety and class can make human connection difficult. The novel is his most widely read and accessible work, remaining popular long after its original publication. His posthumous novel Maurice explores the possibility of class reconciliation as one facet of a homosexual relationship.
Sexuality is another key theme in Forster's works. Some critics have argued that a general shift from heterosexual to homosexual love can be observed through the course of his writing career. The foreword to Maurice describes his struggle with his homosexuality, while he explored similar issues in several volumes of short stories. Forster's explicitly homosexual writings, the novel Maurice and the short story collection The Life to Come, were published shortly after his death.
Forster is noted for his use of symbolism as a technique in his novels, and he has been criticised (as by his friend Roger Fry) for his attachment to mysticism. One example of his symbolism is the wych elm tree in Howards End. The characters of Mrs. Wilcox in that novel and Mrs. Moore in A Passage to India have a mystical link with the past, and a striking ability to connect with people from beyond their own circles. (From Wikipedia. Retrieved 5/25/2013.)
Discussion Questions
1. How are Lucy’s character and mood captured in the descriptions of her piano playing throughout the novel? Why does she refuse to play Beethoven in Mrs. Vyse’s well-appointed flat? What compels her to sing, after breaking her engagement with Cecil, the song that ends with the line "Easy live and quiet die"?
2. Forster’s use of light and darkness, vision and blindness, day and night has transparent meaning in many passages: Lucy throws open the window of her room with a view while Charlotte closes the shades. Cecil is best suited to a room, while George is in his element in the naked sunlight of the Sacred Lake. Discuss the variations on the theme of clarity and shadow in the book, for example the twilight on the Piazza Signoria before Lucy witnesses the murder, or her attempts to flee "the king of terrors—Light" in the novel’s second half.
3. Lucy and George both stand outside Britain’s traditional class structure. George is a clerk, the son of a journalist and grandson of a laborer. Lucy is the daughter of a lawyer and her social status is "more splendid than her antecedents entitled her to." What role does social class play in the novel? Why did Forster choose Cecil to deliver the statement: "The classes ought to mix.... There ought to be intermarriage—all sorts of things. I believe in democracy."?
4. Mr. Beebe is portrayed early in the novel as an observant, thoughtful counselor with a good sense of humor and an unusually open mind for a clergyman. Soon after meeting Lucy he predicts that "one day music and life shall mingle" for her. Why does he fail, in the end, to support her decision to leave Cecil for George?
5. In comparison, Charlotte Bartlett is absurdly prudish, forbidding her cousin even to sleep in the bed where George Emerson had slept. If George’s surmise at the novel’s end is correct, what motivates her to help bring the lovers together by facilitating Lucy’s fateful meeting with Mr. Emerson? What does this turnabout suggest about the repressive forces in society? Is she, as George jokes, made of the "same stuff as parsons are made of"?
6. "Muddle" is one of Forster’s favorite words and seems to carry more weight in his work than in current colloquial usage. Lucy declares at the end of Part 1, "I want not to be muddled. I want to grow older quickly." What does Mr. Emerson mean when he uses the word to describe Lucy’s state of mind near the novel’s end, saying, "It is easy to face Death and Fate.... It is on my muddles that I look back with horror"?
7. Lucy and George’s final happiness is clouded by their severed relations with those she left behind. The Honeychurches "were disgusted at her past hypocrisy," and Mr. Beebe will never forgive them. Do you think Forster believes, as Lucy asserts, that "if we act the truth, the people who really love us are sure to come back to us in the long run"?
8. What is "medieval" about Cecil’s attitude toward women in general and toward Lucy in particular? What role is she allotted in his notion of chivalry? Why does Lucy feel, after George throws her blood-stained photographs into the Arno, that it is "hopeless to look for chivalry in such a man"? What kind of companionship and protection does George offer in exchange?
9. Forster, who was greatly influenced by the art of Italy during his first visit there, not only explores the proper relationship of life and art in A Room with a View but also uses art to illuminate his characters. What do we learn about the inner lives of George and Mr. Emerson from their views of Giotto’s fresco in Santa Croce (Chapter 2)? Why is Lucy’s outburst over Mr. Eager like "Leonardo on the ceiling of the Sistine"?
10. A frequent criticism of Forster’s plots is his reliance on coincidence and chance. What improbable circumstances are required to unite Lucy and George? Is George right when he says of their reunion in England, "It is Fate. Everything is Fate"? Does the novel suggest an external force that brings the lovers together?
11. There are many kinds of deceit in the book: betrayal by friends, secrets between lovers, and most importantly Lucy’s self-deceit. Four of the last five chapters show Lucy lying to nearly everyone else in the book. Which kinds of lies are most harmful to the "personal relations" that Forster cherished?
12. Though sparing in his descriptions of physical love, Forster often expresses the physical component of spiritual passion indirectly, as in his description of Lucy’s piano playing: "Like every true performer she was intoxicated by the mere feel of the notes: they were fingers caressing her own; and by touch, not by sound alone, did she come to her desire." What balance between the physical and emotional expressions of love does Mr. Emerson suggest in his statement, "I know by experience that the poets are right: love is eternal.... I only wish poets would say this too: love is of the body; not the body, but of the body"?
(Questions issued by the publisher.)
Roots: The Saga of an American Family
Alex Haley, 1974
Vanguard
912 pp.
ISBN-13: 9781593154493
Summary
One of the most important books and television series ever to appear, Roots, galvanized the nation, and created an extraordinary political, racial, social and cultural dialogue that hadn’t been seen since the publication of Uncle Tom’s Cabin.
The book sold over one million copies in the first year, and the miniseries was watched by an astonishing 130 million people. It also won both the Pulitzer Prize and the National Book Award. Roots opened up the minds of Americans of all colors and faiths to one of the darkest and most painful parts of America’s past.
Over the years, both Roots and Alex Haley have attracted controversy, which comes with the territory for trailblazing, iconic books, particularly on the topic of race. Some of the criticism results from whether Roots is fact or fiction and whether Alex Haley confused these two issues, a subject he addresses directly in the book. There is also the fact that Haley was sued for plagiarism when it was discovered that several dozen paragraphs in Roots were taken directly from a novel, Roots, by Harold Courlander, who ultimately received a substantial financial settlement at the end of the case.
But none of the controversy affects the basic issue. Roots fostered a remarkable dialogue about not just the past, but the then present day 1970s and how America had fared since the days portrayed in Roots.
Vanguard Press feels that it is important to publish Roots: The 30th Anniversary Edition to remind the generation that originally read it that there are issues that still need to be discussed and debated, and to introduce to a new and younger generation, a book that will help them understand, perhaps for the first time, the reality of what took place during the time of Roots. (From the publisher.)
Author Bio
• Birth—August 11, 1921
• Raised—Ithaca, New York, USA
• Death—February 10, 1992
• Where—Seattle, Washington
• Awards—Anisfield-Wolf Book Award; Pulitzer Prize
Alex Haley was an American writer. He is best known as the author of the 1976 book Roots: The Saga of an American Family. It was adapted by ABC as a TV mini-series of the same name and aired in 1977 to a record-breaking 130 million viewers. It had great influence on awareness in the United States of African-American history and inspired a broad interest in genealogy and family history.
Haley had previously written The Autobiography of Malcolm X (1965), a collaboration through numerous lengthy interviews with the subject, a major African-American leader.
He was working on a second family history novel at his death. Haley had requested that David Stevens, a screenwriter, complete it; the book was published as Alex Haley's Queen. It was adapted as a film of the same name released in 1993.
Early life
Alex Haley was born in Ithaca, New York, on August 11, 1921, and was the oldest of three brothers and a sister. Haley lived with his family in Henning, Tennessee, before returning to Ithaca with his family when he was five years old. Haley's father was Simon Haley, a professor of agriculture at Alabama A&M University, and his mother was Bertha George Haley (nee Palmer) who was from Henning. The younger Haley always spoke proudly of his father and the obstacles of racism he had overcome.
Like his father, Alex Haley was enrolled at age 15 in Alcorn State University, a historically black college, and, a year later, enrolled at Elizabeth City State College, also historically black, in North Carolina. The following year he returned to his father and stepmother to tell them he had withdrawn from college.
His father felt that Alex needed discipline and growth, and convinced him to enlist in the military when he turned 18. On May 24, 1939, Haley began what became a 20-year career with the United States Coast Guard.
US Coast Guard
Haley enlisted as a mess attendant. Later he was promoted to the rate of petty officer third-class in the rating of steward, one of the few ratings open to African Americans at that time. It was during his service in the Pacific theater of operations that Haley taught himself the craft of writing stories. During his enlistment he was often paid by other sailors to write love letters to their girlfriends. He said that the greatest enemy he and his crew faced during their long voyages was not the Japanese forces but rather boredom.
After World War II, Haley petitioned the U.S. Coast Guard to allow him to transfer into the field of journalism. By 1949 he had become a petty officer first class in the rating of journalist. He later advanced to chief petty officer and held this grade until his retirement from the Coast Guard in 1959. He was the first Chief Journalist in the Coast Guard, the rating having been expressly created for him in recognition of his literary ability.
Haley's awards and decorations from the Coast Guard include the Coast Guard Good Conduct Medal (with 1 silver and 1 bronze service star), American Defense Service Medal (with "Sea" clasp), American Campaign Medal, Asiatic-Pacific Campaign Medal, European-African-Middle Eastern Campaign Medal, World War II Victory Medal, Korean Service Medal, National Defense Service Medal, United Nations Service Medal, and the Coast Guard Expert Marksmanship Medal.[7] Additionally, he was awarded the War Service Medal by the Republic of Korea ten years after his death.
Literary career
After retiring from the U.S. Coast Guard, Haley began another phase of his journalism career. He eventually became a senior editor for Reader's Digest magazine.
Playboy magazine
Haley conducted the first interview for Playboy magazine. His interview with jazz musician Miles Davis appeared in the September 1962 issue. Haley elicited candid comments from Davis about his thoughts and feelings on racism. That interview set the tone for what became a significant feature of the magazine. Rev. Martin Luther King, Jr.'s Playboy Interview with Haley was the longest he ever granted to any publication.
Throughout the 1960s, Haley was responsible for some of the magazine's most notable interviews, including one with George Lincoln Rockwell, leader of the American Nazi Party. He agreed to meet with Haley only after gaining assurance from the writer that he was not Jewish. Haley remained professional during the interview, although Rockwell kept a handgun on the table throughout it. (The interview was recreated in Roots: The Next Generations, with James Earl Jones as Haley and Marlon Brando as Rockwell.)
Haley also interviewed Muhammad Ali, who spoke about changing his name from Cassius Clay. Other interviews include Jack Ruby's defense attorney Melvin Belli, entertainer Sammy Davis, Jr., football player Jim Brown, TV host Johnny Carson, and music producer Quincy Jones.
The Autobiography of Malcolm X
Published in 1965, The Autobiography of Malcolm Xwas Haley's first book. It describes the trajectory of Malcolm X's life from street criminal to national spokesman for the Nation of Islam to his conversion to Sunni Islam. It also outlines Malcolm X's philosophy of black pride, black nationalism, and pan-Africanism. Haley wrote an epilogue to the book summarizing the end of Malcolm X's life, including his assassination in New York's Audubon Ballroom.
Haley ghostwrote the autobiography based on more than 50 in-depth interviews he conducted with Malcolm X between 1963 and the February 1965 assassination. The two men had first met in 1960 when Haley wrote an article about the Nation of Islam for Reader's Digest. They met again when Haley interviewed Malcolm X for Playboy.
The first interviews for the autobiography frustrated Haley. Rather than discussing his own life, Malcolm X spoke about Elijah Muhammad, the leader of the Nation of Islam; he became angry about Haley's reminders that the book was supposed to be about Malcolm X. After several meetings, Haley asked Malcolm X to tell him something about his mother. That question drew Malcolm X into recounting his life story.
The Autobiography of Malcolm X has been a consistent best-seller since its 1965 publication. The New York Times reported that six million copies of the book had sold by 1977. In 1998, Time magazine ranked the book as one of the 10 most influential nonfiction books of the 20th century.
In 1966, Haley received the Anisfield-Wolf Book Award for The Autobiography of Malcolm X.
Roots
In 1976, Haley published Roots: The Saga of an American Family, a novel based on his family's history, going back to slavery days. It started with the story of Kunta Kinte, who was kidnapped in the Gambia in 1767 and transported to the Province of Maryland to be sold as a slave.
Haley claimed to be a seventh-generation descendant of Kunta Kinte, and his work on the novel involved ten years of research, intercontinental travel and writing. He went to the village of Juffure, where Kunta Kinte grew up and which had continued, and listened to a tribal historian (griot) tell the story of Kinte's capture. Haley also traced the records of the ship, The Lord Ligonier, which he said carried his ancestor to the Americas.
Haley has stated that the most emotional moment of his life occurred in 1967 when he stood at the site in Annapolis, Maryland, where his ancestor had arrived from Africa in chains exactly 200 years before. A memorial depicting Haley reading a story to young children gathered at his feet has since been erected in the center of Annapolis.
Roots was eventually published in 37 languages. Haley won a special Pulitzer Prize for the work in 1977. The same year, Roots was adapted as a popular television miniseries of the same name by ABC. The serial reached a record-breaking 130 million viewers. Roots emphasized that African Americans have a long history and that not all of that history is necessarily lost, as many believed. Its popularity also sparked a greatly increased public interest in genealogy.
In 1979, ABC aired the sequel miniseries, Roots: The Next Generations, which continued the story of Kunta Kinte's descendants. It concluded with Haley's travel to Juffure. Haley was portrayed at different ages by Kristoff St. John, The Jeffersons actor Damon Evans, and Tony Award winner James Earl Jones.
Haley was briefly a "writer in residence" at Hamilton College in Clinton, New York, where he began work on Roots. He enjoyed spending time at The Savoy, a local bistro in nearby Rome, where he would sometimes pass the time listening to the piano player. Today, there is a special table in honor of Haley, with a painting of Haley writing Roots on a yellow legal tablet
Later life and death
In the late 1970s, Haley began working on a second historical novel based on another branch of his family, traced through his grandmother Queen, the daughter of a black slave woman and her white master. Unable to finish the novel before his death, he had requested that David Stevens complete it. Published as Alex Haley's Queen, it was subsequently adapted as a movie of the same name in 1993.
Late in his life, Haley had acquired a small farm in Norris, Tennessee, adjacent to the Museum of Appalachia, intending to live there. After his death, the property was sold to the Children's Defense Fund (CDF) and is now known as The Alex Haley Farm. The CDF uses the property as a national training center and retreat site. An abandoned barn on the property was redesigned as a traditional cantilevered barn by architect Maya Lin and serves as a library for the CDF.
Haley died of a heart attack on February 10, 1992, in Seattle, Washington. He was 70 years old and is buried beside his childhood home in Henning, Tennessee. (From Wikipedia. Retrieved 10/9/2012.)
Book Reviews
The book is an act of love, and it is this which makes it haunting.
New York Times
Roots is a study of continuities, of consequences, of how a people perpetuate themselves, how each generation helps to doom, or helps to liberate, the coming one (A Times Book of the Century).
Charles McGrath - New York Times Books
A Pulitzer Prize-winning story about the family ancestry of author Alex Haley... [and] a symbolic chronicle of the odyssey of African Americans from the continent of Africa to a land not of their choosing.
Washington Post
A gripping mixture of urban confessional and political manifesto, it not only inspired a generation of black activists, but drove home the bitter realities of racism to a mainstream white liberal audience.
Observer (UK)
Groundbreaking.
Associated Press
(Starred review.) [T]he story of the young African boy named Kunte Kinte, who in the late 1700s was kidnapped from his homeland and brought to the United States as a slave. Haley follows Kunte Kinte's family line over the next seven generations, creating a moving historical novel spanning 200 years.
Publishers Weekly
When Roots was published in the mid-1970s, America was still in a period of introspection caused by all things Watergate and the bicentennial celebration. Haley's self-described "novelized amalgam" chronicled seven generations of his family, from West Africa to the United States and back. Roots—both the book and the groundbreaking TV miniseries that followed—became a cultural phenomenon. [Though listed as nonfiction on the cover, Roots is generally considered historical fiction. - Ed.]
Library Journal
Roots is the fictionalized account of Alex Haley's family history and an epic narrative of the African American experience.... The story traces Haley's family history from the imagined birth of his ancestor Kant Kin in an African village in 1750 to the death, seven generations later, of his father in Arkansas. Based on fifteen years of research by Haley, the novel is a combination of fact and fiction...that puts a human face on the suffering of black people through the ordeal of the Middle Passage, slavery, and Jim Grow. Its combination of compelling, affectionate storytelling and informative history has had a revolutionary effect on the way Americans—black and white—think about the history of a people.
Sacred Fire
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
(We'll add specific questions if and when they're made available by the publisher.)
Roses
Leila Meacham, 2010
Grand Central Publishing
609 pp.
ISBN-13: 9780446550000
Summary
Spanning the 20th century, the story of Roses takes place in a small East Texas town against the backdrop of the powerful timber and cotton industries, industries controlled by the scions of the town's founding families.
Cotton tycoon Mary Toliver and timber magnate Percy Warwick should have married but unwisely did not, and now must deal with the deceit, secrets, and tragedies of their choice and the loss of what might have been—not just for themselves but for their children, and children's children.
With expert, unabashed, big-canvas storytelling, Roses covers a hundred years, three generations of Texans and the explosive combination of passion for work and longing for love. (From the publisher.)
Author Bio
• Birth—ca. 1938 or 1939
• Where—Minden, Louisiana, USA
• Raised—Texas
• Education—B.A., North Texas State University
• Currently—lives in San Antonio, Texas
Beginning in the 1960s, Ms. Meacham taught English to high school students in a handful of cities in Texas. She published three romance novels in the mid-1980s with Walker & Company, but she mostly found the process burdensome. “I didn’t like the isolation,” she said. “I didn’t like the discipline required. I didn’t like the deadlines. So I put away my pen. The romance novel was not my calling.”
Ms. Meacham was a decade into her retirement, growing increasingly bored...when she returned to Roses, a manuscript that she had started in the 1980s. When she completed the novel, one of her friends made a call to a niece, who just happened to be married to David McCormick, a literary agent in New York. Mr. McCormick agreed to take on the book and later sold it to Grand Central, which published it in January 2010. Reviewers compared it to those door-stopper-size, soap operatic novels by the likes of Belva Plain and Barbara Taylor Bradford that were popular in the late 1970s and ‘80s. [She is currently working a a sequel to Roses.]....
Tumbleweeds [2012], which takes place between 1979 and 2008, begins in a small West Texas town and revolves around two star high school football players who fall for the same girl. Yet other than the contemporary setting, it is very much of a piece with Roses, with twists piled atop twists, and well-intentioned characters who seem to make a wreck of things. (Adapted from the New York Times "Texas Weekly.")
Critics Say . . .
This enthralling stunner, a good old-fashioned read, may herald the overdue return of those delicious doorstop epics from such writers as Barbara Taylor Bradford and Colleen McCullough. Meacham's multigenerational family saga, set in East Texas circa 1914–1985, charts the transformation of Mary Toliver, a wide-eyed 16-year-old heiress, into a calculating cotton plantation queen as hardheaded as Scarlett O'Hara. Her brother, Miles, goes off to WWI, returns home, but then goes back to France to marry Marietta, a French Communist, leaving Mary to deal with their plantation, Somerset, and Darla, their alcoholic mother (who later hangs herself ). Many years later, Mary, now an elderly, terminally ill widow, resolves to defeat the “Toliver Curse” and regrets “selling her soul for Somerset” and giving up her true love, Percy Warwick, the father of their secret child, to marry their friend Ollie DuMont, who helped her save Somerset when Percy refused. Meacham uses three well-balanced viewpoints: Mary's, Percy's and Rachel's, Mary's great-niece, who must confront Percy when she discovers some disquieting family information after Mary dies. A refreshingly nostalgic bouquet of family angst, undying love and “if onlys.”
Publishers Weekly
It's been almost 30 years since the heyday of giant epics in the grand tradition of Edna Ferber and Barbara Taylor Bradford, but Meacham's debut might bring them back. This story of two founding families in a small East Texas town spans the 20th century. When Mary Toliver inherits her family's cotton plantation, Somerset, in 1916, it tears apart her family; her mother turns to alcohol, and her brother leaves. Mary's obsession with Somerset even causes her to lose the love of her life, timber magnate Percy Warwick. By the time she's 85, Mary is determined that the family curse will not continue and, despite her grandniece's love of Somerset, plans for the plantation to be sold after her death. Mary Toliver and Percy Warwick can't share anything more than friendship, but Mary's actions might allow Rachel to see past Somerset to the man who loves her. Verdict: Readers who like an old-fashioned saga will devour this sprawling novel of passion and revenge. Highly recommended. —Lesa Holstine, Glendale P.L., AZ
Library Journal
First-time novelist Meacham’s sweeping, century-encompassing, multigenerational epic is reminiscent of the film Giant, and as large, romantic, and American a tale as Texas itself. —Hilary Hatton
Booklist
The Wars of the Roses relocate to America as a struggle between the Toliver and Warwick families, descended respectively from the houses of Lancaster and York. Emigrating to South Carolina in 1670, these proud clans provided a youngest son each to the 1836 Revolution in Texas, where generations of their offspring have been scrapping ever since. It had to happen that one of the Tolivers would start a-smooching with one of the Warwicks, and so Mary Toliver and Percy Warwick find themselves here in bodice-ripping contortions and secret pacts. Do such stories ever end happily? Meacham begins her saga in recent times, when elderly Mary decides to act on long-hidden feelings by tweaking the noses of her assembled heirs, who patiently await their cut of fortune and a big, beautiful estate in the piney woods, part of a genteel town that Mary has pretty well single-handedly put in the pages of Southern Living and Texas Monthly, which "extolled its Greek Revivalist charm, regional cuisine, and clean restrooms." There are worse places on earth, and worse people than the feuding Texans, though as dark secrets go, Mary and Percy's is less dark than most gothic-romance readers are used to. Still, there are plenty of broken hearts (and at least one broken organ). As San Antonio novelist Meacham (Crowning Design, 1984, etc.) writes of one such instance, "He would never lack for her affection, commitment, and respect, but she felt the part of her that had loved and been loved by the only man she could ever care for curl up in some remote, hidden corner of her being like an animal whose time has come to die." Cue the violins and tears, as Meacham's saga winds slowly to a foreseeable but satisfying conclusion. A suitably long and intermittently engaging descendant of such Southern-fried epics as Gone with the Wind and Giant—just the thing for genre fans with time to spare.
Kirkus Reviews
Discussion Questions
1. Early in the story, an elderly Mary Toliver contemplates the changes that have taken place in the community she’s lived in all her life: Sassie now refers to “dinner” as “lunch” (37), the Toliver mansion has been outfitted with modern conveniences. Yet “the antebellum grace of the avenue remained the same, a small part of the South not yet gone with the wind” (38). How do these surface observations set the tone for the deep traditions and powerful changes that are described throughout the story? What things in your home (or community or family) have changed over time, and what has stayed the same?
2. When a desperate young Mary tries to find solace in the mother who has seemingly turned her back on both her daughter and her late husband, Darla replies, “You ask me what else he could have done.... He could have loved me more than he loved his land. That’s what he could have done” (55). This is the first of many times that we see bitterness over a loved one choosing Somerset above all else. What do you think it was about the land that was worth so much for so long, until Mary’s death?
3. From a young age, Mary is stubborn and headstrong, believing that she knows without a shadow of a doubt what is best for herself, her family, and Somerset. In a heated argument with Percy Warwick, she declares, “What none of you can see is that I am honor bound to carry out my father’s wishes.... I would never marry a man who didn’t understand and support my feelings for Somerset” (60). What is it besides the confidence of youth that gives Mary such conviction? Have you ever been similarly completely sure of something, only to realize later that you were wrong?
4. Amos Hines (and many others over the years) is shocked and skeptical when he reads of the Toliver curse: that any owner of Somerset will never have more than one heir. Mary was convinced of the curse’s reality by the end of her life, but what are other, more credible downsides to owning this particular piece of land? Is the curse truly specific to Tolivers?
5. Mary is positive that Lucy Gentry, despite her devotion to him, could never be the kind of woman that Percy could care for, yet Mary is truly taken by surprise when Percy tells her he plans to marry no one but her. How is it possible that she could have been so perceptive of his desires (and her own) on one count, yet completely blind on another?
6. Lucy insists to her roommate that she can be with Percy, saying, “My love for him will blind him” (90). Later she pushes herself into the Warwick household, determined to spend as much time with Percy as possible. Can such relentlessness and aggression work in the realm of love (keep in mind that Percy uses a similar tactic when he bargains with Mary to test whether they can live without one another)? How would you have dealt with such an unwanted visitor in your home if you were Percy’s mother?
7. Percy admits to Mary, “I want to marry you because I love you. I’ve loved you all your life, ever since you smiled at me through your cradle bars. I’ve never considered marrying anyone else (115). He’s taken the concept of love at first sight to a new level—is it really possible to love someone the way he has, for your entire life?
8. Think about how promises play out in the novel: Rachel’s promise to her late father to care for Somerset, Ollie’s promise to Mary that he’ll protect Percy, and Percy’s being left with a commission from Mary to keep Somerset out of Rachel’s hands are just a few of the pledges that are key to the story. What others are there? When were they beneficial, and when are they destructive?
9. When Mary complains that Miles has abandoned the Toliver family for Paris, Percy points out that “Miles has the same right to his choices as you to do yours” (148). At what point (if ever?) does individual happiness come before family obligation? How would Mary (at a young age and at an older age), Percy, Miles, and Rachel each answer that question?
10. Emmitt Waithe is disturbed by Mary’s desire to expand her farm with Fair Acres, saying, “This is not about vision. This is about blind desire that falls short of greed only because you love the land.... It’s your pride pushing you to buy Fair Acres” (170). Is he correct? What distinction, if any, is there between Mary’s desire to do right by her family and her desire to find satisfaction for herself?
11. “Apprehension and fatigue were her constant companions. Worry went to bed with her at night and awoke with her in the morning” (180). Why does Mary keep at this unrelenting, thankless farm work, particularly as Percy spends time with other women? What are her drives, and what are his?
12. Compounding the horror of Darla's suicide are the pink ribbons she left behind, the memory of which “writhed between [Mary and Percy] like a poisonous snake” (197). Roses and the colors pink, red, and white all have major significance in the story. What kind of symbolism to we ascribe to objects and their colors today? Why do you think that those objects that represent emotions are so important and powerful?
13. Throughout the ups and downs of their relationship, Percy is steadfast in his knowledge that they are meant to be together, while Mary—just as certain at every moment—
wavers: “It was inevitable that she and Percy would clash...steel against steel” (207); “This was love, she thought.... They would work out their differences. They needed each other” (213); “I am Somerset....To separate me from the plantation is to have half of me. I would not be the same. I’m convinced of that now” (236). Why is it so difficult for Mary to understand what she “knows,” only to realize, in the end, that she has made a mistake?
14. Had Mary and Percy married after all, do you think that their relationship would have worked out in the end?
15. Percy marries Lucy after he accepts that Mary is gone, but the new husband and wife realize they have made a grave misstep. “He’d married her knowing it was the idol she loved and not the man” (296). When have you gotten what you most wanted, only to realize that it wasn’t at all what you’d expected?
16. Wyatt’s teacher realizes that the boy picks on Matthew because he is lonely. Later, when Lucy realizes that Matthew is Percy’s son, she realizes that all this time, her husband has been lonely. Why were father and son, both such lonely figures, unable to find a bond until the end of Matthew’s life? How does this relationship compare to the other parent/child connections (or lack of) in the story?
17. So many of the conflicts in Roses arise from traditions: keeping Somerset in the Toliver family above all else leads to a host of problems, the impossibility of financial aid among the Toliver, Warwick, and DuMont families drives Mary and Percy to commit fraud, and everything repeats itself again with Rachel and Matt’s generation until Mary’s codicil ends the lock on Somerset. What place do traditions have in your life, and how do they help or hinder you in your endeavors?
18. Discussing all the troubles that have arisen from their decisions, Mary and Percy are distraught about what they are responsible for until Percy suggests, “Maybe we should begin by forgiving ourselves for the pain we’ve caused” (363). At what point does one have to shift from atoning for the past, and look to moving into the future with a clear conscience?
19. Both Mary’s mother Darla and Rachel’s mother Alice have rifts between themselves and their daughters caused by Somerset. How are the two mothers the same, and how are they different? What were the two daughters’ reactions to their distant mothers?
20. “So the difference, Rachel, is that your father would look upon the proceeds of the sale of Aunt Mary’s property as compensation. He’d consider it charity to share in the profits of what he ran away from” (429). Is this legitimate reasoning? Do you think that William would agree with his wife’s assertions about his perceptions?
21. Should Mary have revealed the necessary fraud she had to undertake to the nephew that she inadvertently insulted? Should she have warned Rachel of the power of Somerset before cultivating her grand-niece’s passion for farming? What knowledge does the older generation owe its heirs, and when should that knowledge be passed down?
22. Did Mary really “save” Rachel, as she told Amos at the beginning of the story?
(Questions issued by publisher.)
top of page (summary)
The Rosie Project
Graeme Simsion, 2013
Simon & Schuster
304 pp.
ISBN-13: 9781476729091
Summary
Meet Don Tillman, a brilliant yet socially challenged professor of genetics, who’s decided it’s time he found a wife. And so, in the orderly, evidence-based manner with which Don approaches all things, he designs the Wife Project to find his perfect partner: a sixteen-page, scientifically valid survey to filter out the drinkers, the smokers, the late arrivers.
Rosie Jarman is all these things. She also is strangely beguiling, fiery, and intelligent. And while Don quickly disqualifies her as a candidate for the Wife Project, as a DNA expert Don is particularly suited to help Rosie on her own quest: identifying her biological father.
When an unlikely relationship develops as they collaborate on the Father Project, Don is forced to confront the spontaneous whirlwind that is Rosie—and the realization that, despite your best scientific efforts, you don’t find love, it finds you.
Arrestingly endearing and entirely unconventional, Graeme Simsion’s distinctive debut will resonate with anyone who has ever tenaciously gone after life or love in the face of great challenges. The Rosie Project is a rare find: a book that restores our optimism in the power of human connection. (From the publisher.)
Author Bio
• Birth—ca. 1956-57
• Where—Auckland, New Zealand
• Education—B.S, Monash University; M.B.A., Deakin University;
Ph.D., University of Melbourne; Advanced Diploma, Screen-
writing, RMIT*
• Awards—Victorian Premier's Unpublished Manuscript Award
• Currently—lives in Fitzroy, Victoria, Australia
Graeme C. Simsion is a New Zealand born Australian author, screen-writer, playwright and data modeller. He won the 2012 Victorian Premier's Unpublished Manuscript Award for his book, The Rosie Project.
Prior to writing fiction he was an information systems consultant and wrote two books and several papers about data-modelling. He established a consulting business in 1982 and sold it in 1999. At that time Simsion Bowles and Associates had over seventy staff. He co-founded a wine distribution business, Pinot Now with Steven Naughton.
From 2002-2006, as a PhD candidate at the University of Melbourne, he conducted the largest published study of data modeling practitioners (489 participants, most with substantial industry experience), to address the question, Is data modeling better characterized as description or design? The research included interviews with thought leaders, surveys of practitioners, and practical modeling tasks.
He concluded that, in contrast to the assumption implicit in most data modeling research, data modeling is best characterized as a design discipline (the term design is used in the broad sense of design theory, rather than its more narrow and casual usage in the information systems field). His work was published as his PhD thesis "Data Modeling: Description or Design," University of Melbourne, 2006 and in Data Modeling Theory and Practice (Technics Publications, 2007).
He is married to Professor Anne Buist and has two children. (From Wikipedia. Retrieved 10/03/2013.)
* RMIT is the renamed Royal Melbourne Institute of Technology
Book Reviews
The Rosie Project is the kind of Panglossian comedy in which everything is foreordained to work out for the best. That’s not a genre that can be dismissed entirely—at least not without sacrificing P. G. Wodehouse, which no one should be prepared to do—but it’s one that doesn’t comfortably accommodate things like autism spectrum disorders.... The ultimate convention of romantic comedy is that love conquers all, but to propose that it can so easily mitigate such a painful condition may be to take convention too far.
Gabriel Roth - New York Times Book Review
Read-out-loud laughter begins by page two in Simsion’s debut novel about a 39-year-old genetics professor with Asperger’s—but utterly unaware of it—looking to... find love.... His plans take a backseat when he meets Rosie, a bartender who wants him to help her determine her birth father’s identity.
Publishers Weekly
Funny, touching, and hard to put down, The Rosie Project is certain to entertain even as readers delve into deep themes. For a book about a logic-based quest for love, it has a lot of heart….[an] immensely enjoyable novel.
Booklist
Polished debut fiction, from Australian author Simsion, about a brilliant but emotionally challenged geneticist who develops a questionnaire to screen potential mates but finds love instead.... The story lurches from one set piece of deadpan nudge-nudge, wink-wink humor to another: We laugh at, and with, Don as he tries to navigate our hopelessly emotional, nonliteral world....sparkling.
Kirkus Reviews
Discussion Questions
1. Do Don’s Asperger’s conditions help him or hinder him? Does Don’s having Autism offer any advantages in his life?
2. Don goes through a number of spectacularly bad dates. What have been some of your own dating nightmares?
3. Where do you fall on the spectrum between structure and chaos in life? Are you highly rigid in your routines or very relaxed?
4. Do you agree with Don’s assessment that “humans often fail to see what is close to them and obvious to others”? (p. 88)
5. What do you think of Gene and Claudia’s relationship? Do you know anyone in an open marriage? Can it work?
6. Don says that the happiest day of his life was spent at the Museum of Natural History. Do you have a happiest day of your life? Or is there a special place where you are happiest?
7. As Don’s affection for Rosie grows, he becomes aware of his instincts overriding reason. What is the role of instinct versus reason when it comes to choosing a life partner?
8. Do you have anyone on the Autism spectrum in your life?
9. Don watches a number of movies to try to learn about romance, including When Harry Met Sally, The Bridges of Madison County, An Affair to Remember, and Hitch. What are your top five romantic movies?
10. Have you ever had a moment of breaking out of your routine and opening up in a significant way? Or has someone broken through your routine for you?
11. Is it smart to have a list of criteria for a potential partner or is it limiting?
12. Don gets in trouble with the dean for using the genetics lab for his personal project with Rosie. Is it ever okay to break the rules in order to help someone?
13. Do you feel happy for Don when he “eliminates a number of unconventional mannerisms” (p. 268) in order to win Rosie, or has he lost something?
14. Does Gene get his comeuppance?
15. Were you surprised at the ultimate revelation of Rosie’s biological father? Did you suspect someone else?
(Questions 1-15 issued by publisher.)
Additional Questions by LitLovers
16. After his lecture on Aspergers, Don confronts Julie with what he considers her lack of understanding: earlier, she obliquely refereed to Aspergers as a "fault"—as in "[it's] something you're born with. It's nobody's fault." She also worries that the nickname "Aspies" will get "them thinking it's some sort of club." How do Don and Julie view Aspergers? Do you agree with Don's approach...or Julie's?
17. Follow-up to Question 12: Don comes to see that morality and ethics are nuanced. What brings him to this point? And is morality nuanced? Is there such a thing as a purely moral/ethical stance, as Don has, up to this point, always believed?
18. Don accuses Gene of being just like him. One would hardly consider Gene autistic, so what does Don mean? In what way are the two men similar?
19. SPOILER ALERT: Don comes to the realization that he loves Rosie. Does he? Is he capable of the same kind of love as those of us feel who are low on the autism spectrum? Don realizes he feels happiness with her...is that the same as love? Or is his concept of love—compatibility and pleasure in each other's company—a better basis for marriage than deep feelings? Will Don's love, or his idea of love, be satisfying for Rosie over the long haul? What do you think?
20. SPOILER ALERT: Follow up to Question 17: Don has autism. How would you rate the chances for a happy marriage between Don and Rosie? What problems might they encounter? Is the book's ending overly optimistic, too much like a fairytale? Or is the ending based on optimism tinged with realism?
21. Overall, talk about the changes that Rosie precipitates in Don? In some ways, this novel can be seen as an adult coming-of-age story. How does Don grow over the course of the novel...not just the changes in his appearance or social behavior but in his essentials?
(Questions 16-21 by LitLovers. Please feel free to use them, online or off, with attribution. Thanks!)
The Rossetti Letter
Christi Phillips, 2007
Simon & Schuster
480 pp.
ISBN-13: 9781416527381
Summary
In seventeenth-century Venice, Alessandra Rossetti becomes entangled in a dangerous political conspiracy when the Spanish viceroy of Naples and the Spanish ambassador to Venice devise a scheme to bring the Venetian Republic under the dominance of Spain.
Historians know that Alessandra wrote a letter to the Venetian Council exposing the plot, but they have never been able to determine how she learned of the conspiracy or what became of the young courtesan after the treachery was revealed.
Claire Donovan, a Ph.D. candidate at Harvard University, is researching Alessandra's role in the Spanish Conspiracy of 1618. Divorced and broke, Claire has doubts that she will ever make it to Venice to complete her thesis. When she finds out that an academic rival is researching the Spanish Conspiracy for a book, she reluctantly agrees to her best friend's suggestion that she chaperone a wealthy, spoiled teenage girl on an Italian vacation.
Claire is soon on her way to Venice, where Cambridge University professor Andrew Kent is lecturing on the conspiracy at an academic conference. If Kent's theory that Alessandra was a co-conspirator of the Spanish proves right, it will destroy Claire's work — jeopardizing not just her dissertation but her future in academia.
The Rossetti Letter weaves together Claire's and Alessandra's stories in alternating narratives, bringing to life Venice both past and present. As Claire races to discover the truth about Alessandra's role in the conspiracy, she explores Venice with a beguiling Italian man, matches wits with worthy adversary Andrew Kent, helps a troubled young girl find her way, and learns a thing or two about bouncing back from heartbreak and living la dolce vita. (From the publisher.)
Author Bio
Christi Phillips lives in the San Francisco Bay Area. Her interest in European history has led her all over the Continent. The Rossetti Letter is her first novel. (From the publisher.)
Book Reviews
1618 Spanish Conspiracy, Venice was saved. Four hundred years later in Phillips's lovingly researched half-historical, half-contemporary debut, Claire Donovan, an American graduate student, struggles to finish her dissertation on the courtesan's brave act. Claire attends a Venice conference to check out the work of British superstar historian Andrew Kent, who sees Rossetti as nothing more than the pawn of very powerful men in a diplomatic double cross: once Andrew's work is published, his ideas could derail Claire's fledgling career. Phillips, developing parallel plots, unspools Alessandra's story directly to the reader in detail denied Claire and Andrew, who overcome their initial animosity to solve the greater mystery. Academic machinations and missing manuscripts soon add complications. Further, Claire has to deal with her difficult teenage charge, Gwendolyn Fy, and with Giancarlo Baldessari, a handsome and rich admirer. Andrew has to deal with his gorgeous harridan of an Italian girlfriend-and, inevitably, his growing attraction to Claire. Such a profusion of textual plots and characters spread out over past and present recalls A.S. Byatt's Possession, but Phillips, while not aiming as high, misses her mark. Despite a nicely detailed Venice, a clear affection for the main characters and extensive period touches, Phillips's ambitious debut founders long before its predictable happy ending.
Publishers Weekly
Claire Donavan thought she had problems when she passed out at her first speaking engagement, but it was nothing compared to learning that someone was publishing a book on the same topic as her relatively obscure dissertation on the Spanish Conspiracy in 17th-century Venice. She has been researching the life of Alessandra Rossetti, a courtesan who wrote a letter of denunciation exposing the Spanish plot to overthrow the Venetian government. Phillips's first novel alternates between the 21st and 17th centuries, telling the stories of the two women and their independent struggles to do the right thing. Claire travels to a conference in Venice, where her competitor is speaking, and Alessandra tries to keep herself and her loved ones out of trouble as rumors of the conspiracy spread. Phillips's well-researched novel is more than a little bit thrilling to read. The alternate story lines, each including intrigue, adventure, and a touch of romance, are nicely woven together; the details are seamlessly blended. Recommended for all fiction collections.
Anna M. Nelson - Library Journal
Moving effortlessly from the seventeenth to the twenty-first century and back, Phillips crafts an entertaining story with intrigue, espionage, and romance in both centuries. —Laurie Sundborg
Booklist
A debut novel jumping between the saucy adventures of a 17th-century courtesan and the 21st-century academic researching her life. Claire Donovan is almost finished with her dissertation on Alessandra Rossetti when she learns a Cambridge professor is about to challenge her entire thesis at an Italian conference. A bit of luck comes through when the economically strapped Claire gets a free trip to Venice-all she has to do is chaperone 14-year-old Gwen while the girl's father honeymoons in France. Claire hopes to learn what the scholar has planned and then beat him to publishing. It sounds reasonable stateside, but that's before Claire lands in magical Venice, where beautiful men and sparkling canals blur her focus. Not to mention escorting a girl with purple hair and an attitude, far different from the teenager Claire has spent the last two years of her life researching. Alessandra Rossetti is not yet 18 when her father and brother (and their fortune) are lost at sea. She briefly becomes the mistress of her financial advisor, but when he dies, Alessandra finds herself penniless. Without dowry or virginity, marriage prospects are slim, leaving the only other alternative—the convent. Or is it? The premier courtesan of Venice, La Celestia, accepts Alessandra as a protege, and Alessandra takes to a life of prostitution. But soon political power plays involve her in ways that endanger her life. The fictional plot turns on a bit of history—the Spanish controlled most of Italy at the time, with the exception of Venice, which they had hoped to invade. In this telling, Venice can thank its sovereignty to Alessandra. Both Claire and Alessandra have more adventure than they bargained for (Claire is courted by a gorgeous architect, then nearly thrown in jail over a misunderstanding), but by the end, it will come as little surprise that things end well for our heroines. The dialogue is often exposition-heavy and the coincidences are a bit too much, but Phillips's depiction of lonely Claire blossoming in Venice is nicely told. A fairly romanticized view of history, yet an amiable first effort sure to appeal to the many fans of the genre.
Kirkus Reviews
Discussion Questions
1. Discuss the novel's structure. Did the alternating chapters between the past and the present enrich the reading experience? How so? In what ways does this technique allow the author to heighten the suspense in the story?
2. Claire's dissertation "filled her thoughts so completely that sometimes it was a shock, at the end of the day, to find herself returned to her mundane, uneventful, twenty-first century existence" (25). Completing her dissertation is an important milestone in Claire's career, but is she in a sense using the past to avoid living in the present? Why has Claire, as her friend Meredith claims, shut herself away?
3. Claire's first impression of Gwen is a negative one, and it's reinforced by the teen's inappropriate behavior during the flight to Venice. How does Claire come to change her opinion of Gwen during their time together? What does Gwen gain from her trip to Venice and also from Claire's influence?
4. When Alessandra finds out she is nearly penniless, why does she choose to become a courtesan rather than opt for one of the more traditional solutions to her predicament, such as entering a convent or living with relatives? Is it possible for modern-day readers to fully understand the constraints placed on women during this time period? Why or why not?
5. Claire wondered how Alessandra felt about being a courtesan. She preferred to think that her heroine was happy, or at least complacent, knowing that she'd made the best of what life had offered her. But was it possible to be happy living the life that Alessandra lived? Or even content?" (152). Given what you know of Alessandra, how do you suppose she would answer these questions?
6. When Antonio first meets Alessandra, he is impressed with her "incredible self-possession" (161). What makes Alessandra, as Antonio acknowledges, different from the other women he has known? What compels him to confide in Alessandra the story of his ill-fated love and his father's death, something he has kept to himself for nine years?
7. Discuss the author's depiction of Venice, both in the seventeenth century and the present. How integral is the Venetian setting to the story? How does the author's use of historical facts about Venice color the narrative? Is this an aspect of the book you enjoyed? Why or why not?
8. "I did what I had to do," La Celestia says (322) about being pressured to arrange Alessandra's introduction to the marquis of Bedmar. Is La Celestia as much of a political pawn in this situation as Alessandra? Do you have any empathy for La Celestia? Why or why not?
9. At her manservant Nico's suggestion, Alessandra writes a letter detailing what she knows of the Spanish ambassador's plot and sets out to deliver it to the Great Council. What motivates Alessandra to take this course of action -- fear for her own safety, to avenge La Celestia's murder, a sense of civic duty, or something else?
10. What does Claire see in Giancarlo? Is she merely attracted to his good looks? Is he the kind of man with whom Claire will be able to build a life-long romantic relationship?
11. What prompts Claire to ask Andrew for help in translating Alessandra's letters? Does this encounter change their relationship personally as well as professionally? Why do you suppose Andrew is involved in a romantic relationship with a woman as unbecoming as Gabriella?
12. "Our job is to discover the truth, not make it up," Andrew says to Claire. Ultimately, what benefits Claire more in uncovering the truth about Alessandra's role in the Spanish conspiracy: her training as a historian or her intuition?
13. During his second lecture at the academic conference, why does Andrew call Claire to the podium and invite her to deliver the lecture? Did you find this to be a surprising gesture given his contentious history with Claire? Why does Claire at first refuse to take the stage when Andrew is offering her the very thing she came to Venice to seek -- recognition for her work?
14. What is the tipping point that finally compels Antonio and Alessandra to acknowledge their love for one another?
15. When Alessandra is imprisoned in the Doge's palace, does she make the right decision? What, if anything, could she have done differently?
16. Discuss the novel's ending. Were you surprised at the direction Alessandra's life takes? What instances in the story foreshadowed this turn of events?
(Questions issued by publisher.)
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The Round House
Louise Erdrich, 2012
HarperCollins
369 pp.
ISBN-13: 9780062065254
Summary
Winner, 2012 National Book Award
One Sunday in the summer of 1988, a woman living on a reservation in North Dakota is attacked. The details of the crime are slow to surface as Geraldine Coutts is traumatized and reluctant to reveal the details of what happened, either to the police or to her husband, Bazil, and thirteen-year-old son, Joe.
In one day, Joe's life is irrevocably transformed. He tries to heal his mother, but she will not leave her bed and slips into an abyss of solitude. Increasingly alone, Joe finds himself thrust prematurely into an adult world for which he is ill prepared.
While his father endeavors to wrest justice from a situation that defies his efforts, Joe becomes frustrated and sets out with his trusted friends, Cappy, Zack, and Angus, to get some answers of his own. Their quest takes them to the Round House, a sacred place of worship for the Ojibwe.
And this is only the beginning. (From the publisher.)
Author Bio
• Birth—June 7, 1954
• Where—Little Falls, Minnesota, USA
• Education—A.B., Dartmouth College; M.A., Johns Hopkins
• Awards—National Book Award; National Book Critics Circle Award; Nelson Algren Prize
• Currently—lives in Minnesota
Karen Louise Erdrich is an author of some 20 novels, as well as poetry, short stories, and children's books. She has some Native American ancestry and is widely acclaimed as one of the most significant writers of the second wave of what critic Kenneth Lincoln has called the Native American Renaissance.
In 1984, Erdrich won the National Book Critics Circle Award for her debut novel, Love Medicine. In 2009, her novel The Plague of Doves was named a finalist for the Pulitzer Prize in Fiction, and three years later, in 2012, she won the National Book Award for Round House.
Erdrich is the owner of Birchbark Books, a small independent bookstore in Minneapolis, Minnesota. The eldest of seven children, Erdrich was born to Ralph and Rita Erdrich in Little Falls, Minnesota. Her father was German-American while her mother was French and Anishinaabe (Ojibwa). Her grandfather Patrick Gourneau served as a tribal chairman for the Turtle Mountain Band of Chippewa Indians. Erdrich grew up in Wahpeton, North Dakota where her parents taught at the Bureau of Indian Affairs school.
She attended Dartmouth College in 1972-1976, earning an AB degree and meeting her future husband, the Modoc anthropologist and writer Michael Dorris. He was then director of the college’s Native American Studies program. Subsequently, Erdrich worked in a wide variety of jobs, including as a lifeguard, waitress, poetry teacher at prisons, and construction flag signaler. She also became an editor for The Circle, a newspaper produced by and for the urban Native population in Boston. Erdrich graduated with a Master of Arts degree in creative writing from Johns Hopkins University in 1979.
In the period 1978-1982, Erdrich published many poems and short stories. It was also during this period that she began collaborating with Dorris, initially working through the mail while Dorris was working in New Zealand. The relationship progressed, and the two were married in 1981. During this time, Erdrich assembled the material that would eventually be published as the poetry collection Jacklight.
In 1982, Erdrich's story "The World’s Greatest Fisherman" was awarded the $5,000 Nelson Algren Prize for short fiction. This convinced Erdrich and Dorris, who continued to work collaboratively, that they should embark on writing a novel.
Early Novels
In 1984, Erdrich published the novel Love Medicine. Made up of a disjointed but interconnected series of short narratives, each told from the perspective of a different character, and moving backwards and forward in time through every decade between the 1930s and the present day, the book told the stories of several families living near each other on a North Dakota Ojibwe reservation.
The innovative techniques of the book, which owed a great deal to the works of William Faulkner but have little precedent in Native-authored fiction, allowed Erdrich to build up a picture of a community in a way entirely suited to the reservation setting. She received immediate praise from author/critics such as N. Scott Momaday and Gerald Vizenor, and the book was awarded the 1984 National Book Critics Circle Award. It has never subsequently been out of print.
Erdrich followed Love Medicine with The Beet Queen, which continued her technique of using multiple narrators, but surprised many critics by expanding the fictional reservation universe of Love Medicine to include the nearby town of Argus, North Dakota. Native characters are very much kept in the background in this novel, while Erdrich concentrates on the German-American community. The action of the novel takes place mostly before World War II.
The Beet Queen was subject to a bitter attack from Native novelist Leslie Marmon Silko, who accused Erdrich of being more concerned with postmodern technique than with the political struggles of Native peoples.
Erdrich and Dorris’ collaborations continued through the 1980s and into the 1990s, always occupying the same fictional universe.
Tracks goes back to the early 20th century at the formation of the reservation and introduces the trickster figure of Nanapush, who owes a clear debt to Nanabozho. Erdrich’s novel most rooted in Anishinaabe culture (at least until Four Souls), it shows early clashes between traditional ways and the Roman Catholic Church.
The Bingo Palace updates but does not resolve various conflicts from Love Medicine: set in the 1980s, it shows the effects both good and bad of a casino and a factory being set up among the reservation community. Finally, Tales of Burning Love finishes the story of Sister Leopolda, a recurring character from all the former books, and introduces a new set of white people to the reservation universe.
Erdrich and Dorris wrote The Crown of Columbus, the only novel to which both writers put their names, and A Yellow Raft in Blue Water, credited to Dorris. Both of these were set away from the Argus reservation.
Domestic Life
The couple had six children, three of them adopted. Dorris had adopted the children when he was single. After their marriage, Erdrich also adopted them, and the couple had three daughters together. Some of the children had difficulties.
In 1989 Dorris published The Broken Cord, a book about fetal alcohol syndrome, from which their adopted son Reynold Abel suffered. Dorris had found it was a widespread and until then relatively undiagnosed problem among Native American children because of mothers' alcohol issues. In 1991, Reynold Abel was hit by a car and killed at age 23.
In 1995 their son Jeffrey Sava accused them both of child abuse. Dorris and Erdrich unsuccessfully pursued an extortion case against him. Shortly afterward, Dorris and Erdrich separated and began divorce proceedings. Erdrich claimed that Dorris had been depressed since the second year of their marriage.
On April 11, 1997, Michael Dorris committed suicide in Concord, New Hampshire.
Later Writings
Erdrich’s first novel after divorce, The Antelope Wife, was the first to be set outside the continuity of the previous books. She has subsequently returned to the reservation and nearby towns, and has produced five novels since 1998 dealing with events in that fictional area. Among these are The Master Butchers Singing Club, a macabre mystery which again draws on Erdrich's Native American and German-American heritage, and The Last Report on the Miracles at Little No Horse. Both have geographic and character connections with The Beet Queen.
Together with several of her previous works, these have drawn comparisons with William Faulkner’s Yoknapatawpha novels. The successive novels have created multiple narratives in the same fictional area and combined the tapestry of local history with current themes and modern consciousness.
In The Plague of Doves, Erdrich has continued the multi-ethnic dimension of her writing, weaving together the layered relationships among residents of farms, towns and reservations; their shared histories, secrets, relationships and antipathies; and the complexities for later generations of re-imagining their ancestors' overlapping pasts. The novel was a finalist for the Pulitzer Prize in 2009.
Erdrich's 2010 book, Shadow Tag, was a departure for her, as she focuses on a failed marriage.
Erdrich is an enrolled member of the Anishinaabe nation (also known as Ojibwa and Chippewa). Erdrich also has German, French and American ancestry. One sister, Heidi, publishes under the name Heid E. Erdrich; she is a poet who also resides in Minnesota. Another sister, Lise Erdrich, has written children's books and collections of fiction and essays. For the past few years, the three Erdrich sisters have hosted annual writers workshops on the Turtle Mountain Indian Reservation in North Dakota.
The award-winning photographer Ronald W. Erdrich is one of their cousins. He lives and works in Abilene, Texas. He was named "Star Photojournalist of the Year" in 2004 by the Texas Associated Press Managing Editors association. (Adapted from Wikipedia.)
Book Reviews
With The Round House, her 14th novel, Louise Erdrich takes us back to the North Dakota Ojibwe reservation.... This time she focuses on one nuclear family—the 13-year-old Joe Coutts; his mother, Geraldine; and his father, Judge Antone Coutts—that is shattered and remade after a terrible event.... Although its plot suffers from a schematic quality that inhibits Ms. Erdrich’s talent for elliptical storytelling, the novel showcases her extraordinary ability to delineate the ties of love, resentment, need, duty and sympathy that bind families together.... The event that changes the Coutts family’s lives is the rape and savage beating of Geraldine, which occurs in 1988 near the round house.... While evidence piles up pointing to the identity of the man who raped Geraldine, his arrest and conviction are complicated by jurisdictional rules having to do with whether the crime took place on state or tribal land, and “who had committed it—an Indian or non-Indian.” It is Joe’s story that lies at the heart of this book, and Joe’s story that makes this flawed but powerful novel worth reading.
Michiko Kakutani - New York Times
The Round House represents something of a departure for Erdrich, whose past novels of Indian life have usually relied on a rotating cast of narrators, a kind of storytelling chorus. Here, though, Joe is the only narrator, and the urgency of his account gives the action the momentum and tight focus of a crime novel, which, in a sense, it is. But for Erdrich, The Round House is also a return to form. Joe's voice...recalls that of Judge Antone Bazil Coutts, one of the narrators of Erdrich's masterly novel The Plague of Doves. That's appropriate because Joe is the judge's son.... If The Round House is less sweeping and symphonic than The Plague of Doves, it is just as riveting. By boring deeply into one person's darkest episode, Erdrich hits the bedrock truth about a whole community.
Maria Russo - New York Times Book Review
Erdrich never shields the reader or Joe from the truth.... She writes simply, without flourish.
Philadelphia Inquirer
An artfully balanced mystery, thriller and coming-of-age story.... This novel will have you reading at warp speed to see what happens next.
Minneapolis Star Tribune
Book by book, over the past three decades, Louise Erdrich has built one of the most moving and engrossing collections of novels in American literature.... Joe is an incredibly endearing narrator, full of urgency and radiant candor...and the story he tells transforms a sad, isolated crime into a revelation about how maturity alters our relationship with our parents, delivering us into new kinds of love and pain.
Michael Dirda - Washington Post
The story draws the reader unstoppably page by page.
Seattle Times
The Round House is filled with stunning language that recalls shades of Faulkner, Garcia Marquez and Toni Morrison. Deeply moving, this novel ranks among Erdrich’s best work, and it is impossible to forget.
USA Today
A sweeping, suspenseful outing from this prizewinning, generation-spanning chronicler of her Native American people, the Ojibwe of the northern plains.... A sumptuous tale.
Elle Magazine
A gripping mystery with a moral twist: Revenge might be the harshest punishment, but only for the victims.
Entertainment Weekly
Erdrich threads a gripping mystery and multilayered portrait of a community through a deeply affecting coming-of-age novel.
Karen Holt - O, the Oprah Magazine
Erdrich, a Pulitzer Prize finalist, sets her newest (after Shadow Tag) in 1988 in an Ojibwe community in North Dakota; the story pulses with urgency as she probes the moral and legal ramifications of a terrible act of violence. When tribal enrollment expert Geraldine Coutts is viciously attacked, her ordeal is made even more devastating by the legal ambiguities surrounding the location and perpetrator of the assault—did the attack occur on tribal, federal, or state land? Is the aggressor white or Indian? As Geraldine becomes enveloped by depression, her husband, Bazil (the tribal judge), and their 13-year-old son, Joe, try desperately to identify her assailant and bring him to justice. The teen quickly grows frustrated with the slow pace of the law, so Joe and three friends take matters into their own hands. But revenge exacts a tragic price, and Joe is jarringly ushered into an adult realm of anguished guilt and ineffable sadness. Through Joe’s narration, which is by turns raunchy and emotionally immediate, Erdrich perceptively chronicles the attack’s disastrous effect on the family’s domestic life, their community, and Joe’s own premature introduction to a violent world.
Publishers Weekly
Set on an Ojibwe reservation in North Dakota in 1988, Erdrich's 14th novel focuses on 13-year-old Joseph. After his mother is brutally raped yet refuses to speak about the experience, Joe must not only cope with her slow physical and mental recovery but also confront his own feelings of anger and helplessness. Questions of jurisdiction and treaty law complicate matters. Doubting that justice will be served, Joe enlists his friends to help investigate the crime. Verdict:Erdrich skillfully makes Joe's coming-of-age both universal and specific. Like many a teenage boy, he sneaks beer with his buddies, watches Star Trek: The Next Generation, and obsesses about sex. But the story is also ripe with detail about reservation life, and with her rich cast of characters, from Joe's alcoholic and sometimes violent uncle Whitey and his former-stripper girlfriend Sonja, to the ex-marine priest Father Travis and the gleefully lewd Grandma Thunder, Erdrich provides flavor, humor, and depth. Joe's relationship with his father, Bazil, a judge, has echoes of To Kill a Mockingbird, as Bazil explains to his son why he continues to seek justice despite roadblocks to prosecuting non-Indians. Recommended. —Christine DeZelar-Tiedman, Univ. of Minnesota Libs., Minneapolis
Library Journal
(Starred review.) A stunning and devastating tale of hate crimes and vengeance.... Erdrich covers a vast spectrum of history, cruel loss, and bracing realizations. A preeminent tale in an essential American saga.
Booklist
Erdrich returns to the North Dakota Ojibwe community she introduced in The Plague of Doves (2008)—akin but at a remove from the community she created in the continuum.... The novel combines a coming-of-age story (think Stand By Me) with a crime and vengeance story while exploring Erdrich's trademark themes.... This second novel in a planned trilogy lacks the breadth and richness of Erdrich at her best, but middling Erdrich is still pretty great.
Kirkus Reviews
Discussion Questions
1. The Round House opens with the sentence: "Small trees had attacked my parents' house at the foundation." How do these words relate to the complete story that unfolds?
2. Though he is older as he narrates the story, Joe is just thirteen when the novel opens. What is the significance of his age? How does that impact the events that occur and his actions and reactions?
3. Describe Joe's family, and his relationship with his parents. In talking about his parents, Joe says, "I saw myself as different, though I didn't know how yet." Why, at thirteen, did he think this? Do you think the grown-up Joe narrating the story still believes this?
4. Joe's whole family is rocked by the attack on his mother. How does it affect the relationship between his mother and father, and between him and his mother? Does it alter Joe's view of them? Can trauma force a child to grow up "overnight"? What impact does it have on Joe? How does it transform his family?
5. "My mother's job was to know everybody's secrets," Joe tells us. How does this knowledge empower Geraldine and how does it make her life more difficult?
6. Joe is inseparable from his three friends, especially his best friend, Cappy. Talk about their bond. How does their closeness influence unfolding events?
7. What is the significance of The Round House? What is the importance of the Obijwe legends that are scattered through the novel? How do they reflect and deepen the main story? What can we learn from the old ways of people like the Ojibwe? Is Joe proud of his heritage? Discuss the connection between the natural and animal world and the tribe's spirituality.
8. After the attack, Joe's mother, Geraldine, isn't sure exactly where it happened, whether it was technically on Reservation land or not. How does the legal relationship between the U.S. and the Ojibwe complicate the investigation? Why can't she lie to make it easier?
9. Secondary characters, including Mooshum, Linda Wishkob, Sonja, Whitey, Clemence, and Father Travis, play indelible roles in the central story. Talk about their interactions with Joe and his friends and parents. What do their stories tell about the wider world of the reservation and about relations between white and Native Americans?
10. Towards the novel's climax, Father Travis tells Joe, "in order to purify yourself, you have to understand yourself. Everything out in the world is also in you. Good, bad, evil, perfection, death, everything. So we study our souls." Would you say this is a good characterization of humanity? How is each of these things visible in Joe's personality?
11. He also tells Joe about the different types of evil—the material version, which we cannot control, and the moral one, which is harm deliberately caused by humans. How does this knowledge influence Joe?
12. When Joe makes his fateful decision concerning his mother's attacker, he says it is about justice, not vengeance. What do you think? How does that decision change him? Why doesn't he share the information he has with the people who love him?
13. What do you think about the status of Native Americans? Should we have reservations in modern America? How does the Reservation preserve their heritage and culture and how does it set them apart from their fellow Americans?
14. Could the American West have been settled without the conflicts between white Europeans and native peoples? Do you think we, as Americans, have changed significantly today?
15. We hear a great deal about reparations and atonement for slavery. What about America's history with the Native American population—should these same issues be raised? Racism is often seen in terms of black and white. How does this view impact prejudices against others who aren't white, including people like the Ojibwe? Do you think there is prejudice against Native Americans? How is this portrayed in the book? Contrast these with examples of kindness and fairness.
16. "My father remembered that of course an Ojibwe person's clan meant everything at one time, and no one didn't have a clan; thus, you know your place in the world and your relationship to all other beings." How has modernity—and westward expansion—transformed this? Has our rush to the future, and our restless need to move, impacted us as a society and as individuals?
17. Race, politics, injustice, religion, superstition, magic, and the boundary between childhood and adulthood are explored in The Round House. Choose a theme or two and trace how it is demonstrated in a character's life throughout the novel.
18. The only thing that God can do, and does all the time, is to draw good from any evil situation," the priest advised Joe. What good does Joe—and also his family—draw from the events of the summer? What life lessons did Joe learn that summer of 1988?
(Questions issued by publisher.)
The Royal We
Heather Cocks, Jessica Morgan, 2015
Grand Central Publishing
464 pp.
ISBN-13: 9781455557103
Summary
I might be Cinderella today, but I dread who they'll think I am tomorrow. I guess it depends on what I do next.
American Rebecca Porter was never one for fairy tales. Her twin sister, Lacey, has always been the romantic who fantasized about glamour and royalty, fame and fortune.
Yet it's Bex who seeks adventure at Oxford and finds herself living down the hall from Prince Nicholas, Great Britain's future king. And when Bex can't resist falling for Nick, the person behind the prince, it propels her into a world she did not expect to inhabit, under a spotlight she is not prepared to face.
Dating Nick immerses Bex in ritzy society, dazzling ski trips, and dinners at Kensington Palace with him and his charming, troublesome brother, Freddie. But the relationship also comes with unimaginable baggage: hysterical tabloids, Nick's sparkling and far more suitable ex-girlfriends, and a royal family whose private life is much thornier and more tragic than anyone on the outside knows.
The pressures are almost too much to bear, as Bex struggles to reconcile the man she loves with the monarch he's fated to become.
Which is how she gets into trouble.
Now, on the eve of the wedding of the century, Bex is faced with whether everything she's sacrificed for love-her career, her home, her family, maybe even herself-will have been for nothing. (From the publisher.)
Author Bio
Heather Cocks and Jessica Morgan are authors and owners of the blog Go Fug Yourself. The two met when they were working as recappers for the website Television Without Pity, then known as Mighty Big TV. Morgan and Cocks initially created the site as a diversion for themselves and their friends, but it quickly became popular and well known.
Fug Madness
Each March, in an homage to the NCAA "March Madness" Championship, Morgan and Cocks present a tournament featuring those celebrities deemed to have made the worst fashion faux pas in the previous calendar year. Each match-up is presented as a poll in which readers can vote on which celebrity has made "fuglier" fashion choices.
The inaugural 2008 tournament was won by Bai Ling, who defeated Victoria Beckham in the final match. Subsequent winners have included Aubrey O'Day (2009), Amber Rose (2010), Taylor Momsen (2011), Vanessa Hudgens (2012), Justin Bieber (2013), and Miley Cyrus (2014).
The Fug Awards
Morgan and Cocks co-authored The Fug Awards, which features a number of "honors" offered to the worst offenders in celebrity fashion, along with commentary similar to that found on the site. The book was released on February 6, 2008.
Novels
Morgan and Cocks co-authored Spoiled, a young adult novel about what happens when a Midwestern girl learns that her father is actually the most famous movie star in the world, and goes to live with him and her half-sister in Los Angeles. The book was published in 2011. The book's follow-up, Messy was published in 2012.
Morgan and Cocks's first adult novel, The Royal We, said to be loosely based on the courtship between Kate Middleton and Prince William, was published in 2015.
Media attention
Go Fug Yourself was named one of Entertainment Weekly's 25 favorite entertainment sites in its June 23, 2006 issue. In 2005 it was named one of the 50 Coolest Websites by Time magazine and one of the Top 100 Best Things of the Year by CBC. It was named one of the 50 Most Powerful Blogs by the UK's Guardian in March 2008. It has also been mentioned in Vanity Fair, Elle, Business Week Online, Harper's Bazaar, Chicago Tribune, and Newsweek, among others. The authors also blog regularly as "The Fug Girls" in New York Magazine. The Fug Girls also appeared on Season Three Episode Five of All on the Line, a Sundance channel series, offering feedback to struggling fashion designer Brooke Rodd. (From Wikipedia. Retrieved 11/2/2015.)
Book Reviews
Smart, funny.... [Cocks and Morgan] write like the pros they've become.
Janet Maslin - New York Times
The characters should all be familiar: the heir to the British throne, his mischievous younger brother, his granny and the pretty commoner he meets in college. But in this version by bloggers Cocks and Morgan (a.k.a. the Fug Girls), the girl is American. Nick and Bex's love story is so fun and dishy, you'll hope for a sequel—with royal babies.
People
In the grand tradition of Curtis Sittenfeld's American Wife . . . A breezy, juicy novel that's like The Princess Diaries with fewer made-up countries and more sex-the kind of book you can imagine Pippa sneaking into Kensington Palace.
Entertainment Weekly
Every bit as engrossing as the real Kate and Will.... The pages turn as easily as a tabloid feature on the royal couple-and you'll end up just as obsessed with Bex and Nick as you already are with Wills and Kate.
Glamour
Cocks and Morgan tackled their first dip into mainstream fiction for adults and nailed it. The Royal We is a wonderful tale of young love, peppered with animated characters, difficult hardships and self-discovery
Romance Times Book Reviews
Cocks and Morgan, the bloggers behind Go Fug Yourself, charm readers with this modern-day Cinderella tale.... [T]he authors create their own unique and endearing characters...along with an entertaining cast of characters....[A] sparkling tale. Pure fun.
Publishers Weekly
(Starred review.) The authors hit all the right notes in this funny, smart, emotional tale that will definitely appeal to fans of Jojo Moyes.
Library Journal
[R]oyal watchers will appreciate the craftsmanship that went into fitting the fictional Lyons dynasty into the timeline of the existing monarchy. Some of the details are invented while others are tweaked.... Pages of biting humor and breathtaking glamour rewrite a fairy tale into something more satisfying than a stack of tabloids.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Some obvious starting places for a discussion, however, might be:
1. What did you find humorous in the book?
2. How close to the real royals are the characters in The Royal We? Can you tell which parts of the plot are real in the book...and which are fictional?
3. Does this book touch on any of your own fantasies?
4. If you ever attracted the eye of a prince, would you be willing to give up a large portion of your life to marry into a royal family? Or would you gain more then you lose?
(We'll add specific questions if and when they're made available by the publisher.)
Ruby
Cynthia Bond, 2014
Crown Publishing
368 pp.
ISBN-13: 9780804188241
Summary
Oprah Book Club 2.0 Selection
The epic, unforgettable story of a man determined to protect the woman he loves from the town desperate to destroy her, this beautiful and devastating debut heralds the arrival of a major new voice in fiction.
Ephram Jennings has never forgotten the beautiful girl with the long braids running through the piney woods of Liberty, their small East Texas town. Young Ruby Bell, "the kind of pretty it hurt to look at," has suffered beyond imagining, so as soon as she can, she flees suffocating Liberty for the bright pull of 1950s New York.
Ruby quickly winds her way into the ripe center of the city—the darkened piano bars and hidden alleyways of the Village—all the while hoping for a glimpse of the red hair and green eyes of her mother. When a telegram from her cousin forces her to return home, thirty-year-old Ruby finds herself reliving the devastating violence of her girlhood. With the terrifying realization that she might not be strong enough to fight her way back out again, Ruby struggles to survive her memories of the town’s dark past.
Meanwhile, Ephram must choose between loyalty to the sister who raised him and the chance for a life with the woman he has loved since he was a boy.
Full of life, exquisitely written, and suffused with the pastoral beauty of the rural South, Ruby is a transcendent novel of passion and courage. This wondrous page-turner rushes through the red dust and gossip of Main Street, to the pit fire where men swill bootleg outside Bloom’s Juke, to Celia Jennings’s kitchen, where a cake is being made, yolk by yolk, that Ephram will use to try to begin again with Ruby.
Utterly transfixing, with unforgettable characters, riveting suspense, and breathtaking, luminous prose, Ruby offers an unflinching portrait of man’s dark acts and the promise of the redemptive power of love. (From the publisher.)
Author Bio
• Birth—ca. 1961-62
• Raised—East Texas, USA
• Education—Northwestern university
• Currently—lives in Los Angeles, California
Cynthia Bond has taught writing to homeless and at-risk youth throughout Los Angeles for more than fifteen years. She attended Northwestern University’s Medill School of Journalism, then moved to New York and attended the American Academy of Dramatic Arts. A PEN/Rosenthal Fellow, Bond founded the Blackbird Writing Collective in 2011. At present, Bond teaches therapeutic writing at Paradigm Malibu Adolescent Treatment Center. A native of East Texas, she lives in Los Angeles with her daughter. (From the publisher.)
Book Reviews
Channeling the lyrical phantasmagoria of early Toni Morrison and the sexual and racial brutality of the 20th century east Texas, Cynthia Bond has created a moving and indelible portrait of a fallen woman.... Bond traffics in extremely difficult subjects with a grace and bigheartedness that makes for an accomplished, enthralling read.
Thomas Chatterton Williams - San Francisco Chronicle
A beautifully wrought ghost story, a love story, a survival story.... [A] wonderful debut.
Angela Flournoy - Los Angeles Review of Books
In Ruby, Bond has created a heroine worthy of the great female protagonists of Toni Morrison…and Zora Neale Hurston…. Bond’s style of writing is as magical as an East Texas sunrise.
Dallas Morning News
Ruby explores the redeeming power of love in the face of horrific trauma…. If the truth shall set us free, Ms. Bond shows us, in her story of grace, that love is truth.
Pittsburgh Post-Gazette
Bond proves to be a powerful literary force, a writer whose unflinching yet lyrical prose is reminiscent of Toni Morrison’s.
Oprah Magazine
Evocative, affective and accomplished…. Bond tells the story of Ruby and Ephram’s lives and their relationship with unflinching honesty and a surreal, haunting quality.
Texas Observer
If you love well-written historical fiction and multifaceted grown-up characters, put Ruby at the top of your beach bag.... Bond delivers multiple goods with this one.
Essence
Cynthia Bond creates a vibrant chorus of voices united by a common struggle…. [T]he prose’s lyricism and Ruby’s interaction with the dead call to mind Beloved…. While Bond’s characters may sense the inevitability of loss and loneliness, they are also driven by something else, a timid hopefulness that they may find serenity and compassion amid the ghosts who haunt them.
Rumpus
Exquisite, juxtaposing horrific imagery with dreamy evocative lyricism.
Lambda Literary
Bond’s debut novel is difficult to read for its graphic and uncomfortable portrayal of racism, sexual violence.... Bond is a gifted storyteller, able to make the reader squirm with anger and unease as she vividly depicts how easily bad things happen to good people.... This is a grim tale, well told, but there’s no comfort in these pages—just tragedy and heartache.
Publishers Weekly
(Starred review.) Ruby's story is truly that of a people and a place, outlined lyrically and honestly, even when the most brutal events unfold. Verdict: Definitely not for the faint of heart or for those who prefer lighter reads, this book exhibits a dark and redemptive beauty. Bond's prose is evocative of...the greats of Southern gothic literature. —Jennifer B. Stidham, Houston Community Coll. Northeast
Library Journal
(Starred review.) [A] powerful, explosive novel. Bond immerses readers in a fully realized world, one scarred by virulent racism and perverted rituals but also redeemed by love.
Booklist
Bond is an accomplished.... Some of the more intense passages of the novel lapse into purple prose, and the...closing redemption feel[s] somewhat pat. But the force of Ruby's character, and Bond's capacity to describe it, is undeniable. A very strong first novel that blends tough realism with the appealing strangeness of a fever dream.
Kirkus Reviews
Discussion Questions
1. How did Ruby’s story change the way you view the world? What does the novel show us about the nature of trauma and the power of compassion?
2. Celia copes with tragedy by putting her world in strict order, from her family life to her church life. But Ruby becomes lost to disorder. What accounts for their different approaches to emotional pain?
3. At the heart of the novel is Ruby’s vision of her children, and her vision of herself as a mother. How is she able to respond with a nurturing urge although no one nurtured her? Discuss the roles of mothers and fathers in Liberty.
4. How did your understanding of the Dyboù shift throughout the novel? Do you believe that evil comes from the supernatural or spiritual, or that it is simply part of human nature?
5. What protection do you think Ma Tante gives to young Maggie, Ruby, and Ephram? Are they comforted by her powers, or does she only stoke their fears?
6. What fuels the racism depicted in the novel? Do some of these factors persist today? Discuss Ruby’s different experiences with racism in East Texas, New York City, and on her trip back to Liberty.
7. As you read the story of Ruby’s mother, how did you react to the notion that the past is still present? What does it take to overcome the Bell family’s legacy?
8. What role does Christianity play in Liberty? Does faith enhance or hinder Celia and her congregation in their attempts to heal Ruby? What does Ephram’s baptism mean to him?
9. Discuss the irony of the township’s name. Is there any liberty for the novel’s African-American characters there? How do their experiences compare to the freedoms and shackles Ruby encounters in New York?
10. Otha Jennings and Ruby both lose their sanity as a result of Reverend Jennings’s actions, while chapter twenty reveals the Reverend’s own tormented past. In the novel, how do women and men react differently to trauma? How are the expectations for Liberty’s girls different from those for the boys?
11. The author gives us vivid scenes of the night on which Ruby’s fate was hinged. What were the Reverend’s motivations that night? As you read the scene from the perspective of different characters, how did your perceptions change?
12. Evoking the image of a precious gem, why is Ruby’s name appropriate? Throughout her life, what is she taught about her beauty and her value?
13. What common losses do Ruby and Ephram share, from childhood to adulthood? What opens their eyes to the possibility of peace? What do you predict for their future?
14. Although Ruby is a work of fiction, the situations it describes are very much a reality. How can you and your community help protect the most vulnerable?
(Questions written by Amy Clements; issued by the publisher.)
Ruin and Rising (Grisha Trilogy, 3)
Leigh Bardugo, 2014
Henry Holt & Co.
464 pp.
ISBN-13: 9780805094619
Summary
The capital has fallen. The Darkling rules Ravka from his shadow throne.
Now the nation's fate rests with a broken Sun Summoner, a disgraced tracker, and the shattered remnants of a once-great magical army.
Deep in an ancient network of tunnels and caverns, a weakened Alina must submit to the dubious protection of the Apparat and the zealots who worship her as a Saint. Yet her plans lie elsewhere, with the hunt for the elusive firebird and the hope that an outlaw prince still survives.
Alina will have to forge new alliances and put aside old rivalries as she and Mal race to find the last of Morozova's amplifiers. But as she begins to unravel the Darkling's secrets, she reveals a past that will forever alter her understanding of the bond they share and the power she wields. The firebird is the one thing that stands between Ravka and destruction—and claiming it could cost Alina the very future she’s fighting for.
Ruin and Rising is the thrilling final installment in Leigh Bardugo's Grisha Trilogy. The first is Shadow and Bone (2012), and the second is Seige and Storm (2013). (From the publisher.)
Read an excerpt.
Author Bio
• Birth—1975
• Where—Jerusalem, Israel
• Education—B.A., Yale University
• Currently—lives in Hollywood, California, USA
Leigh Bardugo is the author of the New York Times bestsellers Shadow and Bone (2012) and Siege and Storm (2013). Ruin and Rising (2014) is the third installment in her Grisha Trilogy. Leigh was born in Jerusalem, grew up in Los Angeles, and graduated from Yale University. She has worked in advertising, journalism, and most recently, makeup and special effects. These days, she’s lives and writes in Hollywood where she can occasionally be heard singing with her band. (From the author's website .)
Book Reviews
(Starred review.) [T]he characters are perfectly imperfect; they question themselves, take risks, and make plenty of mistakes. While The Darkling is a little too similar to Harry Potter's Voldemort, he is still a delicious combination of evil, cunning, and manipulation. Fans of the first two books will not be disappointed. (Gr 8 & up.) —Leigh Collazo, Ed Willkie Middle School, Fort Worth, TX
School Library Journal
Readers won't be able to turn the pages fast enough to the conclusion that will generate much discussion.
Booklist
(Starred review.)Bardugo’s Grisha Trilogy comes to a thunderous conclusion. If opener Shadow and Bone (2012) was a magical coming-of-age story and middle-volume Siege and Storm (2013) was a political thriller, then this third book is an epic quest.... Every time readers may think she’s written herself into a corner, Bardugo pulls off a twist that, while surprising, will keep them turning pages furiously. Triumphant. (13 and up.)
Kirkus Reviews
Discussion Questions
1. The connection between Alina and the Darkling has changed in Ruin and Rising. How? Why? What does this change mean for each of them and how does it affect the events of the book?
2. Genya undergoes a big physical transformation throughout the series. How does her personality change too? What does Genya mean when she says, “I am not ruined. I’m ruination”?
3. What does the Apparat want from Alina? What methods does he use to try to manipulate her? How does she manipulate him?
4. What motives might the Darkling have for telling Alina his real name? How does she use this knowledge?
5. Alina says that David’s crime is a hunger for knowledge, not power. How does David’s way of thinking help and hurt Alina’s cause? How is David different from Morozova, and how is he the same?
6. Nikolai and Alina are allies. What are his reasons for wanting to marry her? How does she feel about those reasons and the idea of being his queen?
7. Why does Baghra decide to tell Alina the story of her childhood? How does it help Alina? What part of the story does Alina misinterpret and why do you think she makes this mistake?
8. Alina and Zoya start out as enemies. How does their relationship change? Why does Alina choose Zoya to be one of the people to lead the Grisha at the end of the story?
9. What happens to Alina’s power at the end of the book? Why? How does this affect her future and her understanding of her past? Why does Harshaw choose to fight on?
10. Alina’s side? Why do Tolya and Tamar stay loyal to her? What are the motives of some of her other allies?
11. What are the Darkling’s strengths as a leader? Why do people choose to follow him? Why does Sergei make the choice that he does?
12. Alina and Mal have a long history together. How does this infl uence their friendship? Their romance? How does it make their relationship stronger? How does it hold them back?
13. Why does the Darkling choose to punish Nikolai the way that he does? How does Nikolai’s transformation affect him, both physically and mentally, by the end of the book?
(Questions issued by the publisher.)
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Ruin and Rising |
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ON THE FOURTH DAY, we came upon a cavern with a perfectly still pool that gave the illusion of a night sky, its depths sparkling with tiny luminescent fish. * * *
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A Rule Against Murder (Inspector Gamache series, 4)
Louise Penny, 2009
St. Martin's Press
336 pp.
ISBN-13: 9780312614164
Summary
It is the height of summer, and Armand Gamache and his wife are celebrating their wedding anniversary at an isolated, luxurious inn not far from the village of Three Pines. But they’re not alone.
The Finney family—rich, cultured, and respectable—has also arrived for a celebration of their own. As the heat rises and the humidity closes in, some surprising guests turn up at the Finney reunion...and a terrible summer storm leaves behind a dead body. Now it’s up to Chief Inspector Gamache to unearth long-buried secrets and hatreds hidden behind polite smiles. The chase takes him to Three Pines—into the dark corners of his own life, and finally to a harrowing climax. (From the publisher.)
See all our Reading Guides for Chief Inspector Gamache novels by Louise Penny.
Author Bio
• Birth—1958
• Where—Toronto, Canada
• Education—B.A, Ryerson University
• Awards—Agatha Award (4 times) "New Blood" Dagger Award;
Arthur Ellis Award; Barry Award, Anthony Award; Dilys Award.
• Currently—lives in Knowlton, Canada (outside of Montreal)
In her words
I live outside a small village south of Montreal, quite close to the American border. I'd like to tell you a little bit about myself. I was born in Toronto in 1958 and became a journalist and radio host with the Canadian Broadcasting Corporation, specializing in hard news and current affairs. My first job was in Toronto and then moved to Thunder Bay at the far tip of Lake Superior, in Ontario. It was a great place to learn the art and craft of radio and interviewing, and listening. That was the key. A good interviewer rarely speaks, she listens. Closely and carefully. I think the same is true of writers.
From Thunder Bay I moved to Winnipeg to produce documentaries and host the CBC afternoon show. It was a hugely creative time with amazingly creative people. But I decided I needed to host a morning show, and so accepted a job in Quebec City. The advantage of a morning show is that it has the largest audience, the disadvantage is having to rise at 4am.
But Quebec City offered other advantages that far outweighed the ungodly hour. It's staggeringly beautiful and almost totally French and I wanted to learn. Within weeks I'd called Quebecers "good pumpkins", ordered flaming mice in a restaurant, for dessert naturally, and asked a taxi driver to "take me to the war, please." He turned around and asked "Which war exactly, Madame?" Fortunately elegant and venerable Quebec City has a very tolerant and gentle nature and simply smiled at me.
From there the job took me to Montreal, where I ended my career on CBC Radio's noon programme.
In my mid-thirties the most remarkable thing happened. I fell in love with Michael, the head of hematology at the Montreal Children's Hospital. He'd go on to hold the first named chair in pediatric hematology in Canada, something I take full credit for, out of his hearing.
It's an amazing and blessed thing to find love later in life. It was my first marriage and his second. He'd lost his first wife to cancer a few years earlier and that had just about killed him. Sad and grieving we met and began a gentle and tentative courtship, both of us slightly fearful, but overcome with the rightness of it. And overcome with gratitude that this should happen to us and deeply grateful to the family and friends who supported us.
Fifteen years later we live in an old United Empire Loyalist brick home in the country, surrounded by maple woods and mountains and smelly dogs.
Since I was a child I've dreamed of writing and now I am. Beyond my wildest dreams (and I can dream pretty wild) the Chief Inspector Gamache books have found a world-wide audience, won awards and ended up on bestseller lists including the New York Times. Even more satisfying, I have found a group of friends in the writing community. Other authors, booksellers, readers—who have become important parts of our lives. I thought writing might provide me with an income—I had no idea the real riches were more precious but less substantial. Friendships.
There are times when I'm in tears writing. Not because I'm so moved by my own writing, but out of gratitude that I get to do this. In my life as a journalist I covered deaths and accidents and horrible events, as well as the quieter disasters of despair and poverty. Now, every morning I go to my office, put the coffee on, fire up the computer and visit my imaginary friends, Gamache and Beauvoir and Clara and Peter. What a privilege it is to write. I hope you enjoy reading the books as much as I enjoy writing them.
Chief Inspector Gamache was inspired by a number of people, and one main inspiration was this man holding a copy of En plein coeur. Jean Gamache, a tailor in Granby. He looks slightly as I picture Gamache, but mostly it was his courtesy and dignity and kind eyes that really caught my imagination. What a pleasure to be able to give him a copy of En plein coeur! (From the author's website with permission.)
Book Reviews
With its small-town hominess, the Canadian village of Three Pines draws the reader into its quaint traditions. Who wouldn’t be charmed by the dramas of a community where Easter egg hunts and socials at the bed and breakfast are the most exciting events? Yet it is Penny’s fastidious, cultured, and smart Inspector Gamache who makes [The Cruelest Month] impossible to put down.
People
Penny’s plotting has been compared to Agatha Christie’s...in these wonderful books full of poetry and weather and a brooding manor house, and people who read and think and laugh and eat a lot of really excellent food. Move over, Mitford.
Charlotte Observer
(Starred review.) Murder interrupts Chief Insp. Armand Gamache and his wife's annual summer holiday at Quebec's isolated, lake-front Manoir Bellechasse in Agatha-winner Penny's intriguing, well-crafted fourth mystery (after 2008's The Cruelest Month). Irene Finney, the matriarch of a large eccentric family having a reunion at the Manoir, marks the event by having installed in the lodge's garden a statue of the long-dead father of her middle-aged children. When the massive statue falls and crushes one of the daughters, Gamache investigates and discovers no love lost among the surviving offspring. Also in the suspect pool are Bellechasse's owner, chef and maître d'. Despite the scorn the snobbish Finneys heap on Gamache's sleuthing efforts as well as his own infamous family tree, the inspector treats them all respectfully as he seeks to bring a killer to justice. Seamless, often lyrical prose artfully reveals the characters' flaws, dreams and blessings.
Publishers Weekly
The Quebecois village of Three Pines (first introduced in Still Life and Fatal Grace) is once again the scene of a perplexing murder, and Chief Inspector Armand Gamache and his team have caught the case. Madeleine Favreau, a cheerful and well-liked village resident, collapsed and died at an impromptu seance at a local house thought to be haunted. The cause of death is pronounced a high dose of ephedrine and fright. But Madeleine wasn't dieting, so who slipped her the ephedrine? Gamache is an engaging, modern-day Poirot who gently teases out information from his suspects while enjoying marvelous bistro meals and cozy walks on the village common. His team is an unlikely troupe of departmental misfits who blossom under his deft tutelage, turning up just the right clues. Penny is an award-winning writer whose cozies go beyond traditional boundaries, providing entertaining characters, a picturesque locale, and thought-provoking plots. Highly recommended. —Susan Clifford Braun
Library Journal
(Starred review.) Readers who haven’t discovered Louise Penny and her Armand Gamache series yet are in for a treat.... Suspects abound, naturally, and Gamache sorts through them with aplomb. One of the best traditional mystery series currently being published. —Judy Coon
Booklist
Discussion Questions
1. Louise Penny has said that she initially set out to write A Rule Against Murder as a classic mystery, a tribute to Golden Age writers such as Christie and Tey and Sayers, masters of the hermetic environment. She wanted to take that form and bring it into the 21st century. As the story unfolds, in what ways does it follow—or diverge from—the conventions of traditional crime fiction?
2. In the course of the Finney reunion, numerous parent-child relationships are explored: between Charles Morrow and his children when they were young; between Irene Finney and those now adult children; between Pierre Patenaude and his father and the staff he regards as surrogate sons and daughters; even between Gamache and his father and son. What sorts of things go wrong in those relationships, and what goes right?
3. What about other family relationships? How do you view the interactions, past and present, among the Morrow siblings? Consider the various marriages in the book—for example, between Armand and Reine-Marie Gamache, Clara and Peter Morrow, and Bert and Irene Finney. What makes them happy or otherwise?
4. What do you think about the character of Bean? How about the mother, Marianna?
5. How does Louise Penny plant clues to the murder throughout the story? Which ones did you pick up, and what conclusions did you draw? Did you, like Gamache—who tells Bean he made a massive mistake—miss anything important?
6. If you have read other novels in the series, how does it feel to step away from Three Pines? How does it change your view of Clara and Peter? What about Gamache, who functions much more as a private citizen here than in other books?
7. The title of the book is taken from a conversation that occurs after the murder:
“What happened here last night isn’t allowed,” said Madame Dubois.
It was such an extraordinary thing to say, it stopped the ravenous Inspector Beauvoir from taking another bite of his roast beef on baguette.
“You have a rule against murder?” he asked.
“I do. When my husband I bought the Bellechasse we made a pact.... Everything that stepped foot on this land would be safe.”
In what ways does the Manoir Bellechasse succeed at being a refuge from the harshness of the world? How and why does it fail?
8. What roles do courage and cowardice play in the story?
9. “We’re all blessed and we’re all blighted,” Bert Finney tells Gamache. “Every day each of us does our sums. The question is, what do we count?” Do you agree with Bert? What sorts of things do you count?
10. “Paradise lost,” says Gamache at the end; “to have it all and to lose it. That’s what this case was about.” What is paradise in this story, and how is it lost?
(Questions issued by publisher.)
The Rules Do Not Apply
Ariel Levy, 2017
Random House
224 pp.
ISBN-13: 9780812996937
Summary
A gorgeous memoir about a woman overcoming dramatic loss and finding reinvention—for readers of Cheryl Strayed and Joan Didion
When thirty-eight-year-old New Yorker writer Ariel Levy left for a reporting trip to Mongolia in 2012, she was pregnant, married, financially secure, and successful on her own terms. A month later, none of that was true.
Levy picks you up and hurls you through the story of how she built an unconventional life and then watched it fall apart with astonishing speed. Like much of her generation, she was raised to resist traditional rules—about work, about love, and about womanhood.
"I wanted what we all want: everything. We want a mate who feels like family and a lover who is exotic, surprising. We want to be youthful adventurers and middle-aged mothers. We want intimacy and autonomy, safety and stimulation, reassurance and novelty, coziness and thrills. But we can’t have it all."
In this profound and beautiful memoir, Levy chronicles the adventure and heartbreak of being "a woman who is free to do whatever she chooses." Her own story of resilience becomes an unforgettable portrait of the shifting forces in our culture, of what has changed—and of what is eternal. (From the publisher.)
Author Bio
• Birth—October 17, 1974
• Raised—Larchmont, New York, USA
• Education—B.A., Wesleyan University
• Currently—lives in New York, New York
Ariel Levy is an American staff writer at The New Yorker magazine and the author of the books The Rules do Not Apply (2017) and Female Chauvinist Pigs: Women and the Rise of Raunch Culture (2005). Her work has appeared in the Washington Post, New Yorker, Vogue, Slate, and New York Times. Levy was named one of the "Forty Under 40" most influential out individuals in the June/July 2009 issue of The Advocate.
Early life and education
Levy was raised in Larchmont, New York, and says she knew from early on that she wanted to become a writer
I always wanted to be a writer, for as long as I can remember. I’ve kept a journal since at least the third grade—writing has always been my method for making sense of the world and my experience. Also, my dad is a writer so it seemed sort of natural.
She graduated from Wesleyan University in 1996 and claims that her experiences at the university, which had "coed showers, on principle," influenced her views regarding modern sexuality. After graduating, she was briefly employed by Planned Parenthood, but claims that she was fired because she is "an extremely poor typist." Not long after, she was hired by New York magazine.
Levy spent 12 years at New York magazine where, as a contributing editor, she wrote about John Waters, Stanley Bosworth, Donatella Versace, the writer George W. S. Trow, the feminist Andrea Dworkin, and the artists Ryan McGinley and Dash Snow.
In 2008, she moved to The New Yorker, becoming staff writer and publishing profiles of Cindy McCain, Silvio Berlusconi, Caster Semenya and Callista Gingrich. Levy has explored issues surrounding American drug use, gender roles, lesbian culture, and the popularity of U.S. pop culture staples such as Sex and the City. Some of these articles allude to Levy's personal thoughts on the status of modern feminism.
Culture critic
Levy criticized the pornographic video series Girls Gone Wild after she followed its camera crew for three days, interviewed both the makers of the series and the women who appeared on the videos, and commented on the series' concept and the debauchery she was witnessing. Many of the young women Levy spoke with believed that bawdy and liberated were synonymous.
Levy's experiences amid Girls Gone Wild appear again in Female Chauvinist Pigs, in which she attempts to explain "why young women today are embracing raunchy aspects of our culture that would likely have caused their feminist foremothers to vomit."
In today's culture, Levy writes, the idea of a woman participating in a wet T-shirt contest or being comfortable watching explicit pornography has become a symbol of strength; she says that she was surprised at how many people, both men and women, working for programs such as Girls Gone Wild told her that this new "raunch" culture marked not the downfall of feminism but its triumph, but Levy is unconvinced.
Levy's work is anthologized in The Best American Essays of 2008, New York Stories, and 30 Ways of Looking at Hillary.
Personal life
In 2013 she wrote about losing her unborn baby at 19 weeks while traveling alone in Mongolia, which became the basis for her 2017 memoir Rules Do Not Apply. (Adapted from Wikipedia. Retieved 3/1/2017.)
Book Reviews
[A] dark and absorbing memoir.… Though some of the lessons learned in this memorable story are painful, Levy ultimately finds redemption in her ability to glimpse the light beyond the darkness, and to gain a deepening gratitude for friends, family, and her profession.
Publishers Weekly
With dignity and grace, this former golden girl eloquently acknowledges how the fact that "everybody doesn’t get everything"” in life is "as natural and unavoidable as mortality." Unflinchingly candid and occasionally heartbreaking.
Kirkus Reviews
Discussion Questions
We'll add publisher questions if and when they're available; in the meantime, please use our LitLovers taking points to start a discussion for The Rules Do Not Apply…then take off on your own:
1. Ariel Levy's memoir begins with this statement: "For the first time I can remember, I cannot locate my competent self." She feels disoriented and confused. Have you ever felt this way, even without the devastating loss Levy has experienced?
2. Levy comes to see herself as the cause of her own collapse: "I knew, as surely as I now knew that I wanted a child, that this change in fortune was my fault," she writes. What do you think? What realization does she eventually come to?
3. How do you see Ariel Levy? Is she too hard on herself? She has led a particularly comfortable existence, one my say a life of privilege. Do you think in some way that comfort shielded her from experiences that the majority of people struggle with and perhaps left her less able to cope with life's vicissitudes?
4. Consider your own life: which circumstances have been, or are, outside of your control? Which ones have been, or are, within your purview? How much control do we have over our lives?
5. Talk about Levy's marriage, her infidelity, and her spouse's alcoholism.
(Questions by LitLovers. Please feel free to use them, online or off, with attribution.)
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The Rules of Attraction
Bret Easton Ellis, 1987
Knopf Doubleday
288 pp.
ISBN-13: 9780679781486
Summary
Set at a small, affluent liberal-arts college in New England at the height of the Reagan 80s, The Rules of Attraction is a startlingly funny, kaleidoscopic novel about three students with no plans for the future—or even the present—who become entangled in a curious romantic triangle. Bret Easton Ellis trains his incisive gaze on the kids at self-consciously bohemian Camden College and treats their sexual posturings and agonies with a mixture of acrid hilarity and compassion while exposing the moral vacuum at the center of their lives.
Lauren changes boyfriends every time she changes majors and still pines for Victor who split for Europe months ago and she might or might not be writing anonymous love letter to ambivalent, hard-drinking Sean, a hopeless romantic who only has eyes for Lauren, even if he ends up in bed with half the campus, and Paul, Lauren's ex, forthrightly bisexual and whose passion masks a shrewd pragmatism. They waste time getting wasted, race from Thirsty Thursday Happy Hours to Dressed To Get Screwed parties to drinks at The Edge of the World or The Graveyard. The Rules of Attraction is a poignant, hilarious take on the death of romance. (From the publisher.)
Author Bio
• Birth—March 7, 1964
• Where—Los Angeles, California, USA
• Education—B.A., Bennington College (Vermont)
• Currently—lives in New York, NY and Los Angeles, CA
Bret Easton Ellis, an American novelist and short story writer, once regarded as one of the so-called literary Brat Pack, (which also included Tama Janowitz and Jay McInerney) is a self-proclaimed "moralist." Ellis employs a technique of linking novels with common, recurring characters.
Ellis was raised in Sherman Oaks in the San Fernando Valley, the son of Robert Martin Ellis, a wealthy property developer, and Dale Ellis, a homemaker. His parents divorced in 1982. He was educated at The Buckley School, where he did not distinguish himself; then he took a music-based course at Bennington College in Vermont, which is thinly disguised as Camden College in all of his novels. He was a part-time musician in 1980s bands such as The Parents before his first book was published.
Less Than Zero, a tale of disaffected, rich teenagers of Los Angeles, was praised by critics and sold well. He moved to New York City in 1987 for the publication of his second novel, The Rules of Attraction, which follows a group of sexually promiscuous college students. Although it sold fairly well, Ellis admits he felt he had "fallen off," after the novel failed to match the success of his debut effort.
That novel introduced Patrick Bateman, who would become the principal character of his controversial third novel, the graphically violent novel American Psycho. Originally intended to be published by Simon & Schuster, it was withdrawn after external protests from groups such as the NOW and others due to the alleged misogynistic nature of the book. The novel was later published by Vintage in 1991. Some consider American Psycho, whose protagonist, Patrick Bateman, is both a cartoonishly materialistic yuppie and a serial killer, to be an example of transgressive art. The novel has achieved considerable cult status.
His collection of short stories, The Informers, was released in 1994, while his publishers waited on the promised fourth novel. His fourth novel, Glamorama, published in 1998, is set in the world of high fashion. The story follows a male model who becomes entangled in a bizarre terrorist organization composed entirely of other models. Glamorama plays with themes of media, celebrity, and political violence and, like its predecessor American Psycho, uses surrealism to convey a sense of postmodern dread.
Lunar Park, released in 2005, uses the form of a celebrity memoir to tell a ghost story about the novelist "Bret Easton Ellis," and his chilling experiences in the apparently haunted home he shares with his wife and son. In keeping with his usual style, Ellis mixes absurd comedy with a bleak and violent vision. In this semi-autobiographical novel, the fictional Bret continues both transient affairs and long-term relationships with men and women at various points in the novel. Critical reaction to the novel was mostly positive, with many critics endeared by the tones of wistfulness and sentimentality Ellis had achieved.
When asked a 2002 interview whether or not he was gay, Ellis explained that he does not identify himself as gay or straight. He explained that he is comfortable to be thought of as gay, bisexual or heterosexual and that he enjoys playing with his persona, identifying variously as gay, straight and bi to different people over the years.
In an August 2005 New York Times article, "Bret Easton Ellis: The Man in the Mirror," Ellis revealed that his best friend and lover for six years, Michael Wade Kaplan, died in 2004 at the age of 30. Ellis described their partnership as being a "very loose kind" and "not particularly conventional" as "neither one of us was interested in the lifestyle." Kaplan's death left Ellis bereft and experiencing what he describes as "a midlife crisis" which acted as a "big catalyst" in helping Ellis finish Lunar Park, adding "a new layer of wistfulness and melancholy to the writing" that had not been there before."
Lunar Park was dedicated to Kaplan and Ellis's father, Robert, who died in 1992 and about whom he speaks openly in interviews promoting the novel. Ellis describes feeling liberated by completing the novel which allowed him to come to terms with many of the unresolved issues regarding his father. In his author Q&A on the Random House website, Ellis comments on their relationship, which left him with a lot of damage. Now older, Ellis describes how his opinion of his father changed over the prior 15 years while writing Glamorama, in which the central conspiracy concerns the relationship of a father and son. Even earlier, the character of Patrick Bateman from American Psycho was based on his father. (Adapted from Wikipedia.)
Book Reviews
Having read some 200-plus pages of this sort of thing, the reader senses that Mr. Ellis is not only playing to our cheapest voyeuristic impulses by trying to glamorize the shallow world he's created but is also zeroing in on his characters' worst traits in order to feel superior to them himself. While there's a hint of a plot ..., his characters are so sketchily defined, so uniformly jaded and drugged out as to be indistinguishable from one another, and we're left to echo their own refrain: ''It's all so boring.''
Michiko Kakutani - New York Times
Serves to establish Mr. Ellis' reputation further as one of the primary inside sources in upper-middle-class America's continuing investigation of what has happend to its children....There is a raunchy tradition in literature— the young man lurching around the lower depths, short on cash, long on nerve, taking his knocks and writing about it. But here we have...young men and women spending their parents' dough and feeling victimized by the help.
Scott Spencer - New York Times Book Review
Ellis is, first and last, a moralist. Under cover of his laconic voice, every word in his [novels] springs from grieving outrage at our spiritual condition.
Los Angeles Times Book Review
This tale of privileged college students at their self-absorbed and childish worst is the very book that countless students have dreamed of writing at their most self-absorbed and childish moments. With one bestseller to his credit, Less Than Zero author and recent Bennington College graduate Ellis has had the unique opportunity of seeing his dream become a reality, and all those other once-and-future students can breathe a sigh of relief that it didn't happen to them. Through a series of brief first-person accounts, the novel chronicles one term at a fictional New England college, with particular emphasis on a decidedly contemporary love triangle (one woman and two men) in which all possible combinations have been explored, and each pines after the one who's pining after the other. Theirs is a world of physical, chemical and emotional excess—an adolescent fantasy of sex, drugs and sturm und drang—wherein characters are distinguished only by the respective means by which they squander their health, wealth and youth. Despite its contemporary feel and flashy structure, the book begins and ends midsentence—the narrative relies on the stalest staples of melodrama and manages to pack in a suicide, assorted suicide attempts, an abortion and the death of a parent without giving the impression that anything is happening or that any of it matters.
Publishers Weekly
Two years after his debut best seller, Less Than Zero, Ellis returns with a very different novel. Though still about college students (Ellis graduated only last year), this story is told through numerous student diaries, illustrating the "accidents" that often form the basis of modern relationships. Here, misunderstandings, differing perceptions, and often just bad hearing cause pairings to begin or end, proving Ellis' implicit thesis that there are no "rules." Ellis has his pretensions (the book starts and finishes in the middle of a sentence, and one diary entry is in easy French), but he successfully fleshes out his characters and creates involving situations. —Susan Avallone
Library Journal
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for The Rules of Attraction:
1. What kind of world does Ellis describe in The Rules of Attraction? Does he is glamorize it? Does he seem to approve or admire it...or something else? What do you think?
2. Is this the world of real college students? Would you consider the novel a work of "social psychology" as some have? Others call it a "dark comedy." What do you think (actually, what is a dark comedy)?
3. The story begins and ends, intentionally, half-way through a sentence. Why might Ellis have done so? What effect does it create?
4. Do you come to sympathize with, or like, any of these characters? If so, who—Lauren, Mary, Sean, Paul, or Victor? How would you describe them?
5. In what way do these students represent a culture of conspicuous consumption? How do they use (or abuse) their privilege?
6. What is at the heart of these young peoples' lives, anything? One character writes, "I am very tired. That's what I am. Tired of everything." What's the significance of that statement? Are they vacant individuals, or do they long for something underneath their shiny, rich exteriors.
7. What is the larger picture Ellis attempts to suss out for us in The Rules of Attraction?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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Rules of Civility
Amor Towles, 2011
Penguin Group USA
352 pp.
ISBN-13: 9780670022694
Summary
Set in New York City in 1938, Rules of Civility tells the story of a watershed year in the life of an uncompromising twenty-five-year- old named Katey Kontent.
Armed with little more than a formidable intellect, a bracing wit, and her own brand of cool nerve, Katey embarks on a journey from a Wall Street secretarial pool through the upper echelons of New York society in search of a brighter future.
The story opens on New Year's Eve in a Greenwich Village jazz bar, where Katey and her boardinghouse roommate Eve happen to meet Tinker Grey, a handsome banker with royal blue eyes and a ready smile. This chance encounter and its startling consequences cast Katey off her current course, but end up providing her unexpected access to the rarified offices of Conde Nast and a glittering new social circle.
Befriended in turn by a shy, principled multimillionaire, an Upper East Side ne'er-do-well, and a single-minded widow who is ahead of her times, Katey has the chance to experience first hand the poise secured by wealth and station, but also the aspirations, envy, disloyalty, and desires that reside just below the surface.
Even as she waits for circumstances to bring Tinker back into her orbit, she will learn how individual choices become the means by which life crystallizes loss.
Elegant and captivating, Rules of Civility turns a Jamesian eye on how spur of the moment decisions define life for decades to come. A love letter to a great American city at the end of the Depression, readers will quickly fall under its spell of crisp writing, sparkling atmosphere and breathtaking revelations, as Towles evokes the ghosts of Fitzgerald, Capote, and McCarthy. (From the publisher.)
Author Bio
• Birth—1964
• Where—near Boston, Massachusetts, USA
• Education—B.A., Yale University; M.A., Stanford University
• Currently—lives in New York City, New York
Amor Towles was born and raised just outside Boston, Massachusetts. He graduated from Yale University and received an MA in English from Stanford University, where he was a Scowcroft Fellow. For his Master's thesis, he wrote a series of five related stories that was published in the Paris Review in 1989.
Towles spent the next 20 years in the financial industry as director of research for Select Equity Group, an $18 billion hedge fund. During that time, he never gave up the dream of becoming an author. A decade into his financial career, he began work on a novel set in the Russian countryside, only to toss the manuscript after seven years. Finally, in 2006, he made another effort, this time succeeding with what would become his 2011 debut novel, Rules of Civility.
In 2013, Towles retired so he devote himself to full-time writing. His second book, A Gentleman in Moscow came out in 2016. According to Towles, the book was inspired by a business trip two years earlier as he mused about guests at Le Richemond hotel in Geneva, Switzerland. He had noticed the same people on a previous trip, and he began to wonder what it would be like to be trapped, for decades, inside a hotel. Towles wrote his thoughts down on Le Richemond hotel stationery, notes which he has kept to this day. (Adapted from the publisher and Wall Street Journal.)
Book Reviews
With this snappy period piece, Towles resurrects the cinematic black-and-white Manhattan of the golden age of screwball comedy, gal-pal camaraderie and romantic mischief.
Liesl Schillinger - New York Times
This very good first novel about striving and surviving in Depression-era Manhattan deserves attention The great strength of Rules of Civility is in the sharp, sure-handed evocation of Manhattan in the late '30s.
Wall Street Journal
Even the most jaded New Yorker can see the beauty in Amor Towles' Rules of Civility, the antiqued portrait of an unlikely jet set making the most of Manhattan.
San Francisco Chronicle
The new novel we couldn't put down...in the crisp, noirish prose of the era, Towles portrays complex relationships in a city that is at once melting pot and elitist enclave - and a thoroughly modern heroine who fearlessly claims her place in it.
Oprah Magazine
Put on some Billie Holiday, pour a dry martini and immerse yourself in the eventful life of Katey Kontent...[Towles] clearly knows the privileged world he's writing about, as well as the vivid, sometimes reckless characters who inhabit it.
People
In his smashing debut, Towles details the intriguing life of Katherine Kontent and how her world is upended by the fateful events of 1938. Kate and her roommate, Evelyn Ross, have moved to Manhattan for its culture and the chance to class up their lives with glamour—be it with jazz musicians, trust fund lotharios, or any man with a hint of charm who will pay for dinner and drinks. Both Kate and Evelyn are enamored of sophisticated Tinker Grey, who they meet in a jazz club; he appears to be another handsome, moneyed gent, but as the women vie for his affection, a tragic event may seal a burgeoning romance's fate. New York's wealthy class is thick with snobbery, unexpected largesse, pettiness, jealousies, and an unmistakable sense of who belongs and who does not, but it's the undercurrent of unease—as with Towles's depiction of how the upper class can use its money and influence to manipulate others' lives in profoundly unsavory ways—that gives his vision depth and complexity. His first effort is remarkable for its strong narrative, original characters and a voice influenced by Fitzgerald and Capote, but clearly true to itself.
Publishers Weekly
On New Year's Eve 1937, at a jazz bar in New York's Greenwich Village, Katey and Eve are charmed by the handsome and successful Tinker Grey. The three become fast friends and spend early 1938 exploring the town together, until a car accident permanently injures Eve. Feeling guilty, Tinker, the driver, takes care of Eve and unsuccessfully tries to love her. Despite the presence and initial impact of Tinker and Eve, though, this first novel is about Katey's 1938. Eve moves on, and Tinker fades, but Katey, the narrator, stays to challenge the New York bourgeois unwaveringly with her acerbic wit, capturing the attention of several doting men. She quits her job as a typist and pursues a career as editor of a respected, if risqué, society magazine. And Katey does it without a handout (she thinks). Verdict: Historical love story. Snappy dialog and sophisticated characters. A romantic look at the difficulties of being a New Yorker. But not, as the publisher suggests, reminiscent of Fitzgerald, though similar themes (class, betrayal, despair) arise. This novel would, however, make a nice (contemporary) companion to novels like The Great Gatsby and is thusly recommended.—Stephen Morrow, Ohio Univ., Columbus.
Library Journal
Manhattan in the late 1930s is the setting for this saga of a bright, attractive and ambitious young woman whose relationships with her insecure roommate and the privileged Adonis they meet in a jazz club are never the same after an auto accident. Towles' buzzed-about first novel is an affectionate return to the post–Jazz Age years, and the literary style that grew out of it (though seasoned with expletives). Brooklyn girl Katey Kontent and her boardinghouse mate, Midwestern beauty Eve Ross, are expert flirts who become an instant, inseparable threesome with mysterious young banker Tinker Grey. With him, they hit all the hot nightspots and consume much alcohol. After a milk truck mauls his roadster with the women in it, permanently scarring Eve, the guilt-ridden Tinker devotes himself to her, though he and she both know he has stronger feelings for Katey. Strong-willed Katey works her way up the career ladder, from secretarial job on Wall Street to publisher's assistant at Condé Nast, forging friendships with society types and not allowing social niceties to stand in her way. Eve and Tinker grow apart, and then Kate, belatedly seeing Tinker for what he is, sadly gives up on him. Named after George Washington's book of moral and social codes, this novel documents with breezy intelligence and impeccable reserve the machinations of wealth and power at an historical moment that in some ways seems not so different from the current one. Tinker, echoing Gatsby, is permanently adrift. The novel is a bit light on plot, relying perhaps too much on description. But the characters are beautifully drawn, the dialogue is sharp and Towles avoids the period nostalgia and sentimentality to which a lesser writer might succumb. An elegant, pithy performance by a first-time novelist who couldn't seem more familiar with his characters or territory.
Kirkus Reviews
Discussion Questions
(Questions developed by the author.)
1. At the outset, Rules of Civility appears to be about the interrelationship between Katey, Tinker, and Eve; but then events quickly lead Eve and Tinker offstage. Are Dicky Vanderwhile, Wallace Wolcott, Bitsy, Peaches, Hank, and Anne Grandyn as essential to Katey's "story" as Tinker and Eve? If so, what role do you think each plays in fashioning the Katey of the future?
2. Katey observes at one point that Agatha Christie "doles out her little surprises at the carefully calibrated pace of a nanny dispensing sweets to the children in her care." Something similar could be said of how Katey doles out information about herself. What sort of things is Katey slow to reveal, and what drives her reticence?
3. After seeing Tinker at Chinoisserie, Katey indicts George Washington's "Rules of Civility" as "A do-it yourself charm school. A sort of How to Win Friends and Influence People 150 years ahead of its time." But Dicky sees some nobility in Tinker's aspiration to follow Washington's rules. Where does your judgment fall on Tinker? Is Katey wholly innocent of Tinker's crime? Where does simulation end and character begin? Which of Washington's rules do you aspire to?
4. A central theme in the book is that a chance encounter or cursory decision in one's twenties can shape one's course for decades to come. Do you think this is true to life? Were there casual encounters or decisions that you made, which in retrospect were watershed events?
5. When I told my seven-year-old son that I had written a book that was going to be published, he said: That's great! But who is going to do the pictures? While the Walker Evans portraits in the book may not meet my son's standards of illustration, they are somewhat central to the narrative. In addition, there are the family photographs that line Wallace Wolcott's wall (including the school picture in which Tinker appears twice); there are the photographs of celebrities that Mason Tate reviews with Katey at Condé Nast; there are the pictures that end up on Katey and Valentine's wall. Why is the medium of photography a fitting motif for the book? How do the various photographs serve its themes?
6. One of the pleasures of writing fiction is discovering upon completion of a project that some thread of imagery has run through the work without your being aware—forming, in essence, an unintentional motif. While I was very conscious of photography as a motif in the book, and the imagery of fairy tales, here are two motifs that I only recognized after the fact: navigation (expressed through references to the Odyssey; to the shipwrecks of the Titanic, Endurance, and Robinson Crusoe; and through Thoreau's reckoning and pole star metaphors); and the blessed and the damned (expressed through scattered references to churches, paradise, the inferno, doomsday, redemption day, the pietà and the language of the Gospels). What role do these motifs play in the thematic composition of the book? And if you see me in an airport, can you please explain them to me?
7. Upon completion of this book, one of my guilty pleasures has been imagining how Eve was doing in Hollywood. When Eve says, "I like it just fine on this side of the windshield," what does she mean? And why is the life Tinker offers her so contrary to the new life she intends to pursue? If you register at my Web site, on the first of the year I will send you a short story on Eve's progress.
8. When Tinker sets out on his new life, why does he intend to start his days saying Katey's name? What does he mean when he describes Katey as someone of "such poise and purpose"? Is the book improved by the four sections from Tinker's point of view, or hindered by them?
9. T. S. Eliot's "The Love Song of J. Alfred Prufrock" is referenced in the book's preface and its epilogue. Why is that poem somehow central to Katey's 1969 reflections on her 1938 experiences?
10. Please don't answer this last question until the wine bottles are empty and the servers are waiting impatiently to clear your table: In the epilogue, Katey observes that "Right choices are the means by which life crystallizes loss." What is a right choice that you have made and what did you leave behind as a result?
(Questions by the author...issued by the publisher.)
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The Rules of Magic
Alice Hoffman, 2017
Simon & Schuster
384 pp.
ISBN-13: 9781501137471
Summary
From beloved author Alice Hoffman comes the spellbinding prequel to her bestseller, Practical Magic.
Find your magic.
For the Owens family, love is a curse that began in 1620, when Maria Owens was charged with witchery for loving the wrong man.
Hundreds of years later, in New York City at the cusp of the sixties, when the whole world is about to change, Susanna Owens knows that her three children are dangerously unique. Difficult Franny, with skin as pale as milk and blood red hair, shy and beautiful Jet, who can read other people’s thoughts, and charismatic Vincent, who began looking for trouble on the day he could walk.
From the start Susanna sets down rules for her children: No walking in the moonlight, no red shoes, no wearing black, no cats, no crows, no candles, no books about magic. And most importantly, never, ever, fall in love. But when her children visit their Aunt Isabelle, in the small Massachusetts town where the Owens family has been blamed for everything that has ever gone wrong, they uncover family secrets and begin to understand the truth of who they are. Back in New York City each begins a risky journey as they try to escape the family curse.
The Owens children cannot escape love even if they try, just as they cannot escape the pains of the human heart. The two beautiful sisters will grow up to be the revered, and sometimes feared, aunts in Practical Magic, while Vincent, their beloved brother, will leave an unexpected legacy. Thrilling and exquisite, real and fantastical, The Rules of Magic is a story about the power of love reminding us that the only remedy for being human is to be true to yourself. (From the publisher.)
Author Bio
• Birth—March 16, 1952
• Where—New York, New York, USA
• Education—B.A., Adelphi University; M.A., Stanford University
• Currently—lives in Boston, Massachusetts
Alice Hoffman was born in New York City and grew up on Long Island. After graduating from high school in 1969, she attended Adelphi University, from which she received a BA, and then received a Mirrellees Fellowship to the Stanford University Creative Writing Center, which she attended in 1973 and 74, receiving an MA in creative writing. She currently lives in Boston ,Massachusetts.
Beginnings
Hoffman’s first novel, Property Of, was written at the age of twenty-one, while she was studying at Stanford, and published shortly thereafter by Farrar Straus and Giroux. She credits her mentor, professor and writer Albert J. Guerard, and his wife, the writer Maclin Bocock Guerard, for helping her to publish her first short story in the magazine Fiction. Editor Ted Solotaroff then contacted her to ask if she had a novel, at which point she quickly began to write what was to become Property Of, a section of which was published in Mr. Solotaroff’s magazine, American Review.
Since that remarkable beginning, Alice Hoffman has become one of our most distinguished novelists. She has published a total of twenty-three novels, three books of short fiction, and eight books for children and young adults.
Highlights
♦ Her novel, Here on Earth, an Oprah Book Club choice, was a modern reworking of some of the themes of Emily Bronte’s masterpiece Wuthering Heights.
♦ Practical Magic was made into a Warner film starring Sandra Bullock and Nicole Kidman.
♦ Her novel, At Risk, which concerns a family dealing with AIDS, can be found on the reading lists of many universities, colleges and secondary schools.
♦ Hoffman’s advance from Local Girls, a collection of inter-related fictions about love and loss on Long Island, was donated to help create the Hoffman Breast Center at Mt. Auburn Hospital in Cambridge, MA.
♦ Blackbird House is a book of stories centering around an old farm on Cape Cod.
♦ Hoffman’s recent books include Aquamarine and Indigo, novels for pre-teens, and the New York Times bestsellers The River King, Blue Diary, The Probable Future, and The Ice Queen.
♦ Green Angel, a post-apocalyptic fairy tale about loss and love, was published by Scholastic and The Foretelling, a book about an Amazon girl in the Bronze Age, was published by Little Brown. In 2007 Little Brown published the teen novel Incantation, a story about hidden Jews during the Spanish Inquisition, which Publishers Weekly has chosen as one of the best books of the year.
♦ More recent novels include The Third Angel, The Story Sisters, the teen novel, Green Witch, a sequel to her popular post-apocalyptic fairy tale, Green Angel.
♦ The Red Garden, published in 2011, is a collection of linked fictions about a small town in Massachusetts where a garden holds the secrets of many lives.
Recognition
Hoffman’s work has been published in more than twenty translations and more than one hundred foreign editions. Her novels have received mention as notable books of the year by the New York Times, Entertainment Weekly, Los Angeles Times, Library Journal, and People magazine. Her short fiction and non-fiction have appeared in the New York Times, Boston Globe Magazine, Kenyon Review, Los Angeles Times, Architectural Digest, Harvard Review, Ploughshares and other magazines.
She has also worked as a screenwriter and is the author of the original screenplay "Independence Day," a film starring Kathleen Quinlan and Diane Wiest. Her teen novel Aquamarine was made into a film starring Emma Roberts.
In 2011 Alice published The Dovekeepers, which Toni Morrison calls "... a major contribution to twenty-first century literature" for the past five years. The story of the survivors of Masada is considered by many to be Hoffman’s masterpiece. The New York Times bestselling novel is slated for 2015 miniseries, produced by Roma Downey and Mark Burnett, starring Cote de Pablo of NCIS fame.
Most recent
The Museum of Extraordinary Things was released in 2014 and was an immediate bestseller, the New York Times Book Review noting, "A lavish tale about strange yet sympathetic people, haunted by the past and living in bizarre circumstances… Imaginative…"
Nightbird, a Middle Reader, was released in March of 2015. In August of 2015, The Marriage Opposites, Alice’s latest novel, was an immediate New York Times bestseller. "Hoffman is the prolific Boston-based magical realist, whose stories fittingly play to the notion that love—both romantic and platonic—represents a mystical meeting of perfectly paired souls," said Vogue magazine. (Adapted from the author's website.)
Book Reviews
(Starred review.) Hoffman delights in this prequel to Practical Magic, as three siblings discover both the power and curse of their magic.… The spellbinding story, focusing on the strength of family bonds through joy and sorrow…. Fans of Practical Magic will be bewitched.-
Publishers Weekly
(Starred review.) Hoffman deftly weaves in dramatic events from the era, including the Vietnam War… without sacrificing the fairy-tale feeling of her story.… [R]eaders who…prefer to be kept at something of a remove from the grittiness of life's tragedies will relish this book. —Sharon Mensing, Emerald Mountain School, Steamboat Springs, CO
Library Journal
No one's more confident or entertaining than Hoffman at putting across characters willing to tempt fate for true love. Real events…enter the characters' family history, as well as a stunning plot twist — everything fans… could hope for.
Kirkus Reviews
Discussion Questions
1. We learn that the rules of magic are to harm no one, remember that what you give will be returned to you threefold, and fall in love whenever you can. Do Franny, Jet, and Vincent live by these rules? What happens when they break them? What set of rules would you live by?
2. Make note of the part titles. What do the titles add to the narrative? Why do you think the author chose the titles she did?
3. Alice Hoffman’s novels are often woven with qualities that earn them a place in the genre of magical realism. Discuss how she achieves this writing style. What details do you notice she includes? What sources of inspiration does she draw from?
4. When the Owens siblings visit Aunt Isabelle for the first time, she tells them a story about a cousin named Maggie, who was turned into a rabbit. She warns Franny, Jet, and Vincent that this "is what happens when you repudiate who you are" (page 30). Each is certain that the harrowing tale was meant to caution her or him specifically. How do they interpret it differently? Why do you think Isabelle shared this story?
5. If you are familiar with Practical Magic, you already know that the Owenses’ ancestor, Maria, cast a curse that brought an end to any man who fell in love with a member of the family. In The Rules of Magic, we uncover the secret that they are "all descendants of a witch-finder and a witch" (page 138). What is revealed about Maria’s love affair? Does it help us understand the reasoning behind the curse?
6. Frances in particular seems to wrestle the most with the curse, even with her Maid of Thorns reputation. Why is this so? Why do you think she can’t embrace love the way her siblings do?
7. Forgiveness quickly becomes a large theme of the novel. After their parents die, Jet develops a deep self-hatred. The distrust between Franny and Haylin only grows after the incident at Turtle Pond, and Vincent’s own heavy secrets burden him. Discuss how the characters work through their conflicts, and whether or not they are able to resolve the issues.
8. There is something magical about Vincent’s music. Audiences are spellbound by his performances, even early on in Isabelle’s garden. His song, "I Walk at Night," seems to tell the past and the future, like a prophecy. Discuss which lines you liked best. Did you notice any that foreshadowed events? What references do the lyrics make? When he says, "I walked at night, I longed to fight" (page 217), what do you think he means?
9. One summer night while walking his dog, Harry, Vincent stumbles upon the Stonewall riots, often recognized as the origin of the gay rights movement in the United States. What do you know about this historical event? Do you think the revolt changed him? How do the riots contrast with Vincent and William’s trip to California during the Summer of Love?
10. Jet also wanders through a historical event inspired by the Human Be-In, held in Central Park on Easter Sunday of 1967. She accidentally ingests LSD and almost drowns herself in one of the park’s ponds. What brought Jet to this moment? Would you consider it her rock bottom? When she meets Rafael, he begins to pull Jet out of her despair. How does their love help her recover, and how does it differ from her relationship with Levi?
11. When Vincent and William visit April in California, she remarks, "Fate is what you make of it.… You can make the best of it or you can let it make the best of you" (page 220). In a novel that often seems ruled by fate, how do the characters determine their own destinies? How is the advice applicable to April’s own life?
12. Vincent’s fate is altered when he is drafted to Vietnam in one of the country’s most unpopular and controversial wars. Do you think his sisters did the right thing by smuggling him out of the country? What would you have done if you or a loved one were drafted at the time?
13. When Haylin, the love of Franny’s life, dies from cancer, she asks her sister, "How will I ever love anyone again?" Of course, Sally and Gillian Owens, recently orphaned through a tragedy of their own, become the answer to that question. Still, this is an issue that resurfaces throughout the book. In a family where love is destined to bring loss, how do the characters continue to find the courage to love more, not less?
(Questions issued by the publisher.)
Run
Ann Patchett, 2007
HarperCollins
295 pp.
ISBN-13:& 9780061340642
Summary
It's a winter evening in Boston and the temperature has drastically dropped as a blizzard approaches the city. On this fateful night, Bernard Doyle plans to meet his two adopted sons, Tip the older, and more serious, and Teddy, the affectionate dreamer, at a Harvard auditorium to hear a speech given by Jesse Jackson.
Doyle, an Irish Catholic and former Boston mayor, has done his best to keep his two sons interested in politics, from the day he and his now deceased wife became their parents, through their childhoods, and now in their lives as college students. Though the two boys are African-American, the bonds of the family's love have never been tested. But as the snow begins to falls, an accident triggers into motion a series of events that will forever change their lives.
This is at its very center, a novel about what truly defines family and the lengths we will go to protect our children. Patchett beautifully weaves together seemingly disparate lives to show how intimately humans can connect. Stunning and powerful, Run is sure to engage any Patchett fan and bring her even more admirers. (From the publisher.)
Author Bio
• Birth—December 2, 1963
• Where—Los Angeles, California, USA
• Raised—Nashville, Tennessee
• Education—B.A., Sarah Lawrence College; M.F.A., University of Iowa
• Awards—Guggenheim Fellowship; PEN/Faulkner Award; Orange Prize
• Currently—lives in Nashville, Tennessee
Ann Patchett is an American author of both fiction and nonfiction. She is perhaps best known for her 2001 novel, Bel Canto, which won her the Orange Prize and PEN/Faulkner Award and brought her nationwide fame.
Patchett was born in Los Angeles, California, and raised in Nashville, Tennessee. Her mother is the novelist Jeanne Ray. Her father, Frank Patchett, who died in 2012 and had been long divorced from her mother, served as a Los Angeles police officer for 33 years, and participated in the arrests of both Charles Manson and Sirhan Sirhan. The story of Patchett's own family is the basis for her 2016 novel, Commonwealth, about the individual lives of a blended family spanning five decades.
Education and career
Patchett attended St. Bernard Academy, a private Catholic school for girls run by the Sisters of Mercy. Following graduation, she attended Sarah Lawrence College and took fiction writing classes with Allan Gurganus, Russell Banks, and Grace Paley. She managed to publish her first story in The Paris Review before she graduated. After college, she went on to the Iowa Writers' Workshop at the University of Iowa
For nine years, Patchett worked at Seventeen magazine, writing primarily non-fiction; the magazine published one of every five articles she wrote. She said that the magazine's editors could be cruel, but she eventually stopped taking criticism personally. She ended her relationship with the magazine following a dispute with one editor, exclaiming, "I’ll never darken your door again!"
In 1990-91, Patchett attended the Fine Arts Work Center in Provincetown, Massachusetts. It was there she wrote The Patron Saint of Liars, which was published in 1992 (becoming a 1998 TV movie). It was where she also met longtime friend Elizabeth McCracken—whom Patchett refers to as her editor and the only person to read her manuscripts as she is writing.
Although Patchett's second novel Taft won the Janet Heidinger Kafka Prize in fiction in 1994, her fourth book, Bel Canto, was her breakthrough novel. Published in 2001, it was a National Book Critics Circle Award Finalist and won the PEN/Faulkner Award and Britain's Orange Prize.
In addition to her other novels and memoirs, Patchett has written for publications such as The New York Times Magazine, Washington Post, Oprah Magazine, ELLE, GQ, Gourmet, and Vogue. She is the editor of the 2006 volume of the anthology series The Best American Short Stories.
Personal
Patchett was only six when she moved to Nashville, Tennessee, and she lives there still. She is particularly enamored of her beautiful pink brick home on Whitland Avenue where she has lived since 2004 with her husband and dog. When asked by the New York Times where would she go if she could travel anywhere, Patchett responded...
I've done a lot of travel writing, and people like to ask me where I would go if I could go anyplace. My answer is always the same: I would go home. I am away more than I would like, giving talks, selling books, and I never walk through my own front door without thinking: thank-you-thank-you-thank-you.... [Home is] the stable window that opens out into the imagination.
In 2010, when she found that her hometown of Nashville no longer had a good book store, she co-founded Parnassus Books with Karen Hayes; the store opened in November 2011. In 2012, Patchett was on Time magazine's list of the 100 most influential people in the world. She is a vegan for "both moral and health reasons."
In an interview, she once told Barnes and Noble that the book that influenced her writing more than any other was Humboldt's Gift by Saul Bellow.
I think I read it in the tenth grade. My mother was reading it. It was the first truly adult literary novel I had read outside of school, and I read it probably half a dozen times. I found Bellow's directness very moving. The book seemed so intelligent and unpretentious. I wanted to write like that book.
Books
1992 - The Patron Saint of Liars
1994 - Taft
1997 - The Magician's Assistant
2004 - Truth and Beauty: A Friendship
2001 - Bel Canto
2007 - Run
2008 - What Now?
2011 - State of Wonder; The Getaway Car: A Practical Memoir About Writing and Life
2013 - This Is the Story of a Happy Marriage
2016 - Commonwealth
2019 - The Dutch House
(Author bio adapted from Wikipedia. Retrieved 9/5/2016.)
Book Reviews
Run, with a title that suggests many things (including Kenya's athletic prowess and Doyle's political drive), and with a watery looking cover that reflects the whole book's aura of a human aquarium, becomes an elegant melange of family ties. Ms. Patchett gives her readers much to contemplate when genetics, privilege, opportunity and nurture come into play. And to her credit she is neither vague nor reductive about any of these things; she creates a genuinely rich landscape of human possibility…Run…shimmers with its author's rarefied eloquence, and with the deep resonance of her insights.
Janet Maslin - New York Times
This fifth novel by the author of the much-admired Bel Canto is engaging, surprising, provocative and moving. Its force is diminished somewhat by a couple of extended passages in which Ann Patchett resorts to conversation rather than action to fill in some of her plot's holes, but these are minor annoyances in what is otherwise a thoroughly intelligent book, an intimate domestic drama that nonetheless deals with big issues touching us all: religion, race, class, politics and, above all else, family.
Jonathan Yardley - Washington Post
Novelists can no longer take it as an insult when people say their novels are like good television, because the finest American television is better written than most novels. Ann Patchett's new one has the texture, the pace and the fairy tale elegance of a half dozen novels she might have read and loved growing up, but the magic and the finesse of Run is really much closer to that of Six Feet Under or ER or The Sopranos, and that is good news for everybody, not least her readers. Bernadette and Bernard Doyle were a Boston couple who wanted to have a big lively family. They had one boy, Sullivan, and then adopted two black kids, Teddy and Tip. Mr. Doyle is a former mayor of Boston and he continues his interest in politics, hoping his boys will shape up one day for elected office, though none of them seems especially keen. Bernadette dies when the adopted kids are just four, and much of the book offers a placid requiem to her memory in particular and to the force of motherhood in lives generally. An old statue from Bernadette's side of the family seems to convey miracles, and there will be more than one before this gracious book is done. One night, during a heavy snowfall, Teddy and Tip accompany their father to a lecture given by Jessie Jackson at the Kennedy Centre. Tip is preoccupied with studying fish, so he feels more than a little coerced by his father. After the lecture they get into an argument and Tip walks backwards in the road. A car appears out of nowhere and so does a woman called Tennessee, who pushes Tip out of the car's path and is herself struck. Thus, a woman is taken to hospital and her daughter, Kenya, is left in the company of the Doyles. Relationships begin both to emerge and unravel, disclosing secrets, hopes, fears. Run is a novel with timeless concerns at its heart—class and belonging, parenthood and love—and if it wears that heart on its sleeve, then it does so with confidence. And so it should: the book is lovely to read and is satisfyingly bold in its attempt to say something patient and true about family. Patchett knows how to wear big human concerns very lightly, and that is a continuing bonus for those who found a great deal to admire in her previous work, especially the ultra-lauded Bel Canto. Yet one should not mistake that lightness for anything cosmetic: Run is a book that sets out inventively to contend with the temper of our times, and by the end we feel we really know the Doyle family in all its intensity and with all its surprises.
Andrew O'Hagan - Publishers Weekly
Two families come together in a traffic accident during a snowstorm. Nothing terribly unusual there, except that a woman has purposely thrown herself under a car to protect a stranger. It quickly becomes clear that the families-a poor, single black mother with her 11-year-old daughter and a white, Irish Catholic, former Boston mayor with a biological son and two adopted black college-aged sons whose much-loved wife died over 20 years ago-have a connection. The award-winning Patchett (Bel Canto) here presents an engrossing and enjoyable novel. While there are a few unexpected turns, the reader very quickly figures out where the plot is headed, but that does not detract from the pleasure of reading. The somewhat unusual premise is presented very matter-of-factly; this is not a story about race but about family and the depths of parents' love of their children, whether biological, adopted, given away, or otherwise acquired, and of each other.
Sarah Conrad Weisman - Library Journal
A family-of-man fable that reads a little too pat to ring true. Like the popular previous novel by Patchett (Bel Canto, 2001), this one finds an unexpected incident connecting and affecting a seemingly disparate cast of characters, isolating them within their own microcosm. The setting is Boston-very Catholic, very political, very racially divided-on the snowiest evening in more than two decades, when a large group gathers to hear a speech by the Rev. Jesse Jackson. Among them is widower Bernard Doyle, once the city's mayor until a scandal involving his oldest son compromised his career (one of the underdeveloped subplots here). Still a political junkie, Doyle wants his two adopted, college-age African-American sons to express more interest in his passion. Though he'd had high political aspirations for these two-even going so far as to name them Tip and Teddy-both are pursuing different paths. Tip wants to be a scientist studying fish; Teddy hears the call of the priesthood, likely inspired by his adoptive mother's uncle, the elderly Father Sullivan. The priest has reluctantly gained notoriety as a faith healer (another underdeveloped subplot), though he doesn't believe he has extraordinary powers, and his own faith has become shaky. Leaving the Jackson speech, Tip steps amid the swirling snow into the path of an SUV. A woman with her young daughter pushes him out of the way, letting the SUV hit her. Is the woman Tip's real mother? (And Teddy's?) Is the young daughter their sister? Why do she and her mother seem to know so much more about the Doyles than they know about her? What do we make of the statue of the Virgin Mary that looks so much like the only mother Tip and Teddy have known? And what about that significant plot twist revealed in conversation between a dead woman and one who may be dying? By the time the extended family converges on the hospital, it has become plain that neither these people nor this family can ever be the same. Compelling story but thematically heavy-handed.
Kirkus Reviews
Discussion Questions
1. How would you characterize Teddy and Tip's relationship as siblings? How does it compare to their relationship with their brother, Sullivan?
2. At the Jesse Jackson lecture, Doyle reviews the personalities of his three sons and thinks about which of them would be most able to lead. Which of the boys do you think would make the best politician? Do you think Doyle's assessments of their characters are accurate or biased?
3. Discuss the concept of nature versus nurture. Do you think that Sullivan, Tip, and Teddy are who they are, or would they have turned out differently had Bernadette lived? How would those differences manifest themselves?
4. Discuss the different meanings of the title. How many different ways does the word Run work for you?
5. Run includes several incidences of doubling—two brothers who get adopted, two mothers who die, two men named Sullivan, two Tennessee Alice Mosers, two accidents involving hospital stays. What is the effect for you as a reader of seeing similar characters and events repeated over the course of the book? Can you think of any other examples of doubling in literature?
6. Why is Kenya the one subject that Sullivan and his father can agree on? How does her adoption into the family help Teddy and Tip understand Sullivan and what he went through growing up?
7. Towards the end of the story we see images of four mothers (including the Virgin Mary) on Kenya's dresser. What is the author saying about women and mothers to have them all there together?
8. Why does Kenya's mother conceal her true identity from her daughter? Do you think that she imagines the conversation in the hospital with Tennessee Alice Moser after surgery or do you think it really happened?
9. What does Father Sullivan's encounter with Tennessee in the hospital suggest about his ability to heal?
10. Doyle is very invested in politics on both local and national levels, but he falters at the idea of taking home a stray child. What does this book say to you about social responsibility?
11. Of the many characters in Run, which did you feel most connected to on an emotional level? How do you explain that connection?
12. How did you react to Bernard Doyle's decision to bestow the heirloom statue on Kenya, a daughter who has literally shared nothing with his former wife, Bernadette? Do you think he made the same decision his wife would have made?
(Questions issued by publisher.)
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Run Me to Earth
Paul Yoon, 2020
Simon & Schuster
272 pp.
ISBN-13: 9781501154041
Summary
A beautiful, aching novel about three kids orphaned in 1960s Laos—and how their destinies are entwined across decades, anointed by Hernan Diaz as "one of those rare novels that stays with us to become a standard with which we measure other books."
Alisak, Prany, and Noi—three orphans united by devastating loss—must do what is necessary to survive the perilous landscape of 1960s Laos.
When they take shelter in a bombed out field hospital, they meet Vang, a doctor dedicated to helping the wounded at all costs.
Soon the teens are serving as motorcycle couriers, delicately navigating their bikes across the fields filled with unexploded bombs, beneath the indiscriminate barrage from the sky.
In a world where the landscape and the roads have turned into an ocean of bombs, we follow their grueling days of rescuing civilians and searching for medical supplies, until Vang secures their evacuation on the last helicopters leaving the country.
It’s a move with irrevocable consequences—and sets them on disparate and treacherous paths across the world.
Spanning decades and magically weaving together storylines laced with beauty and cruelty, Paul Yoon crafts a gorgeous story that is a breathtaking historical feat and a fierce study of the powers of hope, perseverance, and grace. (From the publisher.)
Author Bio
• Birth—1980
• Where—New York City, New York, USA
• Education—B.A., Weslyan University
• Award—New York Library Young Lion Award
• Currently—lives in Cambridge, Massachusetts
Paul Yoon is an American writer—author of two novels, Snow Hunters (2014) and Run Me to Earth (2020), and two short story collections, Once the Shore (2009) and The Mountain (2017).
His work has appeared in the PEN/O. Henry Prize Stories collection. The National Book Foundation him it one of its "5 under 35" awards.
Once on the faculty of the Bennington Writing Seminars, Yoon is now a Briggs-Copeland lecturer at Harvard University. He lives in Cambridge, Massachusetts with his wife, the author Laura van den Berg. (Adapted from Wikipedia. Retrireved 3/28/2020.)
Book Reviews
Richly layered…. Throughout the novel, beauty and violence coexist in a universe that seems by turns cruel and wondrous…. Yoon has stitched an intense meditation on the devastating nature of war and displacement (Editor's Choice).
New York Times Book Review
Spellbinding…. With his panoramic vision of the displacements of war, Yoon reminds us of the people never considered or accounted for in the halls of power.
Washington Post
[A] gorgeous book about the bonds of friendship and the ruptures of war. Even more significantly, in telling the stories of a trio of Laotian teens, it inverts and reorients the American war story…. Yoon is a master of subtle storytelling often leaving powerful emotions unexpressed, violent acts undetailed.
Los Angeles Times
Yoon's artfully orchestrated narrative illuminates this loudest, harshest, most chaotic of situations with restraint and elegance, finding and tracing an emotional thread that weaves the story into the reader's heart…. This unique work of historical fiction could not be more timely, or more timeless.
Minneapolis Star Tribune
[Yoon] writes with a soft, measured hand. He calmly builds memorable scenes even when events turn violent.
Associated Press
Yoon’s greatest skill lies in crafting subtle moments that underline the strange and specific sadness inherent to trauma…. As children around the world continue to grow up surrounded by violence and war, authors like Yoon seek to understand how experiencing those horrors shapes the adults they eventually become. And in Run Me to Earth, those horrors are scattered like unexploded bombs, waiting to go off at any time.
Time
Engrossing and luminous…. Yoon crafts an exceptionally human and poignant story.
Newsweek
This story of three Laotian orphans making their way through their war-torn world in the 1960s asks important questions about what it means to feel safe, and to call a place home.
Vogue
Run Me to Earth isn’t trying to educate or do the work of scholars and teachers; it has its own agenda. Art cannot supplant history, but it can amplify it.
New Republic
Yoon asks whether anyone can truly survive the ruins of war in this sparely written gem.… Yoon’s eloquent, sensitive character study… illustrates how the horrors of the past can linger…. This is a finely wrought tale about courage and endurance.
Publishers Weekly
(Starred review) Yoon, ever the elegant and penetrating writer, coolly delivers a devastating sense of what it’s like to be in the midst of war…. Yoon, ever the elegant and penetrating writer, coolly delivers a devastating sense of what it’s like to be in the midst of war
Library Journal
(Starred review) Yoon again exemplifies his unparalleled ability to create a quietly spectacular narrative that reveals the unfathomable worst and unwavering best of humanity; the result here provides mesmerizing gratification.
Booklist
(Starred review) [Yoon is] stretching his abilities while still writing with deliberate, almost vigilant care…. [His] imaginative prose and affection for his characters make the story… [a]nother masterpiece in miniature about the unpredictable directions a life can take.
Kirkus Reviews
Discussion Questions
We'll add publisher questions if and when they're available; in the meantime, use our LitLovers Talking Points to help start a discussion for RUN ME TO EARTH … then take off on your own:
1. Consider how the violence of war and its continual bombing affects the three young children at the heart of Run Me to Earth.
2. In what way do the children manage to hold on to a shred of shared innocence, even as they sense that their lives will soon become harder.
3. Talk about how memories persist for years after the war, some filled with vivid suffering, others with deep tenderness. Which recollections most moved you—either because of their horror and brutality, or because of their humanity?
4. Alisak recalls the time he swallowed a tooth during a beating. "There were times this fact bothered him more than his own hunger or the sudden volley of gunfire." Why would that particular memory be so persistent?
5. What drives Prany to commit the violent acts that he does?
6. Twenty years after the end of the war, Khit tries to track down Alisak. Why does she search for him; what does she hope for. What did she and Prany feel for one another as teenagers, and how has that long ago connection affected her relations with her husband?
7. The novel begins and ends with Alisak. Why do you think the author made that choice? How has he been left after the war? How has the war continued to shape his life?
8. The novel begins as a single narrative line centered on the three children and Dr. Vang. Eventually, the storyline breaks up into separate strands. Talk about how the fractured structure reflects the shattered lives of the characters as a result of the ongoing war.
9. What is the complicity of America's intervention in Laos with the destruction it wrought?
(Questions by LitLovers. Please feel free to use them, online and off, with attribution. Thanks.)
The Russian Concubine
Kate Furnivall, 2007
Penguin Group
517 pp.
ISBN-13: 9780425215586
Summary
A sweeping novel set in war-torn 1928 China, with a star-crossed love story at its center.
In a city full of thieves and Communists, danger and death, spirited young Lydia Ivanova has lived a hard life. Always looking over her shoulder, the sixteen-year-old must steal to feed herself and her mother, Valentina, who numbered among the Russian elite until Bolsheviks murdered most of them, including her husband. As exiles, Lydia and Valentina have learned to survive in a foreign land.
Often, Lydia steals away to meet with the handsome young freedom fighter Chang An Lo. But they face danger: Chiang Kai Shek's troops are headed toward Junchow to kill Reds like Chang, who has in his possession the jewels of a tsarina, meant as a gift for the despot's wife.
The young pair's all-consuming love can only bring shame and peril upon them, from both sides. Those in power will do anything to quell it. But Lydia and Chang are powerless to end it. (From the publisher.)
Author Bio
• Birth—N/A
• Raised—Penarth, Wales, UK
• Education—London University
• Currently—lives in Devon, England
Kate Furnivall was raised in Penarth, a small seaside town in Wales. Her mother, whose own childhood was spent in Russia, China and India, discovered at an early age that the world around us is so volatile, that the only things of true value are those inside your head and your heart. These values Kate explores in The Russian Concubine.
Kate went to London University where she studied English and from there she went into publishing, writing material for a series of books on the canals of Britain. Then into advertising where she met her future husband, Norman. She travelled widely, giving her an insight into how different cultures function which was to prove invaluable when writing The Russian Concubine.
By now Kate had two sons and so moved out of London to a 300-year old thatched cottage in the countryside where Norman became a full-time crime writer. He won the John Creasey Award in 1987, writing as Neville Steed. Kate and Norman now live by the sea in the beautiful county of Devon, only 5 minutes from the home of Agatha Christie!
It was when her mother died in 2000 that Kate decided to write a book inspired by her mother's story. The Russian Concubine contains fictional characters and events, but Kate made use of the extraordinary situation that was her mother's childhood experience—that of two White Russian refugees, a mother and daughter, stuck without money or papers in an International Settlement in China. (From the author's website.)
Book Reviews
The experiences of the author's mother inspired this debut novel, a somewhat improbable tale of star-crossed love in 1928 China. Valentina Ivanova and her 16-year-old daughter, Lydia, White Russian refugees, live in grinding poverty in the International Settlement of Junchow, subsisting off whatever presents Valentina can charm from gentlemen admirers and the profits Lydia makes from pawning stolen goods. When Lydia inadvertently attracts the unwelcome attentions of a criminal gang, the Black Snakes, she finds a rescuer in Chang An Lo, an English-speaking Communist and kung fu master. Danger is never far as the two fall in love. Lydia's travails are mirrored by those of Theo Willoughby, the British headmaster of her school. Theo's struggle to preserve his school and his happy life with his Chinese mistress, Li Mei, drives him to collude with Li Mei's estranged father-the leader of the Black Snakes-to run opium into Junchow. Violence is more prevalent (and graphic) than sex, and the narrative has extended periods of inertia during which there is much action, but not of the plot-advancing sort. Despite these flaws, Furnivall vividly evokes Lydia's character and personal struggles against a backdrop of depravity and corruption.
Publishers Weekly
Set in prerevolutionary China between the world wars, Furnivall's debut offers up a love story as tumultuous as its setting. Lydia, a 16-year-old refugee from Russia, and her mother, Valentina, a former concert pianist, have taken up a life of impoverishment in the International Settlement in Junchow. Indulging in deception and petty thievery to survive, Lydia one day finds herself on the wrong side of the Black Snakes, an organized gang of Chinese criminals. Enter the young Communist Chang An Lo, who saves Lydia's life on impulse and thus sets off their disastrous love story. Surrounded by a cast of nefarious characters who entangle Lydia and Chang in a web of crimes as varied as drug trafficking, sexual perversion, and thieving, the young lovers find their romance meeting resistance and complication at every turn. While her characters are engaging and her pacing quick, Furnivall's zealousness gets in the way. Too many characters and unnecessary plot points cause this otherwise entertaining story to lose focus, diminishing its impact. Recommended only for larger historical fiction collections.
Library Journal
Discussion Questions
1. Despite her being a European girl, and therefore less than nothing to his people, Chang saves Lydia's life at the beginning of the novel. Why do you think he does so?
2. Lydia's stubborn bravery at the beginning of The Russian Concubine is described as foolhardy by many of the people she encounters. Do you agree with this assessment? Do you think that other people's opinion of her changes by the end of the book? Why?
3. How does Theo serve as a bridge between the Chinese and Western worlds he lives in? How does acting in that capacity take its toll on him towards the end of the novel?
4. Discuss the sacrifices and moral compromises that each character makes for what he or she believes is the greater good. For example, Theo becomes an opium runner in order to earn money to keep his school open, educating the European children in China. Do you think that the characters' actions in their respective situations help make them stronger people, or do their actions lessen them as humans?
5. Lydia and Chang get caught up in the turmoil of the political situation in the 1920s. Do you think that the poverty levels in China made it easy for young men to become Communists? Did the presence of the expatriate Russians make a difference in their political leanings? Discuss how Chang's Communist beliefs war with his love for Lydia.
6. Toward the end of the novel, Valentina reveals the secret of Lydia's scholarship to the Willoughby Academy. Do you think that her sacrifice for her daughter is an example of her strength as a mother, or her weakness as a woman?
7. When Lydia first meets Liev Popkov, she's facing him at a line-up after her lie regarding the stolen necklace at the Ulysses Club gets him arrested. Later, she hires him as her bodyguard, but their relationship develops into a friendship beyond employer/employee. Why do you think that Liev becomes so protective of Lydia after he meets her?
8. In many ways, Alfred is the first stable male influence in Lydia's life. What kind of life do you think Lydia would have led had Alfred entered her life earlier? Do you feel his nature/personality was as influential as his money? Does his money play a positive or a negative role in shaping their relationship?
9. The theme of freedom is prevalent throughout the novel. In what ways are Lydia and Chang caged, even before they are kidnapped by the Black Snakes? How does their love for each other help to set them free? Do you think that their relationship mirrors the political situation in China at all?
(Questions issued by publisher.)
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The Russian Debutante's Handbook
Gary Shteyngart, 2002
Penguin Group USA
496 pp.
ISBN-13: 9781573229883
Summary
Vladimir Girshkin—twenty-five-year-old Russian immigrant, "Little Failure" according to his high-achieving mother, unhappy lover to fat dungeon mistress Challah (his "little Challah bread"), and lowly clerk at the bureaucratic Emma Lazarus Immigrant Absorption Society—is about to have his first break.
When the unlikely figure of a wealthy but psychotic old Russian war hero appears and introduces Vladimir to his best friend, who just happens to be a small electric fan, Vladimir has little inkling that he is about to embark on an adventure of unrelenting lunacy—one that overturns his assumptions about what it means to be an immigrant in America."
The Russian Debutante's Handbook takes us from New York City's Lower East Side to the hip frontier wilderness of Prava—the Eastern European Paris of the '90s—whose grand and glorious beauty is marred only by the shadow of the looming statue of Stalin's foot. There, with the encouragement of the Groundhog, a murderous (but fun-loving) Russian mafioso, Vladimir infiltrates the American ex-pat community with the hope of defrauding his young middle-class compatriots by launching a pyramid scheme that's as stupid as it is brilliant.
Things go swimmingly at first, but nothing is quite as it seems in Prava, and Vladimir learns that in order to reinvent himself, he must first discover who he really is. (From the publisher.)
Author Bio
• Birth—July 5, 1972
• Where—Leningrad, USSR
• Education—B.A., Oberlin College (Ohio); M.F.A.,
Hunter College (NYC)
• Awards—Stephen Crane Award; National Jewish
Book Award
• Currently—lives in New York, New York
Gary Shteyngart (born Igor Semyonovich Shteyngart) is an American writer born in Leningrad, USSR. Much of his work is satirical and relies on the invention of elaborately fictitious yet somehow familiar places and times.
Background
Shteyngart spent the first seven years of his childhood living in a square dominated by a huge statue of Vladimir Lenin in what is now St. Petersburg, Russia; (he alternately calls it "St. Leningrad" or "St. Leninsburg"). He comes from a Jewish family and describes his family as typically Soviet. His father worked as an engineer in a LOMO camera factory; his mother was a pianist.
In 1979 when Gary was 7, the Shteyngart family immigrated to the United States, where he was brought up with no television in his family's New York City apartment and where English was not the household language. He did not shed his thick Russian accent until the age of 14.
Later Shteyngart traveled to Prague, an experience that inspired his first novel, set in the fictitious European city of Prava. He is a graduate of Stuyvesant High School in New York City; Oberlin College in Ohio, where he earned a degree in politics; and Hunter College of the City University of New York, where he earned an MFA in Creative Writing.
Writing career
Shteyngart took a trip to Prague which inspired his first novel, The Russian Debutante's Handbook (2002), which is set in the fictitious European city of Prava. He has published two more novels: Absurdistan (2006) and Super Sad True Love Story (2010). His fourth book, Little Failure (2014), is a memoir recounting his family's emigration to the U.S. in 1979.
His other writing has appeared in The New Yorker, Slate, Granta, Travel and Leisure, and The New York Times.
Shteyngart's work has received numerous awards. The Russian Debutante's Handbook won the Stephen Crane Award for First Fiction, the Book-of-the-Month Club First Fiction Award and the National Jewish Book Award for Fiction. It was named a New York Times Notable Book and one of the best debuts of the year by The Guardian. In 2002, he was named one of the five best new writers by Shout NY Magazine. Absurdistan was chosen as one of the ten best books of the year by the New York Times Book Revieww and Time magazine, as well as a book of the year by the Washington Post, Chicago Tribune, San Francisco Chronicle and many other publications. In June 2010, Shteyngart was named as one of The New Yorker magazine's "20 under 40" luminary fiction writers. Super Sad True Love Story won the 2011 Bollinger Everyman Wodehouse Prize for comic literature.
Personal
Shteyngart now lives in New York City. He has taught writing at Hunter College, and currently teaches writing at Columbia University. During the Fall of 2007, he also had a fellowship at the American Academy in Berlin, Germany.
Shteyngart is married to Esther Won who is of Korean descent. In October 2013, they became parents to Johnny Won Shteyngart. (Adapted from Wikipedia. Retrieved 2/14/2014.)
Book Reviews
The "Russian debutante" in Gary Shteyngart's very funny, very deft first novel is one Vladimir Girshkin, a feckless 25-year-old Russian-American who...[is] trying to cope with the confusions of life in America of the 1990's and the incessant demands of an ambitious and endlessly aggrieved mother.... Mr. Shteyngart tells the uproarious and highly entertaining story of how Vladimir journeys from St. Petersburg to Scarsdale and back to Eastern Europe.... And the people Vladimir meets along the way are sketched with an equally wicked and comic hand.... [helping] the very talented Mr. Shteyngart expose the absurdities that exist on either side of the former iron curtain.
Michikio Kakutani - New York Times
Gary Shteyngart ... has produced a sardonic,moving and ingeniously crafted update of earlier sagas of upward-struggling American newcomers.
Washington Post
[A] terrifically charming tale of a young Russian immigrant's capitalist and carnal aspirations.
Vanity Fair
This picaresque debut...transcends its personal genesis to become an all-around great American story.
New York Time Out
The rampaging narrative is festooned on every page with glitering one-liners,improbably apt similes and other miniature pleasures.
Elle
Orwell once remarked that the narrator of Tropic of Cancer was so far from endeavoring to influence the future, he simply lies down and lets things happen to him. Shteyngart, whose sensibility is allied with Miller's, takes a passive character, Vladimir Girshkin, and makes him briefly proactivewith disastrous resultsin his smart debut novel. Vladimir is the son of immigrants who came to the U.S. via a Carter administration swap (American wheat for Russian Jews); his father, a doctor prone to dreams of suicide and complicated medical schemes, and his mother, an entrepreneur who makes fun of her son's gait, give him the inestimable gift of alienation. In true slacker fashion, Vladimir, at 25, is wasting his expensive education clerking at the Emma Lazarus Immigration Absorption Society. A client, Rybakov, bribes Vladimir to get him American citizenship, confiding that his son, the Groundhog, is a leading businessman (in prostitutes and drugs) in Pravathe Paris of the nineties in the fictional Republika Stolovaya. Vladimir fakes a citizenship ceremony for Rybakov in order to curry favor with the Groundhog. Then, because he has unwisely repelled the sexual advances of crime boss Jordi while trying to make some illicit bucks to keep his girlfriend, Francesca, in squid and sake dinners in Manhattan, Vladimir leaves abruptly for Prava. Once there, and backed by the Groundhog, Vladimir embarks on a scheme to fleece the American students who have flocked to Prava's legendary scene. Although the satire on the expatriate American community is a little too easy, Shteyngart's Vladimir remains an impressive piece of work, an amoral buffoon who energizes this remarkably mature work.
Publishers Weekly
Failurchka Mother's Little Failure is what Vladimir Girshkin's overweening Russian immigrant mother calls her 25-year-old son at the beginning of this picaresque, episodic, and somewhat sprawling first novel. Vladimir is stuck in a dead-end job and saddled with girlfriend Challah, "queen of everything musky and mammal-like." Then through a series of chance encounters, he is catapulted to the eastern European city of "Prava" to find himself welcomed into the fold of powerful Mafiosi. Shteyngart introduces a large cast of exotic characters, mainly twentysomethings meandering from adventure to adventure. Yet this distinctive new voice, which is both richly ironic and often side-splittingly funny, still seems to be seeking the right register. The relentless humor and satire obscure the development of character that is necessary to make readers believe the cast is real and not just being staged. Moreover, one wonders why the author felt the need to (thinly) disguise Prague (Prava) with its river Tavlata (Vltava) and the 1969 (1968) Soviet invasion. Thus, his highly imaginative but at times maddening panorama comes to resemble a dazzling Potemkin village. Though this is not an experimental novel, it is difficult to escape the conclusion that the author is still experimenting with a very large talent he's not entirely sure what to do with. But having gotten a taste, we will eagerly await his next offering, in which less just might be more. Recommended for all literary collections and larger public libraries. —Edward Cone
Library Journal
This moving and funny debut novel offers a fresh take on the oft-told story of the immigrant longing for an authentic sense of place.... This is a complex and impressive work, full of humanistic touches and worldly humor.
Book Magazine
First-novelist Shteyngart casts a cold eye alike on Clinton-era aimlessness and free-enterprise excess in Eastern Europe. It's Vladimir Girshkin's 25th birthday in 1993, and his mother wastes no time reminding him that he's a disappointment. Since the family arrived in New York from the USSR 13 years before, she's become a successful businesswoman, while Dr. Girshkin adds to their coffers by defrauding Medicare. But Vladimir has dropped out of a progressive midwestern college to take a job at the Emma Lazarus Society helping new immigrants. One of them, the decidedly crazy Mr. Rybakov, wants to get Vladimir in touch with his son Groundhog, a mafioso operating in Prava, "the Paris of the '90s," an imaginary Eastern European city transformed by the collapse of communism into a mecca for criminals and novelty-seeking Americans. At first, Vladimir prefers to hang around the trendier sections of Manhattan, exchanging grad-student babble with the crowd gathered around girlfriend Francesca. But a misadventure in Miami with an amorous drug-dealer makes it advisable for him to get out of town, so Vladimir heads for Prava, where he persuades Groundhog to fund a Ponzi scheme based on getting American expatriates to invest in a literary magazine. Heavy drinking, observations about the void after communism, and a new girlfriend await Vladimir before his bamboozling comes to light and he must once again flee vengeful mafiosi. A sardonic but surprisingly moving epilogue finds him five years later in Cleveland, working at his father-in-law's insurance company, thinking wistfully of the days when he lived "foolishly, imperially, ecstatically" in the Wild West of Eastern Europe. Himself a Leningrad-bornAmerican citizen, Shteyngart mercilessly exposes the moral ambiguities of late-20th-century life under whatever form of government. Though slightly chilly toward its large cast of characters, the novel is redeemed by its thematic sweep and Vladimir's engaging brio. Ambitious, funny, intelligent, in love with irony and literary allusions, as if by a lighter Nabokov.
Kirkus Reviews
Discussion Questions
1. Assimilation is a major theme in The Russian Debutante's Handbook. Discuss Vladimir's various attempts to assimilate. Which one is most successful and why?
2. Vladimir retains a distinct self-identification as a poor Russian Jew, despite his mother's success in America and the many opportunities available to him as an American citizen. Discuss his ennui as a manifestation of successful Americanization.
3. Rybakov is also attempting to assimilate in his way. Discuss the humor inherant in the Fan Man's chief impetus toward citizenship being the legitimization of his opinions.
4. How does Vladimir's mother's intense desire for her son's success backfire? Why does her pressure on him to assimilate also backfire?
5. Vladimir doesn't seem to care much about money in his days at the Emma Lazarus Society. How does his affair with Frannie change that? What is the newfound appeal of material success?
6. Vladimir shows himself to be remarkably adaptable. What is the crucial difference between adaptation and assimilation?
7. History is an important character in this novel. How does it differently effect the lives of Rybakov? Kostya? Perry Cohen?
8. How is the destruction of the Foot symbolic of both Prava's escape from history and Vladimir's?
9. What does Vladimir learn about appearances from Morgan? Discuss the irony of this All-American girl's desire to immerse herself in Prava and its politics, and flee the bland, affluent normalcy so many immigrants seek.
10. Do you believe that Vladimir has assimilated at the end—that his life in Cleveland as an accountant with a wife and baby on the way has finally Americanized him? Or does Vladimir's nostalgia for his past status as an outcast reveal something more complex about the makeup of our souls.
(Questions issued by publishers.)
Russian Winter;
Daphne Kalotay, 2010
HarperCollins
463 pp.
ISBN-13: 9780061962165
Summary
A mysterious jewel holds the key to a life-changing secret, in this breathtaking tale of love and art, betrayal and redemption.
When she decides to auction her remarkable jewelry collection, Nina Revskaya, once a great star of the Bolshoi Ballet, believes she has finally drawn a curtain on her past. Instead, the former ballerina finds herself overwhelmed by memories of her homeland and of the events, both glorious and heartbreaking, that changed the course of her life half a century ago.
It was in Russia that she discovered the magic of the theater; that she fell in love with the poet Viktor Elsin; that she and her dearest companions—Gersh, a brilliant composer, and the exquisite Vera, Nina’s closest friend—became victims of Stalinist aggression. And it was in Russia that a terrible discovery incited a deadly act of betrayal—and an ingenious escape that led Nina to the West and eventually to Boston.
Nina has kept her secrets for half a lifetime. But two people will not let the past rest: Drew Brooks, an inquisitive young associate at a Boston auction house, and Grigori Solodin, a professor of Russian who believes that a unique set of jewels may hold the key to his own ambiguous past. Together these unlikely partners begin to unravel a mystery surrounding a love letter, a poem, and a necklace of unknown provenance, setting in motion a series of revelations that will have life-altering consequences for them all.
Interweaving past and present, Moscow and New England, the backstage tumult of the dance world and the transformative power of art, Daphne Kalotay’s luminous first novel—a literary page-turner of the highest order—captures the uncertainty and terror of individuals powerless to withstand the forces of history, while affirming that even in times of great strife, the human spirit reaches for beauty and grace, forgiveness and transcendence. (From the publisher.)
Author Bio
• Birth—N/A
• Raised—New Jersey, USA
• Education—B.A., Vassar; Boston University, Ph.D
• Awards—Florence Randall Award; Henfield Founda-
tion's Transatlantic Review Award
• Currently—lives in Brookline, Massachusetts
Daphne Kalotay grew up in New Jersey and graduated from Vassar College before moving to Massachusetts, in 1993, to attend Boston University's Creative Writing Program. There her stories went on to win the school's Florence Engel Randall Fiction Prize and a Transatlantic Review Award from The Henfield Foundation.
She remained at BU to complete a PhD in Modern and Contemporary Literature, writing her doctoral dissertation on the works of Mavis Gallant. (Her interviews with Mavis Gallant can be read in The Paris Review's Writers-At-Work series.)
Daphne has received fellowships from the Christopher Isherwood Foundation, the La Napoule Foundation, Yaddo and the MacDowell Colony, and is a grateful recipient of the W.K. Rose Fellowship in the Creative Arts from Vassar College.
She has taught creative writing at Boston University, Middlebury College and Skidmore College and lives in Brookline, Massachusetts. Her first novel, Russian Winter, published in 2010, was a finalist in the James Jones First Novel. (From the publisher.)
Book Reviews
[A] magnificent tale of love, loss, betrayal and redemption…Characters appear like an endless stacking nest of Matryoshka dolls, one more fascinating and intriguing than the next…The complex story is multi-layered and labyrinthine so that the reader, just like these characters, does not know whom to believe or distrust…Toward the end, with many unanswered questions swirling, the author lets the truth ebb and flow until a final riptide of revelations leaves the reader profoundly moved.
Eugenia Zuckerman - Washington Post
With sure and suspenseful artistry, Daphne Kalotay intersperses the unfortunate and tortuous histories of Nina, Elsin, and their artist friends with new discoveries and disclosures. The several stories draw together in a conclusion that is surprising, fitting, and satisfying.
Boston Globe
An exceptional debut novel.... Delving into Nina’s life with the Bolshoi Ballet, her life among the Soviet Union’s artist community and her escape from the Stalinist regime add glamour and historical flavor to this novel of secrets, intrigue and wonderfully described priceless gems.
USA Today
Kalotay makes a powerful debut with a novel about a Soviet-era prima ballerina, now retired and living in Boston, who confronts her past as she puts up for auction the jewelry she took with her when she left her husband and defected. Nina "The Butterfly" Revskaya, 79, reveals little about the past to curious auction house representative Drew Brooks as he peruses her cache of exquisite jewelry. Nina likewise rebuffs inquiries from foreign language professor Grigori Solodin, who has translated the works of Nina's poet husband and who offers an additional item for auction: the amber necklace he inherited from the parents he never knew. In extended flashbacks, Nina recalls intimate moments and misunderstandings with her husband, happy and disturbing times with his Jewish composer best friend, and encounters with her own childhood friend. Meanwhile, Drew and Grigori delve into the jewelry's provenance, hoping to learn as much about the jewels as their own pasts. While the Soviet-era romance can lean too much on melodrama, Kalotay turns out a mostly entrancing story thanks to a skillful depiction of artistic life behind the Iron Curtain and intriguing glimpses into auction house operations.
Publishers Weekly
Kalotay has created appealing, well-rounded characters in well-researched settings.... Although the book’s heft and jacket illustration suggest a tome, this is a briskly paced, fresh, and engaging first novel dealing with the pain of loss and the power of love. —Michael Leber
Booklist
A complex story that, in the end, boils down to the simplest of elements: love, fear, disappointment and loss. An auspicious first novel, elegantly written and without a false note.
Kirkus Reviews
Discussion Questions
1. How would you describe Nina Revskaya? What kind a person was she? Do you sympathize with the way events shaped the woman she became? And how would you compare her with Vera Borodina? What exactly was the nature of their friendship? What held them back from sharing their deepest secrets?
2. How does living in a repressive society like Stalin's Soviet Union affect human relationships? Can real trust ever be formed between friends, spouses, colleagues? What risks do people face in revealing their true nature?
3. Each piece of Nina's jewelry denotes a particular memory. Why do you think she waited so long to finally part with her jewels? Are there memories we have that are too painful to face, yet too dear to let go of? Do any of your possessions hold a special memory for you?
4. In your opinion, did Viktor Elsin truly love Nina? Did she love him? What about Gersh and Vera? What sacrifices were each willing to make for love?
5. After she defected, Nina believed she had shed the first third of her life. To what extent was this true? Can we ever truly rid ourselves of parts of our lives—or ourselves—that we don't like? What is the price of forgetting?
6. Nina cherished the solitude of her later years. "She relished the very texture of her privacy, its depth of space and freedom, much of an entire day hers alone. Her early life of always sharing, never a private moment or corner or closet shelf of her own, had left her hungry for this." Was her solitude a release, or was it a fortress she used to keep others—and the past—away?
7. Was Nina a victim of the society in which she was raised—or a perpetrator of its worst abuses? Would her ambitions have eventually led her to behave the way her jealousy ultimately caused her to act? Was Nina's jealousy justified? Did Viktor, Gershstein, and Vera have a hand in their own demise? Are the choices Nina made forgivable?
8. Themes of art, politics, and love are intertwined throughout the novel. How do art and politics influence each other? Can art be a release from political oppression? In what ways can it be oppression's tool?
9. Can art flourish in a repressive state? How does repression influence the creation and expression of art? In a repressive state like the Soviet Union, must artistic success be accompanied by compromise? Compare the choices that Viktor, Nina, Gersh, and Vera made.
10. Were Gersh, Viktor and Vera radicals? What makes someone a dissident? Why do nations like the former Soviet Union insist on silencing all criticism?
11. What did art—the ballet—mean to Nina? Did she have to make a choice between dance and love? Could she have balanced both? What about women today? Have choices become easier or more difficult as opportunities for women have expanded?
12. Zoltan, also a refugee from the Iron Curtain, tells Grigori, "I remember before I left Hungary understanding completely that literature could save me as much as it could get me killed. Of course it's not like that here. But isn't it funny, that in some ways the price one pays for freedom of speech is...a kind of indifference." What does he mean by this? What do you think of his viewpoint? Must an artist suffer in some way to produce art?
13. After Nina defected to the West, she found she could not enjoy all of its freedoms. "Even when she tried to will it open, Nina's heart would not budge." Why couldn't she open herself up to new love and new friends? What held her back—habit, or guilt?
14. What do you think of Drew Brooks? Do you see similarities between her and Nina? What are your impressions of Grigori Solodin? How are he and Nina alike?
15. What did Drew and Grigori offer each other that others could not? Do you think their personalities and experiences made them more attuned to Nina's unconscious longings and regrets?
16. Why did Nina refuse to see Grigori on the occasions he tried to contact her? How were their assumptions about each other wrong?
17. On their third anniversary, Viktor tells Nina, "love is all we have." But for Nina, it is dance and love. And years later, Grigori's colleague and friend Zoltan remarks, "There are only two things that really matter in life. Literature and love." Can art change the world—change who we are? Can love? Has love or a passion transformed you or someone you know?
18. Have you ever met anyone who has lived under repressive circumstances? How did discovering their story affect you or your outlook?
19. Did Grigori ultimately have a better life—though it was fraught with uncertainty—because of Nina's selfishness? How might his experience have been different if he'd grown up in the Soviet Union rather than Europe and eventually America?
(Questions issued by publisher.)
Rustication
Charles Palliser, 2013
W.W. Norton
336 pp.
ISBN-13: 9780393088724
Summary
A vertiginous gothic masterpiece from the best-selling author of The Quincunx.
Charles Palliser’s work has been hailed as “so compulsively absorbing that reality disappears” (New York Times). Since his extraordinary debut, The Quincunx, his works have sold over one million copies worldwide. With his new novel, Rustication, he returns to the town of Thurchester, which he evoked so hauntingly in The Unburied.
It is winter 1863, and Richard Shenstone, aged seventeen, has been sent down—“rusticated”—from Cambridge under a cloud of suspicion. Addicted to opium and tormented by sexual desire, he finds temporary refuge in a dilapidated old mansion on the southern English coast inhabited by his newly impoverished mother and his sister, Effie.
Soon, graphic and threatening letters begin to circulate among his neighbors, and Richard finds himself the leading suspect in a series of crimes and misdemeanors ranging from vivisection to murder. (From the publisher.)
Author Bio
• Birth—December 11, 1947
• Where—Holyoke, Massachusetts, USA
• Raised—in the UK
• Education—Oxford University
• Awards—Sue Kaufman Prize
• Currently—lives in London, England, UK
Charles Palliser is a best-selling novelist, American-born but British-based. His most well-known novel, The Quincunx, has sold over a million copies internationally. He is the elder brother of the late author and freelance journalist Marcus Palliser.
Life and career
Born in New England he is an American citizen but has lived in the United Kingdom since the age of three. He went up to Oxford in 1967 to read English Language and Literature and took a First in June 1970. He was awarded the BLitt (Bachelor of Letters, a post graduate degree) in 1975 for a dissertation on Modernist fiction.
From 1974 until 1990 Palliser was a Lecturer in the Department of English at the University of Strathclyde in Glasgow. He was the first Deputy Editor of The Literary Review when it was founded in 1979. He taught creative writing during the Spring semester of 1986 at Rutgers University in New Jersey.
In 1990 he gave up his university post to become a full-time writer when his first novel, The Quincunx, became an international best-seller. He teaches occasionally for the Arvon Foundation, the Skyros Institute, the University of London, London Metropolitan University, and Middlesex University. He was Writer in Residence at the University of Poitiers in 1997.
Work
He has published four novels which have been translated into a dozen languages; among them French, German, Dutch, Finnish, Spanish, Greek, Japanese, Lithuanian, Polish and Russian. Palliser has also written for the theatre, radio, and television. His stage play, Week Nothing, toured Scotland in 1980. His 90 minute radio play, The Journal of Simon Owen, was commissioned by the BBC and twice broadcast on Radio 4 in June, 1982. His short TV film, "Obsessions: Writing," was broadcast by the BBC and published by BBC Publications in 1991. His short radio play, "Artist with Designs," was broadcast on BBC Radio 3 on 21 February 2004.
Since 1990 he has written the Introduction to a Penguin Classics edition of the Sherlock Holmes stories, the foreword to a new French translation of Wilkie Collins’ The Moonstone published by Editions Phebus, and other articles on 19th century and contemporary fiction. He is a past member of the long-running North London Writers circle.
Awards and nominations
In 1991 The Quincunx was awarded the Sue Kaufman Prize for First Fiction by the American Academy and Institute of Arts and Letters which is given for the best first novel published in North America. The Unburied was nominated for the 2001 International IMPAC Dublin Literary Award. (From Wikipedia. Retrieved 2013.)
Book Reviews
(Starred review.) Palliser juxtaposes Gothic melodrama, a metafictional frame, a vividly unreliable narrator, and a roiling mix of mysteries in this provocative Victorian thriller.... Rustication showcases the author’s originality, boldness, and range.... [Despite] its graphic passages...the novel wraps a genuinely memorable reflection on family and human fallibility in a wickedly entertaining, intricately plotted read.
Publishers Weekly
Palliser vividly captures the claustrophobic feeling of a small Victorian community being overwhelmed by anxiety and mistrust, and fans of twisty plots will enjoy guessing at the town’s many secrets as they sift through the rumors and gossip offered up by a well-drawn cast of darkly quirky characters. —Mara Bandy, Champaign P.L., IL
Library Journal
Something wicked...iis in the heart of a small town in mid-Victorian England. Sent down from Cambridge in disgrace, 17-year-old Richard Shenstone retreats to an ancient, crumbling house on the edge of a marshy bay occupied by his recently widowed mother and his enigmatically secretive sister.... Paranoia reigns supreme as the twists and turns keep multiplying in this gothic horror show adeptly spun. —Margaret Flanagan
Booklist
A reprobate college student stands accused of a host of moral failings in an intensely gothic tale....but, like most gothic literature, this is a highly moral novel: It's about the struggle to live rightly when nature and man alike send storm clouds your way. The story turns on whether or not Richard is the author of [a series of vicious] letters, but...[m]uch time is spent elaborating on the complex web of relationships in the town...which saps the emotional power of Richard's effort to redeem himself.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
We'll add specific questions if and when they're made available by the publisher.
Sabbath's Theater
Philip Roth, 1995
Knopf Doubleday
464pp.
ISBN-13: 9780679772590
Summary
Winner of the National Book Award
Sabbath's Theater is a comic creation of epic proportions, and Mickey Sabbath is its gargantuan hero.
Once a scandalously inventive puppeteer, Sabbath at sixty-four is still defiantly antagonistic and exceedingly libidinous. But after the death of his long-time mistress—an erotic free spirit whose adulterous daring surpassed even his own—Sabbath embarks on a turbulent journey into his past.
Bereft and grieving, besieged by the ghosts of those who loved and hated him most, he contrives a succession of farcical disasters that take him to the brink of madness and extinction. (From the publisher.)
Author Bio
• Birth—March 19, 1933
• Where—Newark, New Jersey, USA
• Education—B.A., Bucknell University; M.A., University of
Chicago
• Awards—the most awarded US writer—see below
• Currently—lives in Connecticut
After many years of teaching comparative literature—mostly at the University of Pennsylvania—Philip Roth retired from teaching as Distinguished Professor of Literature at Hunter College in 1992. Until 1989, he was general editor of the Penguin book series Writers from the Other Europe, which he inaugurated in 1974 and which introduced the work of Bruno Schultz and Milan Kundera to an American audience.
His lengthy interviews with foreign authors—among them Primo Levi, Ivan Klima, and Aharon Appelfeld—have appeared in the New York Review of Books, the London Review of Books, and the New York Times Book Review. Roth was born in Newark, New Jersey, in 1933 and has lived in Rome, London, Chicago, and New York. He now resides in Connecticut. (From the publisher.)
More
Philip Roth's long and celebrated career has been something of a thorn in the side of the writer. As it is for so many, fame has been the proverbial double-edged sword, bringing his trenchant tragic-comedies to a wide audience, but also making him a prisoner of expectations and perceptions. Still, since 1959, Roth has forged along, crafting gorgeous variations of the Great American Novel and producing, in addition, an autobiography (The Facts) and a non-fictional account of his father's death (Patrimony: A True Story).
Roth's novels have been oft characterized as "Jewish literature," a stifling distinction that irks Roth to no end. Having grown up in a Jewish household in a lower-middle-class sub-section of Newark, New Jersey, he is incessantly being asked where his seemingly autobiographical characters end and the author begins, another irritant for Roth. He approaches interviewers with an unsettling combination of stoicism, defensiveness, and black wit, qualities that are reflected in his work. For such a high-profile writer, Roth remains enigmatic, seeming to have laid his life out plainly in his writing, but refusing to specify who the real Philip Roth is.
Roth's debut Goodbye, Columbus instantly established him as a significant writer. This National Book Award winner was a curious compendium of a novella that explored class conflict and romantic relationships and five short stories. Here, fully formed in Roth's first outing, was his signature wit, his unflinching insightfulness, and his uncanny ability to satirize his character's situations while also presenting them with humanity. The only missing element of his early work was the outrageousness he would not begin to cultivate until his third full-length novel Portnoy's Complaint—an unquestionably daring and funny post-sexual revolution comedy that tipped Roth over the line from critically acclaimed writer to literary celebrity.
Even as Roth's personal relationships and his relationship to writing were severely shaken following the success of Portnoy's Complaint, he continued publishing outrageous novels in the vein of his commercial breakthrough. There was Our Gang, a parodic attack on the Nixon administration, and The Breast, a truly bizarre take on Kafka's Metamorphosis, and My Life as a Man, the pivotal novel that introduced Roth's literary alter ego, Nathan Zuckerman.
Zuckerman would soon be the subject of his very own series, which followed the writer's journey from aspiring young artist with lofty goals to a bestselling author, constantly bombarded by idiotic questions, to a man whose most important relationships have all but crumbled in the wake of his success. The Zuckerman Trilogy (The Ghost Writer, Zuckerman Unbound, and The Counterlife) directly parallels Roth's career and unfolds with aching poignancy and unforgiving humor.
Zuckerman would later reemerge in another trilogy, although this time he would largely be relegated to the role of narrator. Roth's American Trilogy (I Married a Communist, the PEN/Faulkner Award winning The Human Stain, and The Plot Against America), shifts the focus to key moments in the history of late-20th–century American history.
In Everyman (2006), Roth reaches further back into history. Taking its name from a line of 15th-century English allegorical plays, Everyman is classic Roth—funny, tragic, and above all else, human. It is also yet another in a seemingly unbreakable line of critical favorites, praised by Kirkus Reviews, Booklist, Publishers Weekly, and The Library Journal.
In 2007's highly anticipated Exit Ghost, Roth returned Nathan Zuckerman to his native Manhattan for one final adventure, thus bringing to a rueful, satisfying conclusion one of the most acclaimed literary series of our day. While this may (or may not) be Zuckerman's swan song, it seems unlikely that we have seen the last Philip Roth. Long may he roar. (Author bio from Barnes & Noble.)
Literary Awards
Philip Roth is one of the most celebrated living American writers. Two of his works of fiction have won the National Book Award (Goodbye, Columbus; Sabbath's Theater); two others were finalists. Two have won National Book Critics Circle awards (Patrimony; Counterlife); again, another two were finalists. He has also won three PEN/Faulkner Awards (Operation Shylock, The Human Stain, and Everyman) and a Pulitzer Prize for Fiction for his 1997 novel, American Pastoral. In 2001, The Human Stain was awarded the United Kingdom's WH Smith Literary Award for the best book of the year. In 2002, he was awarded the National Book Foundation's Award for Distinguished Contribution to American Letters. Literary critic Harold Bloom has named him as one of the four major American novelists still at work, along with Thomas Pynchon, Don DeLillo, and Cormac McCarthy. In May 2006, he was given the PEN/Nabokov Award, and in 2007 the first PEN/Saul Bellow Award — both for lifetime achievement.
The May 21, 2006 issue of the New York Times Book Review announced the results of a letter that was sent to what the publication described as "a couple of hundred prominent writers, critics, editors and other literary sages, asking them to please identify 'the single best work of American fiction published in the last 25 years." Of the 22 books cited, six of Roth's novels were selected: American Pastoral, The Counterlife, Operation Shylock, Sabbath's Theater, The Human Stain, and The Plot Against America. The accompanying essay, written by critic A.O. Scott, stated, "If we had asked for the single best writer of fiction of the past 25 years, [Roth] would have won." ("More" and "Awards" from Wikipedia.)
Book Reviews
Sabbath's Theater [is] Mr. Roth's longest and, in my judgment, richest, most rewarding novel.... Ever since Portnoy's Complaint, Mr. Roth has been pre-eminent as a literary stand-up comedian, and some of the routines in Sabbath's Theater show him in top form.... [However,] there is plenty of nastiness in this book, and certain readers will find it repellent, not funny at all. One of Sabbath's friends, his patience exhausted by Mickey's abusive behavior, calls it "the discredited male polemic's last gasp." There is something to this charge, and the novel is stronger for allowing readers to consider the hero in such terms, if they choose. But it would be a mistake to do so exclusively, for that would involve foreclosing on the sympathies we give to the outrageous Sabbath when, in a section of 60 pages, the heart of the novel and one of the great sequences in American fiction, he returns to the Jersey Shore of his boyhood.
William H. Pritchard - New York Times Book Review
The novel fails to open out into a larger comment on society or our shared experience of mortality: Sabbath remains such a willfully selfish character that his adventures become a kind of black hole, absorbing rather than emitting light. He does not grow or learn from Drenka's death or his other losses; he simply learns to reaffirm the narcissism that has informed his entire life. As a result, Sabbath cannot assume a tragic stature; he remains, merely, pathetic.
Michiko Yakutani - New York Times
This is Roth's twenty-first novel and displays all the Rothian concerns and stylistic quirks his readers have grown accustomed to, only more exaggerated. It is a long, long book, but it grows on you.—Bonnie Smothers
Booklist
Roth's National Book Award-winning novel is a hilarious, beautifully written spoof about an aging puppeteer who finds himself rudderless when the death of his mistress, Drenka, effectively removes the driving force of his life: sex. Mickey Sabbath, now resigned to preparing for his own death, toasts all of the formerly significant figures in his life, including his first wife, who walked out on him; his mother, who was consumed by the death of Mickey's older brother during the war; and the nubile Drenka, whose appeal for Mickey's sexual fealty shortly before her death falls upon deaf ears. David Dukes reads this rip-roaring tale with a sensitivity that complements Roth's well-wrought prose. Recommended for all serious fiction collections, but advise your patrons to listen with the car windows up and the volume down. —Mark Annichiarico.
Library Journal
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
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Sacred Hearts
Sarah Dunant, 2009
Random House
400 pp.
ISBN-13: 9780812974058
Summary
The year is 1570, and in the convent of Santa Caterina in the Italian city of Ferrara noble women find space to pursue their lives under God's protection. But any community, however smoothly run, suffers tremors when it takes in someone by force. And the arrival of Santa Caterina's new novice sets in motion a chain of events that will shake the convent to its core.
The sixteen-year-old daughter of a noble family from Milan, Serafina is willful, emotional, sharp, and defiant—young enough to have a life to look forward to and old enough to know when that life is being cut short. Her first night inside the walls is spent in an incandescent rage so violent that the dispensary mistress, Suora Zuana, is dispatched to the girl's cell to sedate her. Thus begins a complex relationship of trust and betrayal between the young rebel and the clever, scholarly nun, who is old enough to be Serafina's mother.
As Serafina rails against her incarceration, others are drawn into the drama: the ancient, mysterious Suora Magdalena—with her history of visions and ecstasies—locked in her cell; the ferociously devout novice mistress Suora Umiliana, who comes to see in the postulant a way to extend her influence; and, watching it all, the abbess, Madonna Chiara, a woman as fluent in politics as she is in prayer. As disorder and rebellion mount, it is the abbess's job to keep the convent stable while, outside its walls, the dictates of the Counter-Reformation begin to purge the Catholic Church and impose on the nunneries a regime of terrible oppression.
Sarah Dunant, the bestselling author of The Birth of Venus and In the Company of the Courtesan, brings this intricate Renaissance world compellingly to life. Amid Sacred Hearts is a rich, engrossing, multifaceted love story, encompassing the passions of the flesh, the exultation of the spirit, and the deep, enduring power of friendship. (From the publisher.)
Author Bio
• Birth—August 8, 1950
• Where—London, England, UK
• Education—B.A., Cambridge University
• Awards—Silver Dagger Award for Crime Fiction
• Currently—lives in London, England
Sarah Dunant is a writer, broadcaster and critic. She was a founding vice patron of the Orange Prize for women's fiction, sits on the editorial board of the Royal Academy magazine, and reviews for the Times, Guardian, and Independent on Sunday. She teaches creative writing at The Faber Academy in London and biennially at Washington University in St. Louis in its Renaissance studies course. She is also a creative writing fellow at Oxford Brookes University. She has two daughters and lives in London and Florence.
Early career
Dunant was born in London. She attended Godolphin and Latymer School and studied history at Newnham College, Cambridge, where she was heavily involved in theatre and the Footlights review. After a brief spell working for the BBC she spent much of her twenties traveling (Japan, India, Asia and Central and South America) before starting to write. Her first two novels, along with a BBC television series, were written with a friend. After this she went solo.
Since then she has written ten novels, three screenplays and edited two books of essays. She has worked in television and radio as a producer and presenter: most notably for BBC Television where for seven years (1989–1996) she presented the live nightly culture programme The Late Show. After that she presented the BBC Radio 3 radio programme Night Waves.
Books
Dunant's work ranges over a number of genres and eras. Her narratives are hard to categorise due to their inventive treatment of time and space, and a favoured device of hers is to run two or more plot strands concurrently, as she does in Mapping the Edge. A common concern running through her work is women's perceptions and points of view, with other themes included.
Her first eight novels were broadly written within a thriller form. Their setting was contemporary and allowed her to explore such themes such as the drug trade, surrogacy, terrorism, animals rights, cosmetic surgery and sexual violence.
Then in 2000 an extended visit to Florence rekindled her first love: History. The novels which followed—The Birth of Venus (2003), In the Company of the Courtesan (2006), and Sacred Hearts (2009) were extensively researched historical explorations of what it was like to be a woman within the Italian Renaissance. The trilogy looked at marriage, the culture of courtesans and the life of cloistered nuns. They were all international best sellers and were translated into over 30 languages.
Her 2013 novel Blood & Beauty centers on a depiction of Italy's Borgia dynasty. It sets out to offer a historically accurate vision of a family who have been much maligned by history. Dunant states in her afterword that she plans to write a second, concluding novel, about the family. (From Wikipedia. Retrieved 9/22/2013.)
Book Reviews
(Starred review.) Dunant (The Birth of Venus) revisits 16th-century Italy, where the convents are filled with the daughters of noblemen who are unable or unwilling to pay a dowry to marry them off. The Santa Caterina convent's newest novice, Serafina, is miserable, having been shunted off by her father to separate her from a forbidden romance. She also has a singing voice that will be the glory of the convent and-more importantly to some-a substantial bonus for the convent's coffers. The convent's apothecary, Suora Zuana, strikes up a friendship with Serafina, enlisting her as an assistant in the convent dispensary and herb garden, but despite Zuana's attempts to help the girl adjust, Serafina remains focused on escaping. Serafina's constant struggle and her faith (of a type different from that common to convents) challenge Zuana's worldview and the political structure of Santa Caterina. A cast of complex characters breathe new life into the classic star-crossed lovers trope while affording readers a look at a facet of Renaissance life beyond the far more common viscounts and courtesans. Dunant's an accomplished storyteller, and this is a rich and rewarding novel.
Publishers Weekly
With her third novel set during the Italian Renaissance (after The Birth of Venus and In the Company of the Courtesan), Dunant continues to captivate. The year is 1570, and the convent of Santa Caterina, in the northern city of Ferrara, is considered the crown jewel of Italian nunneries. In a time when the cost of a daughter's dowry is staggering, many noblemen choose to marry surplus daughters off to the church, a far less expensive option. Not surprisingly, not all the women are willing participants. This is the story of the unlikely friendship forged between two women—Serafina, the angry, rebellious novice forced into convent life after an illicit affair comes to light, and Zuana, the calm, capable head of the dispensary, who cannot forget her painful assimilation 16 years previously. Dunant brilliantly depicts the daily rhythms of convent life and offers an intriguing glimpse into 16th-century church politics. A rich tale filled with passion and the enduring power of faith, this novel is highly recommended for historical fiction readers. —Makiia Lucier, Moscow, ID
Library Journal
Another Renaissance novel from Dunant (In the Company of the Courtesan, 2006, etc.), this one focused on convent life. In 16th-century Italy, convents were not home merely to women who felt called to Christ. They were also repositories for ugly, unconventional or otherwise unmarriageable daughters. Many of these discarded young women were from noble families, and the luxuries and extravagances of court life left them disinclined toward asceticism. Nuns who vowed to avoid unnecessary talk nevertheless managed to gossip. Women committed to poverty lined their rough habits with satin and fur. And the promise of eternal chastity was no safeguard against desire. Dunant does a thorough job of depicting these tensions, conflicts and paradoxes. She captures convent life and sets it in a larger cultural context, paying particular attention to the religious politics of the times. The novel boasts a bibliography of 56 titles, and the reader who is so inclined can make a game of guessing which historical or theological tidbit came from which source. Unfortunately, this is about the only form of entertainment on offer here. The book has none of the dash, energy and storytelling confidence that made Dunant's last novel so enjoyable. She seems overwhelmed or overawed by her material, and the narrative is not merely slow but oddly repetitive. Characters make the same discoveries again and again, and even the most dramatic events simply dissipate. The repetitive plot does have the effect of giving the reader a sense of a nun's existence, defined as it is by a never-deviating schedule of devotions. For the nun with a true vocation, this is no doubt a source of comfort and even elation, a release from mundane time and a tantalizing foretaste of eternity. But the average reader is likely to identify with those extraneous daughters interred against their will, struggling to stay awake and yearning for a little action. A disappointing effort from a talented writer.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Sacred Hearts:
1. Talk about the convents—their environment, practices, and the women who populate them. Who are the nuns, for instance, and why are they there?
2. Discuss the tension between the vows of chastity the women take and the suppression of natural sexual desire. Consider that tension in light of the 21st century. Different? The same?
3. What is Zuana's interest in Serafina? What are the differences between the two women...and in what way does the younger woman challenge the older one? Who changes whom in the process of this story?
4. Dunant also portrays the wider religious-political world surrounding the convent. Talk about what was going on in the larger world of the church and how it affected the convent.
5. If you've read other books by Sarah Dunant, how does this one compare?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The Sacrifice of Tamar
Naomi Ragen, 1995 (U.S. printing, 2010)
St. Martin's Press
480 pp.
ISBN-13: 9780312570224
Summary
From the author of Jephte's Daughter and Sotah comes The Sacrifice of Tamar, a powerful novel that examines with unflinching honesty the dark heart of racism and the surprising capacity of the human spirit to soar above its sordid consequences.
Tamar Finegold is twenty-one years old, the happy, beautiful bride of a rising young Rabbi in one of Brooklyn's insulated, ultra-Orthodox Jewish communities. Having married the man of her dreams and taken her place as a wife—and hopefully soon-to-be mother—in her community, Tamar feels as though the world is at her feet.
But her secure, predictable existence is brought to an abrupt end when she is raped by an intruder. Fearing the unbearable stigma and threat to her marriage that could result from telling the truth, Tamar makes a fateful decision that changes her life forever.
Her feeling that she did the only thing she could under the circumstances explodes when years later a shocking, undreamed of turn of events finally forces her to confront her past, once and for all. (From the publisher.)
Author Bio
• Birth—July 10, 1949
• Where—New York, New York, USA
• Education—B.A., Brooklyn College; M.A., Hebrew University
of Jerusalem
• Currently—lives in Jerusalme, Israel
Naomi Ragen is the author of seven novels, including several international bestsellers, and her weekly email columns on life in the Middle East are read and distributed by thousands of subscribers worldwide. An American, she has lived in Jerusalem for the past thirty-nine years and was recently voted one of the three most popular authors in Israel. (From the publisher.)
More
Ragen’s first three novels, which described the lives of ultra-Orthodox Jewish women in Israel and the United States, dealt with themes that had not previously been addressed in that society's literature: wife-abuse (Jephte’s Daughter: 1989), adultery (Sotah: 1992) and rape (The Sacrifice of Tamar: 1995). Reaction to these novels in the Orthodox and ultra-Orthodox communities was mixed. Some hailed her as a pioneer who for the first time exposed and opened to public discussion problems which the communities had preferred to pretend did not exist, while others criticized her for “hanging out the dirty laundry” for everyone to see, thus embarrassing the rabbis who were believed by many to be effectively dealing with these problems “behind the scenes” and also putting “ammunition in the hands of the anti-Semites.”
Her next novel (The Ghost of Hannah Mendes: 1998) told the story of a Sephardic family brought back from the abyss of assimilation by the spirit of their ancestor Gracia Mendes (a true historical figure), a 16th century Portuguese crypto-Jew who risked her life and her considerable fortune to practice her religion in secret.
Chains Around the Grass (2002) is a semi-autobiographical novel of the author’s childhood which dealt with the failure of the American dream for her parents.
In The Covenant (2004) Ragen dealt with the contemporary theme of an ordinary family sucked into the horror of Islamic terrorism.
The Saturday Wife (2007), the story of a rabbi's wayward wife, is loosely based on Flaubert’s Madame Bovary, and is a satire of modern Jewish Orthodoxy.
Ragen is also known as a playwright. Her 2001 drama, Women’s Minyan, tells the story of an ultra-Orthodox woman who, upon fleeing from her adulterous and abusive husband, finds that he has manipulated the rabbinical courts to deprive her of the right to see or speak to her twelve children. The story is based on a true incident. Women’s Minyan ran for six years in Israel's National Theatre and has been staged in the United States, Canada and Argentina. (From Wikipedia.)
Book Reviews
Returning to familiar terrain in her third novel (after Jephte's Daughter and Sotah), Ragen again examines the lives of ultra-orthodox Jews and the severe consequences that can befall even the most faithful when they take a serious, albeit human misstep. Most of the story takes place in a Brooklyn neighborhood resembling Borough Park, although, as in her previous books, dramatic fanfare occurs in Israel, too. Pious Tamar both adores and is in awe of her warm and brilliant husband, Josh. She is looking forward to an intimate evening after her ritual visit to the mikvah (here Ragen offers a tediously detailed description about Jewish conjugal laws), but that evening she is raped by a black man. She does not tell her husband about the attack, and when she discovers she is pregnant, she does not abort the fetus, because she is not sure whether the rapist or Josh is the father. In trying to make the reader understand why Tamar would choose silence and sustain the pregnancy, Ragen flashes back to Tamar's youth, particularly her relationship with two friends who play pivotal roles throughout her life: Hadassah, the beautiful, rebellious daughter of the neighborhood's primary religious leader, and Jenny, who comes from a secular background but easily adapts to Orthodox observance. The interplay between the girls as they take tentative steps into the secular world of the late 1960s provides some charming scenes, and the final chapters prove moving and dramatic when later consequences of Tamar's deceptive silence shatter her family's life. While Ragen is an able storyteller and handles dialogue deftly, her plots are becoming hackneyed. It's an insular and provincial world that she has chosen to portray, and here she adds little that is new or eye-opening to the reader.
Publishers Weekly
Ragen (Jepthe's Daughter) continues to describe life in the ultra-orthodox Jewish communities of the United States and Israel. After being raped, Tamar, the young wife of a brilliant rabbi, chooses to conceal the crime. Soon, she discovers that she is pregnant and wrestles with a moral decision she is ill equipped to make. "What's not nice we don't show" is the modus operandi of Tamar's world, a creed to which she adheres until 20 years later when she must step forward or see innocent lives destroyed. The author paints a picture of a rigid, unyielding people for whom true tolerance and understanding is a luxury only the most saintly can afford, and she juxtaposes the more worldly modern orthodox as a positive alternative. Although Tamar is not a truly lovable heroine, and her transformation is difficult to accept, the author's fluid writing and fascinating descriptions of an exotic community will make this an attractive title for public libraries. —Andrea Caron Kempf, Johnson Cty. Community Coll. Lib., Overland Park, KS
Library Journal
The rape of a young, ultra-Orthodox Jewish woman and her ultimate redemption are at the very heart of Ragen's latest novel....The author handles this complex and moving story with a deft touch as Tamar's outwardly perfect life must finally be reconciled with her long-kept secret. —Alice Joyce
Booklist
Classic urban-Jewish myth replaces Bible stories in this latest chaste offering from Ragen (Sotah, 1992). Ultra-Orthodox, 21-year-old Tamar Finegold is raped by a black man while babysitting her nephew. Unwilling to become an object of pity and gossip in her tightly knit Brooklyn community, Tamar resolves to hide the fact from her family, friends, and neighbors. She even keeps the incident a secret from her pious husband, Josh, afraid that he will divorce her if Jewish law commands him to. When Tamar discovers that she is pregnant, however, she must reevaluate. The child could be the rapist's, but it might also be Josh's, with whom she slept that very same night. After soul-searching and sleeplessness, Tamar finally confides in her two best friends from childhood: Hadassah Mandlebright, the fallen only daughter of the revered Kovnitzer Rebbe, and born-again Jew Jenny Douglas. The three women meet at Hadassah's apartment in Manhattan and Tamar leaves the next morning determined to go through with her pregnancy. Eight months later she gives birth to a white child, Aaron. Tamar believes that the episode is finished; for the next 20 years she lives a spotless—if troubled—life, giving birth to two more children, becoming a respected matron in the community. But when Aaron's wife is punished for Tamar's sins of omission, Tamar must again make a decision, this time one her conscience can live with. Although Ragen exposes herself to charges of racism here, the black rapist is more important as a plot device than a representative of his race. More central is Ragen's typically harsh judgment of the insular ultra-Orthodox Jewish community, although she does create some saintly religious characters. As in Sotah, Ragen's moral is that fulfillment can be found outside the rigid boundaries of community but within the teachings of the commandments. Cliche-ridden and predictable, but also strangely affecting.
Kirkus Reviews
Discussion Questions
1. The social code of the ultra Orthodox world serves not only as the background for The Sacrifice of Tamar, but as one of its most controversial elements. How would you define that code, and in what way is it a catalyst for the behavior of the characters?
2. In discussing this book, the author said portraying Tamar sympathetically was extremely challenging. In what way does Tamar’s behavior evoke antagonism in the reader? What events and information does the author supply that help evince sympathy for her decision and her plight?
3. Describe Josh. What do you think his reaction would have been had Tamar told him the truth immediately?
4. Tamar hides the truth. How would the community have reacted had Tamar let the truth about the rape be known? Her family? Was Tamar’s sacrifice in vain?
5. Tamar’s cousin Zissel appears only briefly in the story. Why is Zissel important to the story?
6. At the beginning of the book, Tamar has the simplistic belief that “God treated you the way you treated others.” What happens to this belief by the end of the book? Is it still intact? Has it changed? In what ways?
7. What, exactly, is the sacrifice Tamar makes? Or is it Tamar herself who is sacrificed? What does she gain from her behavior, and what does she lose?
8. The Sacrifice of Tamar has an important racial element. Is Tamar a racist? How does the book portray racism?
9. In Tamar, Jenny, and Hadassah, the book presents three models of religious adherence. What are they? How would you describe the positive and negative role religion plays in each of their lives?
(Questions issued by publisher.)
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Sad Janet
Lucie Britsch, 2020
Penguin Publishing
288 pp.
ISBN-13: 9780593086520
Summary
Janet works at a rundown dog shelter in the woods. She wears black, loves the Smiths, and can’t wait to get rid of her passive-aggressive boyfriend. Her brain is full of anxiety, like "one of those closets you never want to open because everything will fall out and crush you."
She has a meddlesome family, eccentric coworkers, one old friend who’s left her for Ibiza, and one new friend who’s really just a neighbor she sees in the hallway. Most of all, Janet has her sadness—a comfortable cloak she uses to insulate herself from the oppressions of the wider world.
That is, until one fateful summer when word spreads about a new pill that offers even cynics like her a short-term taste of happiness… just long enough to make it through the holidays without wanting to stab someone with a candy cane.
When her family stages an intervention, her boyfriend leaves, and the prospect of making it through Christmas alone seems like too much, Janet decides to give them what they want. What follows is life-changing for all concerned—in ways no one quite expects.
Hilarious, bitterly wise, and surprisingly warm, Sad Janet is the depression comedy you never knew you needed. (From the publisher.)
Author Bio
Lucie Britsch's writing has appeared in Catapult Story, Vol. 1 Brooklyn, Split Lip Magazine, and The Sun (UK), and has been nominated for a Pushcart Prize. She lives in England, and Sad Janet is her first novel. (From the publisher.)
Book Reviews
A gentle, yet precise probe into the nature of melancholia.… Sad Janet is a strangely exuberant meditation on sadness; Britsch articulates the conflicting comforts and pains of depression in a distinctively memorable, wise way.
Refinery29
[A] darkly comic debut, a deadpan, abrasive narrator muses on her depression.… Janet has a gift for homing in on her own emotional state and everyone else’s, which Britsch renders in rueful, knowing prose…. [T]his monologue on unhappiness is undeniably infectious.
Publishers Weekly
(Starred review) The narrative voice of Janet in Britsch’s debut novel is a skin-tingling combination of new and necessary…. This book and this character are radical, and readers are likely to feel a relief at reading the thoughts they’ve had but not spoken.
Booklist
[A] darkly humorous debut… [and] sardonic portrayal of self-improvement…. However, by its end, it becomes a sort of echo chamber unto itself, full of cynicism, angst, existential ennui, and no solution. Perhaps that is life. A misanthropic tale goes awry.
Kirkus Reviews
Discussion Questions
We'll add publisher questions if and when they're available; in the meantime, use our LitLovers talking points to help discuss SAD JANET … then take off on your own:
1. Does Janet's sadness resonate with you? If so, in what way? If not, do you lose patience with her? Is she wallowing in her depression … or trapped?
2. Talk about Janet's counter-cultural desires: her wish not to have a boyfriend, own a house, or have children. Why does she hold these seemingly contrarian aspirations?
3. How would you describe the other characters in Lucie Britsch's novel: Janet's boyfriend and her family?
4. Janet tells us, "Love is like gluten," and that she "should have told the doctor. I can't process it properly." Funny! But what does she mean?
5. Talk about the dogs. What role do they play in Janet's life? Who or what do they stand in for, both the role they play in Janet's life, as well as the symbolic role in the novel itself?
6. What are Janet's perceptions—the pros and cons—of taking the medication. Why did she agree to take the pills?
7. Is this a "self-improvement" novel? Or a parody of one?
(Questions by LitLovers. Please feel free to use them, online and off, with attribution. Thanks.)
Sadie
Courtney Summers, 2018
Wednesday Books
320 pp.
ISBN-13: 9781250105714
Summary
A missing girl on a journey of revenge. A Serial-like podcast which follows the clues she's left behind. And an ending you won't be able to stop talking about.
Sadie hasn't had an easy life. Growing up on her own, she's been raising her sister Mattie in an isolated small town, trying her best to provide a normal life and keep their heads above water.
But when Mattie is found dead, Sadie's entire world crumbles. After a somewhat botched police investigation, Sadie is determined to bring her sister's killer to justice and hits the road following a few meager clues to find him.
When West McCray—a radio personality working on a segment about small, forgotten towns in America—overhears Sadie's story at a local gas station, he becomes obsessed with finding the missing girl. He starts his own podcast as he tracks Sadie's journey, trying to figure out what happened, hoping to find her before it's too late.
Courtney Summers has written the breakout book of her career. Sadie is propulsive and harrowing and will keep you riveted until the last page. (From the publisher.)
Author Bio
• Birth—1986
• Where—Belleville, Ontario, Canada
• Education—self-directed
• Awards—Cybils Award
• Currently—lives near Belleville, Ontario
Courtney Summers is a Canadian writer of young adult fiction. Her best known works are Cracked Up to Be, This is Not a Test, and All the Rage.
Career
In 2008, when she was 22, Summers published her first novel, Cracked Up to Be. The debut won the 2009 Cybils Award for YA Fiction. Her second novel, Some Girls Are, came out 2010 and received starred reviews from Kirkus Reviews, Publishers Weekly, School Library Journal and was a 2010 Goodreads Choice Nominee in the YA Fiction category. Both novels were repackaged in 2013 as a 2-in-1 edition titled What Goes Around.
Summers' third novel, Fall for Anything, was released in 2010, receiving starred reviews from Kirkus Reviews and Booklist.
Up to this point, Summers' novels were all contemporary and realistic. But her 2002 novel, This is Not a Test, is set during a zombie apocalypse. It received a starred review from Publishers Weekly and was optioned for television by Sony. In 2015, Summers released Please Remain Calm, an e-novella sequel to This is Not a Test.
Summers' fifth novel, All the Rage, was her hardcover debut. Released in 2015, it was chosen as the sixth official selection of Tumblr's Reblog Book Club and received starred reviews from Kirkus Reviews, Publishers Weekly, and School Library Journal. It was also named a Spring 2015 Junior Library Guild Selection.
On April 14, 2015, to mark the release of All the Rage, Summers launched the hashtag campaign #ToTheGirls, encouraging people to send messages of support and positivity to girls across social media. #ToTheGirls trended worldwide on Twitter. Notable press coverage included The Today Show. It was named one of the most important feminist hashtags of 2015 by Mic News.
Sadie came out in 2018. Like her other books, it too received stars from the four major book reviewers, ths time from all four: Kirkus, School Library Journal, Booklist, and Publishers Weekly.
Summers has also contributed short stories to the anthologies Defy the Dark and Violent Ends. (Adapted from Wikipedia. Retrieved 10/5/2018.)
Book Reviews
(Starred review) [A] taut, suspenseful book about abuse and power that feels personal, as if Summers …can’t take one more dead or abused girl. Readers may well feel similarly (Ages 13–up).
Publishers Weekly
(Starred review) —[C]ompelling.… It's impossible to not be drawn into this haunting thriller of a book. A heartrending must-have (Gr 9-up). —Amanda Mastrull
School Library Journal
(Starred review) Though Sadie’s story is occasionally a bit overwrought, her hunt for Mattie’s killer is captivating, and Summers excels at slowly unspooling both Sadie’s and West’s investigations at a measured, tantalizing pace. —Sarah Hunter
Booklist
(Starred review) Sadie is seeking her sister's killer; months later, podcast producer West McCray seeks to learn why Sadie abandoned her car and vanished.… [C]hild sexual abuse permeates the novel…. A riveting tour de force (Ages14-18).
Kirkus Reviews
Discussion Questions
1. In what ways does the dual narrative structure of Sadie add to the reading experience?
2. In the first episode of The Girls, how does the way West describes the town of Cold Creek set up the tone for the rest of the story?
3. What role do the towns Sadie passes through (Cold Creek, Montgomery, Langford, and Farfield) play in this story? Each town has a distinct description; what do these settings tell you?
4. How does the podcast element add to the overall story of Sadie?
5. Why do you think podcasts have taken listeners by storm? What do you think it is about them that appeals to listeners?
6. What forces are working against Sadie? What obstacles has she had to overcome in order to survive?
7. Out of all the people who Sadie comes across in her journey, which person (or people) do you think has the most effect on her? And who do you think Sadie affected the most; why?
8. What effect do you think the postcard from L.A. was supposed to have versus the actual effect it had on Sadie and Mattie? Do you think that the sender regretted sending the postcard?
9. What do you think Sadie would say to West if they ever met in person? Do you think she’d like him? Would she trust him with her story?
10. At the end of the book, what do you think happened to Sadie?
(Questions issued by the publisher.)
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Safe Haven
Nicholas Sparks, 2012
Grand Central Publishing
432 pp.
ISBN-13: 9781455523542
Summary
When a mysterious young woman named Katie appears in the small North Carolina town of Southport, her sudden arrival raises questions about her past.
Beautiful yet self-effacing, Katie seems determined to avoid forming personal ties until a series of events draws her into two reluctant relationships: one with Alex, a widowed store owner with a kind heart and two young children; and another with her plainspoken single neighbor, Jo. Despite her reservations, Katie slowly begins to let down her guard, putting down roots in the close-knit community and becoming increasingly attached to Alex and his family.
But even as Katie begins to fall in love, she struggles with the dark secret that still haunts and terrifies her...a past that set her on a fearful, shattering journey across the country, to the sheltered oasis of Southport. With Jo's empathic and stubborn support, Katie eventually realizes that she must choose between a life of transient safety and one of riskier rewards...and that in the darkest hour, love is the only true safe haven. (From the publisher.)
Author Bio
• Birth—December 31. 1965
• Where—Omaha, Nebraska, USA
• Education—B.A., University of Notre Dame
• Currently—lives in New Bern, North Carolina
Nicholas Charles Sparks is an American novelist, screenwriter and producer. He has published some 20 novels, plus one non-fiction. Ten have been adapted to films, including Message in a Bottle, A Walk to Remember, The Notebook, Nights in Rodanthe, Dear John, The Last Song, The Lucky One, and most recently The Longest Ride.
Background
Sparks was born to Patrick Michael Sparks, a professor of business, and Jill Emma Marie Sparks (nee Thoene), a homemaker and an optometrist's assistant. He was the middle of three children, with an older brother and a younger sister, "Dana", who died at the age of 33 from a brain tumor. Sparks said that she is the inspiration for the main character in his novel A Walk to Remember.
His father was pursuing graduate studies at University of Minnesota and University of Southern California, and the family moved a great deal, so by the time Sparks was eight, he had lived in Watertown, Minnesota, Inglewood, California, Playa del Rey, California, and Grand Island, Nebraska, which was his mother's hometown during his parents' one year separation.
In 1974 his father became a professor of business at California State University, Sacramento teaching behavioral theory and management. His family settled in Fair Oaks, California, and remained there through Nicholas's high school days. He graduated in 1984 as valedictorian from Bella Vista High School, then enrolled at the University of Notre Dame under a full track and field scholarship. In his freshman year, his team set a record for the 4 x 800 relay.
Sparks majored in business finance and graduated from Notre Dame with honors in 1988. He also met his future wife that year, Cathy Cote from New Hampshire, while they were both on spring break. They married in 1989 and moved to New Bern, North Carolina.
Writing career
While still in school in 1985, Sparks penned his first (never published) novel, The Passing, while home for the summer between freshman and sophomore years at Notre Dame. He wrote another novel in 1989, also unpublished, The Royal Murders.
After college, Sparks sought work with publishers or to attend law school, but was rejected in both attempts. He then spent the next three years trying other careers, including real estate appraisal, waiting tables, selling dental products by phone and starting his own manufacturing business.
In 1990, Sparks co-wrote with Billy Mills Wokini: A Lakota Journey to Happiness and Self-Understanding. The book was published by Random House sold 50,000 copies in its first year.
In 1992, Sparks began selling pharmaceuticals and in 1993 was transferred to Washington, DC. It was there that he wrote another novel in his spare time, The Notebook. Two years later, he was discovered by literary agent Theresa Park, who picked The Notebook out of her agency's slush pile, liked it, and offered to represent him. In October 1995, Park secured a $1 million advance for The Notebook from Time Warner Book Group. The novel was published in 1996 and made the New York Times best-seller list in its first week of release.
With the success of his first novel, he and Cathy moved to New Bern, NC. After his first publishing success, he began writing his string of international bestsellers.
Personal life and philanthropy
Sparks continues to reside in North Carolina with his wife Cathy, their three sons, and twin daughters. A Roman Catholic since birth, he and his wife are raising their children in the Catholic faith.
In 2008, Entertainment Weekly reported that Sparks and his wife had donated "close to $10 million" to start a private Christian college-prep school, The Epiphany School of Global Studies, which emphasizes travel and lifelong learning.
Sparks also donated $900,000 for a new all-weather tartan track to New Bern High School. He also donates his time to help coach the New Bern High School track team and a local club track team as a volunteer head coach.
In addition to track, he funds scholarships, internships and annual fellowship to the Creative Writing Program (MFA) at the University of Notre Dame. (Adapted from Wikipedia.)
Book Reviews
When Katie turns up in Southport, N.C., her presence in the small town and determination to keep to herself raises questions. But when events beyond her control force Katie to open up—and she begins to fall in love—she must come to grips with a dark secret from her past. Narrator Rebecca Lowman captures the essence of Sparks' novel and creates numerous voices and dialects for his characters, including the smooth Southern drawl of Katie's mysterious neighbor and sisterly confidant Jo, as well as the New England accent of Katie's estranged husband Kevin. Lowman also does her best to keep Katie from descending into movie-of-the week victimhood, particularly as the heroine enters into a budding romance with widower storekeeper Alex.
Publishers Weekly
A young woman with secrets finds home, community and a potential new love in a small North Carolina beach town; now if she can only rid herself of a past that haunts her, she may just have the life she's always longed for. No one in Southport, N.C., seems too concerned with the fact that Katie wants to keep to herself, even if it is a small town, and she's a mysterious, pretty woman. But since there's only one attractive, eligible man in the whole town--Alex, the widowed owner of the town's general store--then it only makes sense that the two would notice each other. Throw in a couple of events that allow Katie to show herself as a woman of character (despite her secretive ways) and Alex to represent a perfect man, and of course, the two of them will wind up on the path to true love. Especially since she's great with kids, and he just happens to have two of them, to whom he is a gentle, wonderful father with the patience of a saint. But, alas, Katie is a woman with secrets, and that generally means that there is someone out there looking for her. Since Katie lives in a tiny, isolated shack in the middle of nowhere, it's a good thing she likes her quirky new neighbor, Jo. Jo encourages her to become more invested in Alex, who, everyone knows, is a good man. Romance progresses. A haunting past life catches up with Katie with frightening consequences. Love prevails. An emotionally wrenching story with a dramatic happily-ever-after.
Kirkus Reviews
Discussion Questions
1. When Alex first meets Katie, he senses that she is in trouble. How does he figure out what has happened to her?
2. What is the nature of Jo and Katie’s relationship? How does Jo help Katie adjust to her life in Southport?
3. Katie and Alex fall in love very quickly. What draws them together? Have you ever fallen in love so quickly? If not, do you think it’s possible?
4. On their first date, Alex says to Katie: “Everyone has a past, but that’s just it—t’s in the past. You can learn from it, but you can’t change it.” Do you agree with him? Is it possible to truly put the past behind you?
5. Alex is a widower who has had to raise two children on his own. How has he dealt with his grief in the years since his wife passed away? Have you experienced grief of this magnitude in your own life? How did you handle it?
6. When Katie tells Alex about Kevin she says: “I hate him, but I hate myself, too.” Why does she feel this way? How does Katie change as she spends more and more time in Southport? How is she different by the end of the book?
7. Despite his violent behavior and his incessant drinking, Kevin quotes the Bible constantly and takes the Ten Commandments seriously. How do you understand his behavior?
8. Katie’s past puts Alex and his family in potential danger. Do you think it was irresponsible of Alex to involve himself with a woman he knew could endanger him and his children?
9. Why do you think the author chose to write a portion of the book from Kevin’s perspective. Do you have any sympathy for Kevin? Why or why not?
10. Did reading this book give you a new or better understanding of domestic abuse?
11. At the end of the novel, Alex tells Katie he is sorry for her loss. What does he mean by this? How does Katie react?
12. What do you make of Katie’s discovery at the end of the novel? Do you find the book’s ending believable?
13. This novel is in large part about safety and trust and how we often take these two things for granted. Did this book make you think differently about your own life and the things you value?
(Questions from the author's website.)
The Safe Place
Anna Downes, 2020
St. Martin's Press
368 pp.
ISBN-13: 9781250264800
Summary
Superbly tense and oozing with atmosphere, Anna Downes's debut, The Safe Place, is the perfect summer suspense, with the modern gothic feel of Ruth Ware and the morally complex family dynamics of Lisa Jewell.
Welcome to paradise … will you ever be able to leave?
Emily is a mess.
Emily Proudman just lost her acting agent, her job, and her apartment in one miserable day.
Emily is desperate.
Scott Denny, a successful and charismatic CEO, has a problem that neither his business acumen nor vast wealth can fix. Until he meets Emily.
Emily is perfect.
Scott offers Emily a summer job as a housekeeper on his remote, beautiful French estate. Enchanted by his lovely wife Nina, and his eccentric young daughter, Aurelia, Emily falls headlong into this oasis of wine-soaked days by the pool.
But soon Emily realizes that Scott and Nina are hiding dangerous secrets, and if she doesn't play along, the consequences could be deadly. (From the publisher.)
Author Bio
Anna Downes was born and raised in Sheffield, UK, but now lives just north of Sydney, Australia with her husband and two children. She worked as an actress before turning her attention to writing.
Downes was shortlisted for the Sydney Writers Room Short Story Prize (2017) and longlisted for the Margaret River Short Story Competition (2018). The Safe Place was inspired by Anna’s experiences working as a live-in housekeeper on a remote French estate in 2009-10. (From the publisher.)
Book Reviews
Downes keeps the sense of foreboding building…. Emily is a compelling character who arrives in France scatterbrained and immature but find the inner strength to save herself.
Washington Post
Gripping, satisfying and also promising first suspense novel. Psychological suspense, really, but in a setting where we expect a "gothic romance'—isolated house, mysterious owner, troubled child needing care.… But a larger cast than that, and characters that, even though we are in close point of view with each in turn, continue to surprise us.
Shawangunk Journal
It all adds up to an intriguing and addictive read. A real page turner; I couldn't put the book down once the secrets began to be unveiled.
AU Review.com (Australia)
[A]tmospheric, fitfully gripping…. Though plenty of surprises await the reader, Aurelia’s palpable suffering casts something of a pall over this mix of romantic escapism and gothic menace. Ruth Ware fans may want to check this one out.
Publishers Weekly
Downes' debut novel is a slow burn of a story with Emily picking up on snippets of conversations as a breadcrumb trail leads her to an astounding conclusion. A great read for those looking for a side of mystery with their women's fiction.
Booklist
Discussion Questions
We'll add publisher questions if and when they're available; in the meantime, use our LitLovers talking points to help start a discussion … then take off on your own:
m. In hindsight, what makes Emily the perfect person for Scott Denny to hire as an au pair for his wife, Nina, and daughter, Aurelia? Consider the state of Emily's life at at the onset of the novel—her lack of money, her family relationships, and her prospects (or lack of) for the future.
m. At first, Querencia is idyllic. When did you you begin, however, to suspect that things were not quite so perfect? What was your first clue?
m. Talk about Scott and what we know about his various machinations.
m. How does Emily's nascent attraction to Scott confuse her growing intuition that things are seriously amiss?
m. The story is told through multiple perspectives—that of Emily, Scott, and Nina. How do the different viewpoints affect what we come to know and when we know it? Did the narrative strategy increase or decrease your surprise at the end? In other words, was the final revelation surprising or predictable?
m. Did your opinion of Emily change by the end of the novel? Does she rise to the level of heroine by meeting the challenges thrown her way?
(Questions by LitLovers. Please feel free to use them, online and off, with attribution. Thanks.)
Sag Harbor
Colson Whitehead, 2009
Knopf Doubleday
288 pp.
ISBN-13: 9780307455161
Summary
The year is 1985. Benji Cooper is one of the only black students at an elite prep school in Manhattan. He spends his falls and winters going to roller-disco bar mitzvahs, playing too much Dungeons and Dragons, and trying to catch glimpses of nudity on late-night cable TV. After a tragic mishap on his first day of high school—when Benji reveals his deep enthusiasm for the horror movie magazine Fangoria—his social doom is sealed for the next four years.
But every summer, Benji escapes to the Hamptons, to Sag Harbor, where a small community of African American professionals have built a world of their own. Because their parents come out only on weekends, he and his friends are left to their own devices for three glorious months. And although he’s just as confused about this all-black refuge as he is about the white world he negotiates the rest of the year, he thinks that maybe this summer things will be different. If all goes according to plan, that is.
There will be trials and tribulations, of course. There will be complicated new handshakes to fumble through, and state-of-the-art profanity to master. He will be tested by contests big and small, by his misshapen haircut (which seems to have a will of its own), by the New Coke Tragedy of ’85, and by his secret Lite FM addiction. But maybe, with a little luck, things will turn out differently this summer.
In this deeply affectionate and fiercely funny coming-of-age novel, Whitehead—using the perpetual mortification of teenage existence and the desperate quest for reinvention—lithelyprobes the elusive nature of identity, both personal and communal. (From the publisher.)
Author Bio
• Birth—November 1969
• Where—New York, New York (USA)
• Education—B.A., Harvard University
• Awards—PEN/Oakland Award; Whiting Writers Award
• Currently—lives in Brooklyn, New York
Born in 1969 and raised in Manhattan, Colson Whitehead received his undergraduate degree from Harvard. After graduation, he went to work for the Village Voice as a book , television, and music reviewer.
Whitehead's first novel, The Intuitionist, was published in 1999 and was a finalist for the PEN/Hemingway and a winner of the Quality Paperback Book Club's New Voices Award. In 2001, he published John Henry Days, a startlingly original retelling of the famous story from American folklore. The novel received several honors and was shortlisted for the National Book Critics Circle Award and the Pulitzer Prize. In 2003, a collection of his essays, The Colossus of New York, was named a New York Times Notable Book of the year.
Whitehead's writing continues to attract awards, rave reviews, and a devoted, avid readership. In between books, he produces reviews, essays, short stories, and cultural commentary for a number of distinguished publications, including the New York Times, The New Yorker, Harper's, and Granta. He is the recipient of a coveted MacArthur Fellowship (dubbed the "genius grant") , a Whiting Writers Award, and a fellowship at the Cullman Center for Scholars and Writers.
Extras
From a 2009 Barnes & Noble interview:
• Where do I get my ideas? Usually I come across some strange fact in a book, or article, or tv show and think, That's weird, wouldn't it be kooky if...?
• I like to write in the nude—I find the gentle breezes tickle the fine hairs of creativity.
• Here are some of the things I like: staying in the house all day, screening phone calls, keeping the shades drawn. Deglazing. Oh, how I love to deglaze.
• Here's what I dislike: performance art, people who walk slowly in front of me, romantic comedies, panel discussions.
• When asked what book most influenced his career as a writer, here is his response:
There are many books, obviously. Today I'll go with Gravity's Rainbow by Thomas Pynchon, because I'm feeling nostalgic for a good, long read. I have fond memories of reading it at age 19, while flat broke, in a crappy apartment, with nothing to do but watch Quincy, cook up some cheap halibut, and read GR. I remember getting to the last 100 pages and thinking, "He's not going to end this the way I think he's going to end it, is he? It would be crazy if he did that!" And he did. The lesson being, no idea is too weird—as long as you can pull it off. (Author bio and interview from Barnes & Noble.)
Book Reviews
Sea-breeze buoyant....teasingly self-aware spirit.....hilariously trifling intricacies of this self-discovery process. Credit Mr. Whitehead with this: He captures the fire flies of teenage summertime in a jar....What's best about Sag Harbor is the utter and sometimes mortifying accuracy of its descriptive details....equally aware of the tiny nuances of teen culture....When this book's range encompasses kids, parents, community, tradition and history simultaneously, Mr. Whitehead's recovered memories don't seem so trivial after all.
Janet Maslin - New York Times
Whitehead's delicious language and sarcastic, clever voice fit this teenager who's slowly constructing himself. Sag Harbor is not "How I became a writer"; there's no hint of Benji's destiny beyond his sharp-eyed way of looking at things, his writerly voice and his desire to provide a historical and sociological context for blacks in the Hamptons. Still, with the story meandering like a teenager's attention, the book feels more like a memoir than a traditional plot-driven novel. It's easy to come away thinking not much happens—Whitehead has said as much—but Sag Harbor mirrors life, which is also plotless. It's an inner monologue, a collection of stories about a classic teenage summer where there's some cool stuff and some tedium and Benji grows in minute ways he can't yet see.
New York Times Book Review
Detailing the life of a dorky teenager in a community that's peculiar but oddly familiar, Sag Harbor is a kind of black "Brighton Beach Memoirs," but it's spiced with the anxieties of being African American in a culture determined to dictate what that means…The novel's eight chapters are, in effect, masterful short stories, deceptively desultory as they riff on the essential quests of teenage boys: BB guns, nude beaches, beer and, above all, the elusive secret to fitting in. But plot is the least of Whitehead's concerns here. Charm alone drives most of these chapters, the seductive voice of a narrator as clever as he is self-deprecating, moving from one comic anecdote to the next with infectious delight in his own memories.
Washington Post
In his ebullient, supremely confident fourth novel….offers such pleasures only a grump would complain….Debates and disquisitions about the timeless ephemera of pop culture appear in realistic proportion, and the resulting humor feels earned rather than easy, because of its thematic relevance and, above all, Whitehead’s skill with voice and character….come off the page with energy and pathos.
San Diego Union
The inventive, gifted Whitehead….registers the minutia of ‘80s culture….effortlessly readable….masterful at re-creating the organized chaos of the teenage mind. Sag Harbor moves between vignettes with the urgency and awareness of a kid still mesmerized by the mundane….offers a loving exploration….By opting to show, rather than describe, their innocence, Whitehead recalls its allure. And what better time to reminisce over that than summer?
Cleveland Plain Dealer
Whitehead's most enjoyable book--warm and funny, carefully observed, and beautifully written, studded with small moments of pain and epiphany....Whiehead seems to be having the time of his life; one can almost feel him relaxing into this book as if it actually were the summer home of his youth....The humor of Sag Harbor—which reaches its apex in a scene involving seminal mid-'80s hip hop group UTFO's appearance at the local waffle cone emporium, where the rapper known as Dr. Ice provides some astute medical advice--is twinned by pain. It is Benji's uncertainty about everything that gives him such perspective, imbues even his most casual observations with a sheen of elegiac wisdom....tense, lush, poignant—Sag Harbor at its most satisfying.
Boston Globe
In what Whitehead describes as his "Autobiographical Fourth Novel" (as opposed to the more usual autobiographical first novel), the author of the Pulitzer Prize finalist John Henry Days explores the in-between space of adolescence through one boy's summer in a predominantly black Long Island neighborhood. Benji and Reggie, brothers so closely knit that many mistake them for twins, have been coming out to Sag Harbor for as long as they can remember. For Benji, each three-month stay at Sag is a chance to catch up with friends he doesn't see the rest of the year, and to escape the social awkwardness that comes with a bad afro, reading Fangoria, and being the rare African-American student at an exclusive Manhattan prep school. As he and Reggie develop separate identities and confront new factors like girls, part-time jobs and car-ownership, Benji struggles to adapt to circumstances that could see him joining the ranks of "Those Who Don't Come Out Anymore." Benji's funny and touching story progresses leisurely toward Labor Day, but his reflections on what's gone before provide a roadmap to what comes later, resolving social conflicts that, at least this year, have yet to explode.
Publishers Weekly
Fifteen-year-old Benji has spent every summer since he can remember in Sag Harbor, NY. The rest of the year, he's a black preppie from Manhattan, with a doctor father and a lawyer mother and a younger brother, Reggie. It is 1985, and Reggie gets a job at Burger King, leaving Benji (who would prefer to be called Ben) to hang with his summer friends (the term posse wasn't invented yet), other black prep school refugees. Not a lot happens during those three months. Or does everything happen, all that matters to an insecure, nerdy teen just beginning to recognize the man he might become? Scooping ice cream at Jonni Waffle, riding to the "white beach" with the one guy who's got a car, trying to crash a Lisa Lisa concert at the hip club, and kissing a girl and copping a feel are significant events in a life that encompasses generations of folks who called Sag Harbor home. Wonderful, evocative writing, as always, from Whitehead (Apex Hides the Hurt); male readers especially will relate. Highly recommended.
Bette-Lee Fox - Library Journal
For all the range of effect, philosophical weight, originality of style, variety of characterization, humor, and tragic intensity [Faulkner's works] are withouAnother surprise from an author who never writes the same novel twice. Though Whitehead has earned considerable critical acclaim for his earlier work-in particular his debut (The Intuitionist, 1999) and its successor (John Henry Days, 2001)-he'll likely reach a wider readership with his warmest novel to date. Funniest as well, though there have been flashes of humor throughout his writing. The author blurs the line between fiction and memoir as he recounts the coming-of-age summer of 15-year-old Benji Cooper in the family's summer retreat of New York's Sag Harbor. "According to the world, we were the definition of paradox: black boys with beach houses," writes Whitehead. Caucasians are only an occasional curiosity within this idyll, and parents are mostly absent as well. Each chapter is pretty much a self-contained entity, corresponding to a rite of passage: getting the first job, negotiating the mysteries of the opposite sex. There's an accident with a BB gun and plenty of episodes of convincing someone older to buy beer, but not much really happens during this particular summer. Yet by the end of it, Benji is well on his way to becoming Ben, and he realizes that he is a different person than when the summer started. He also realizes that this time in his life will eventually live only in memory. There might be some distinctions between Benji and Whitehead, though the novelist also spent his youthful summers in Sag Harbor and was the same age as Benji in 1985, when the novel is set. Yet the first-person narrator has the novelist's eye for detail, craft of character development and analytical instincts for sharp social commentary. Not as thematically ambitious as Whitehead's earlier work,but a whole lot of fun to read.
Kirkus Reviews
Discussion Questions
1. How does each of Benji’s comrades (Reggie, NP, Randy, Bobby, Marcus, Clive) contribute to the group? What challenges do they face as friends?
2. Explain the differences between Benji’s age group and that of his sister. During these years, why is the disparity between high school and college so acute?
3. Benji comments that “the rock” on the beach near his beach house serves as a racial barrier. White people won’t walk much further past it. What similar examples can you think of that exist today or in your own community? How have racial barriers changed in the last 20 years? How are they still the same?
4. The emergence of hip-hop is a strong influence in the lives of Benji and his friends. In what ways does music affect their generation? In what ways has music affected your own life?
5. Benji grapples with his identity throughout the novel. At one point he states:
“According to the world we were the definition of a paradox: black boys with beach houses. A paradox to the outside, but it never occurred to us that there was anything strange about it.” (Pg. 57)
How is this community a paradox? How is Benji’s identity shaped by the two worlds he inhabits, both during the school year, and then during the summer season?
6. Benji often refers to the handshake, song, and/or dance he will surely conquer by the “end” of the summer. To what degree is he constantly trying to reinvent himself?
7. What do you think are the characteristics of a typical 1980’s adolescent? How does Benji fit the stereotype? How is he different?
8. Benji clearly realizes toward the end of the summer that what he loves, is perhaps not the girls he pines after, but his beach home and “what he put into it.” He reflects back on a tender moment with his family and the fond memories of being a child. What is it about our childhoods that evoke such special memories within us? Is there a place from your own past that touched your life as Sag Harbor touched Benji?
9. Throughout the novel there looms a hint of darkness behind the relationship between Benji’s father and his family. His father seems to have a violent strain. How does this affect Benji and his family? What is the role of the father in a young man’s coming of age?
10. From Catcher in the Rye to Stand By Me, the coming-of-age novel is a perennial in American literature. What do you think is so appealing and universal about this genre?
(Questions issued by publisher.)
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Sahara
Angella Ricot, 2014
Authorhouse
240 pp.
ISBN-13: 9781496924155
Summary
When three sisters overhear their father's overwhelming deal to sell them into prostitution, they immediately take fate into their own hands in search of their own destiny.
They embark on a powerful and compelling journey that takes root in the exotic realm of the Caribbean island of Labadee, later to spring fully fledged in the glamorous cosmopolitan city of New York. Out of the struggle emerges the valiant and beautiful heroine, Sahara, a sensational gold thief who gets herself entangled in sensuous political games and dangerous liaisons.
Sahara is a story of love, lust, money, and betrayal that is ingrained with power, politics, and prejudice. The plot spins to a volatile climax that sets the stage for the ultimate scandal in the White House. (From the publisher.)
Author Bio
• Birth—N/A
• Where—Port-au-Prince, Haiti
• Education—B.A., University of South Florida
• Awards—Iliad Press, Cader Publishing
• Currently—lives in New York, NY
Born in Haiti, award-winning author Angella Ricot immigrated to the United States over twenty years ago. A graduate of the University of South Florida, she was trained in both psychology and the medical sciences. She has appeared in the Miami Times and in the New York Caribbean newspapers. Her first book, Mirror of Souls, was released in 2004, with subsequent works pending publication.
Angella Ricot currently lives in the heart of the cosmopolitan city of New York. While her rigorous training laid the foundation for her career, her roots in the Caribbean mixed with the zest of urban city life provide the tapestry for her inspirations.
Visit the author's website.
Follow Angella on Facebook.
Book Reviews
Fantastic, compulsive reading, gripping, could not put it down.... Ricot places at the core of the structure of this book the theme of human trafficking....a theme that is deadly serious, a theme that is harrowing as well as tragic. There is no small wonder she is able to get her teeth into the spirit of this book.... [A] truly thrilling read worthy of the company of fellow female writers like Danielle Steel or Anne Rice. This book is a political satire. But this review will fail in its objective to influence readers to read what is my felt sense that this book is a classic, if I fail to emphasize and re-emphasize that this novel Sahara reads completely like a work of fiction, for it tells a fantastic epic story that holds your interest from start to end.
Michael Mulvihill, Horror Novelist
I read this book in one sitting because I couldn't put it down. It had copious amounts of sex and violence appropriately placed to keep you interested. There were real life characters in the book that you will certainly recognize. However, it is apparent that these characters have fictitious roles in the book. To me, the book is full of symbolism about women and their role in American life. For example, women have no power and at the same time have unlimited power over men. There are some obvious other examples of symbolism in the reading; some jump out at you while others are obfuscated to some degree. This makes re-reading the book enjoyable to ascertain some of these nuances. I recommend reading Sahara by a Great American writer Angella Ricot.
Robert D. Womack
Discussion Questions
1. Fans often ask me what inspired you to write this book?
Current events and world news such as President Bill Clinton and his relationship with Third World countries inspired me.
2. Why do you think that this book will appeal to readers?
It will appeal to a wide audience for it is filled with political intrigues and sensuous games that will keep the reader on his toes and get him/her out of her comfort zone.
3. How is your book relevant in today’s society?
It brings into the spotlight latest political drama, women’s issues and human trafficking.
4. Is there any subject currently trending in the news that relates to your book?
It shares some themes with the television show "Scandal." Sahara is to President Bill Clinton what Olivia Pope is to President Fitzgerald Grant. However, Sahara expands further to touch upon serious issues like drugs trafficking and human trafficking.
5. What makes your book different from other books like it?
The plot and the originality of the characters make Sahara exceptionally different.
6. What do you want readers to take away from your writing?
We are the masters of our own destiny. With enough willpower fate can be overcome.
(Questions courtesy of the author.)
Saint Mazie
Jami Attenberg, 2015
Grand Central Publishing
336 pp.
ISBN-13: 9781455599899
Summary
Meet Mazie Phillips: big-hearted and bawdy, she's the truth-telling proprietress of The Venice, the famed New York City movie theater.
It's the Jazz Age, with romance and booze aplenty—even when Prohibition kicks in—and Mazie never turns down a night on the town. But her high spirits mask a childhood rooted in poverty, and her diary, always close at hand, holds her dearest secrets.
When the Great Depression hits, Mazie's life is on the brink of transformation. Addicts and bums roam the Bowery; homelessness is rampant. If Mazie won't help them, then who?
When she opens the doors of The Venice to those in need, this ticket taking, fun-time girl becomes the beating heart of the Lower East Side, and in defining one neighborhood helps define the city.
Then, more than ninety years after Mazie began her diary, it's discovered by a documentarian in search of a good story. Who was Mazie Phillips, really? A chorus of voices from the past and present fill in some of the mysterious blanks of her adventurous life.
Inspired by the life of a woman who was profiled in Joseph Mitchell's classic Up in the Old Hotel, Jami Attenberg's Saint Mazie is infused with Jami's wit, bravery, and heart. Mazie's rise to "sainthood"—and her irrepressible spirit—is unforgettable. (From the publisher.)
Author Bio
• Birth—1971
• Raised—Buffalo Grove, Illinois, USA
• Education—B.A., John Hopkins University
• Currently—lives in New Orleans, Louisiana
Jami Attenberg is an American writer of fiction and essays. She grew up in Buffalo Grove, Illinois, and is a graduate of Johns Hopkins University with a degree in Writing.
Her early works were published in numerous zines and in a 2003 chapbook called Deli Life. Her first book, Instant Love, a collection of interconnected short stories, was published in 2006. That work has been followed by a series of novels:
2008 - The Kept Man
2010 - The Melting Season
2012 - The Middlesteins
2015 - Saint Mazie
2017 - All Grown Up
2019 - All This Could Be Yours
Attenberg's work has appeared in a number of anthologies and magazines, including Nerve and The New York Times. She lives in New Orleans, Louisiana. (Adapted from Wikipedia. First retrieved 10/28/2012.)
Book Reviews
Full of love and drink and dirty sex and nobility.... Attenberg takes Mitchell's witty, colorful piece and spins it into something equally lively and new.
New York Times Book Review
[F]resh and witty.... Saint Mazie looks deep into the spirit of generosity. Jami Attenberg's Mazie lives a very big life in a very small space, turning her darkest experiences into something inspiring.
Wall Street Journal
Attenberg is a nimble and inventive storyteller with a particular knack for getting at the heart of outsized characters.... [she] proves her chops as a historical novelist by perfectly capturing Mazie's jazz-age voice, which ranges from clipped and vulgar to melancholy and lyrical. Attenberg also sidesteps many of the pitfalls of the form: no day-by-day plodding through the decades, no unedited research notes masquerading as dialogue. She resists any plot twist or final revelation to provide a tidy psychological explanation for Mazie Phillips-Gordon sainthood.
Washington Post
Delightful . . . [an] often ebullient tale about the simple pleasures of a working life.... Thanks to the wonderful Jami Attenberg (with an assist from the legendary Joseph Mitchell) Mazie does live on, an actual 20th century New York City saint.
NPR
Attenberg captures Mazie's voice so vividly you can close the book and still hear her talking. She is a tremendous achievement.... [A] bold, magnificent book about family, altruism, women and freedom, as well as a love letter to New York and a timely social manifesto for the 21st century.
Guardian (UK)
Attenberg's style, at turns lyrical and blunt, is a strong match for Mazie.... This voice-pleasantly tinged with jazz age argot, refreshingly modern in its honesty, and always intimate-is Attenberg's great achievement in Saint Mazie.... [A] boisterous, deep, provocative book.
Boston Globe
The real-life Mazie first appeared in a 1940 New Yorker profile by Joseph Mitchell and later again in his seminal collection, Up in the Old Hotel. Now Mazie's latest, and perhaps more powerful incarnation, is in the novel Saint Mazie by Jami Attenberg. Here Mazie continues to grab the lapels and hearts of readers—and we are all the more glad for the shake-up she gives us.... Achieves immortality in the minds and hearts of readers.
Milwaukee Journal Sentinel
[I]ngeniously constructed.... An attentive character study that also happens to be rich in city lore and period detail, Saint Mazie is an edifying, companionable and moving novel.
Kansas City Star
Attenberg has an impressive ability to capture unique voices and make these characters authentic and distinctive.... [T]he voices in Saint Mazie ring out and linger, bringing to life this specific place and time in New York-and American-history.
Dallas Morning News
A winning novel and a lovely tribute to a New Yorker whose only claim to fame is her outsized kindness. Her Mazie is richly imagined and three-dimensional, and in these pages she lives forever.
Los Angeles Times
The hugely talented Jami Attenberg, most recently author of The Middlesteins, has built a novel based on an imagined diary of Mazie Phillips, a Bowery movie-theater proprietress.
New York Magazine
Tender-hearted and loose-living, Mazie is the unlikely guardian angel of New York City's Depression-Era down-and-outs. You'll love this smart, touching novel that brings her world to life.
People
Boisterous and compassionate.
O Magazine
A funny, touching novel.
Vanity Fair
An exuberant portrait of an unforgettable woman and the city she loves.
BBC.com
Impressive.... Attenberg excels at developing Mazie's voice as she grows from an impetuous, witty girl, into a shrewd-yet-selfless character. But the book is largely about the silent tragedies of womanhood, and the different forms love and loneliness can take.... What Saint Mazie is most concerned with: how to be a human being.
Bust Magazine
Mazie, the good-time girl is also a woman who cares deeply about the less fortunate, and this plays out most endearingly in her friendship with a pious nun.... [A] vivid picture of life during the Depression.
Publishers Weekly
Grand, bigmouthed, bighearted Mazie Phillips spends her days as proprietress of the Venice, an old-line New York City movie theater, and her nights on the town. Then the Depression hits, and she opens the Venice to anyone in need.
Library Journal
Early 20th-century New York and its denizens portrayed through the fictional diary of a nonfictional heroine.... Too much concept and not enough story, but Mazie might win your heart anyway with her tough-talking mensch-iness.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
(We'll add specific questions if and when they're made available by the publisher.)
Saint X
Alexis Schaitkin, 2020
Celadon Books
352 pp.
ISBN-13: 9781250219596
Summary
When you lose the person who is most essential to you, who do you become?
Claire is only seven years old when her college-age sister, Alison, disappears on the last night of their family vacation at a resort on the Caribbean island of Saint X. Several days later, Alison’s body is found in a remote spot on a nearby cay, and two local men–employees at the resort–are arrested.
But the evidence is slim, the timeline against it, and the men are soon released. The story turns into national tabloid news, a lurid mystery that will go unsolved. For Claire and her parents, there is only the return home to broken lives.
Years later, Claire is living and working in New York City when a brief but fateful encounter brings her together with Clive Richardson, one of the men originally suspected of murdering her sister.
It is a moment that sets Claire on an obsessive pursuit of the truth–not only to find out what happened the night of Alison’s death but also to answer the elusive question: Who exactly was her sister? At seven, Claire had been barely old enough to know her: a beautiful, changeable, provocative girl of eighteen at a turbulent moment of identity formation.
As Claire doggedly shadows Clive, hoping to gain his trust, waiting for the slip that will reveal the truth, an unlikely attachment develops between them, two people whose lives were forever marked by the same tragedy.
For readers of Emma Cline’s The Girls and Lauren Groff’s Fates and Furies, Saint X is a flawlessly drawn and deeply moving story that culminates in an emotionally powerful ending. (From the publisher.)
Author Bio
Alexis Schaitkin’s short stories and essays have appeared in Ecotone, Southwest Review, Southern Review, New York Times, and elsewhere. Her fiction has been anthologized in The Best American Short Stories and The Best American Nonrequired Reading.
Schaitkin received her MFA in fiction from the University of Virginia, where she was a Henry Hoyns Fellow. She lives in Williamstown, Massachusetts, with her husband and son. Saint X is her debut novel. (From the publisher.)
Book Reviews
Any death of course creates aftershocks among those closest to the deceased, but we rarely spare a thought for those on the fringes. Schaitkin does, demonstrating in no more than a few pages each how Alison's passing affects her various satellites: her teacher, roommate, a random man on holiday, an actor, the girlfriend of the suspect and so on. The connections are faint, the domino effect crystal clear. All these sub-narratives dedicated to minor and major characters, chapters that do little to move the plot along, could easily have resulted in a novel that buckled under the weight of its structural ambitions, but Schaitkin pulls it off without a hitch.… Saint X is hypnotic, delivering acute social commentary on everything from class and race to familial bonds and community…. I devoured Saint X in a day.
Oyinkan Braithwaite - New York Times Book Review -
A smart, socially conscious thriller that will take you away.
People
There’s one moment in every person’s life, posits Saint X, that will define the rest of it. For many in this novel, it’s the death of Alison Thomas, a teenage girl who perishes while vacationing with her family on a Caribbean island. The mystery remains unsolved until years later, when her sister Claire runs into one of the original suspects in New York and befriends him, hoping to piece together what happened to Alison. Claire’s obsessive pursuit of the truth gives Alexis Schaitkin’s debut the urgency of a thriller, but its most compelling chapters take the perspectives of peripheral characters, whose accounts alter our understanding of Alison’s death–and of where it happened: a cruel, fragile paradise.
Entertainment Weekly
Schaitkin’s unsettling debut plays with the conventions of the romantic thriller to comment on the uneasy relationship between working-class residents of a fictional island in the Caribbean and the wealthy American tourists…. This is a smart page-turner, both thought-provoking and effortlessly entertaining.
Publishers Weekly
While point-of-view shifts may be confusing…, the richness of the characters makes the attempt worthwhile. Questions of race and privilege deepen the impact of the characters' struggles…. Readers who enjoy a mystery with emotional depth will find this a compelling and impressive debut. —Julie Ciccarelli, Tacoma P.L., WA
Library Journal
Magnetic…a nuanced examination of class, privilege and the terrible ways that tragedy can echo forward in time. Schaitkin embellishes a strong plot with psychologically complex main characters…. This is a must-read for fans of literary suspense.
BookPage
(Starred review) The death of a teenage vacationer on a fictional Caribbean island reverberates through many lives, particularly those of her 7-year-old sister and one of the workers at the resort.…This writer is fearless, and her…killer debut is a thriller…and insightful study of race, class, and obsession.
Kirkus Reviews
Discussion Questions
1. What does the island setting contribute to the story? What about the juxtaposition of New York City?
2. What do you think Claire’s habit of writing words in the air with her finger demonstrates about her?
3. What’s the symbolism of Faraway Cay and the woman with hooves for feet? What does that mythology add to the story?
4. Why do you think the author chose to intersperse the voices of minor characters, such as the movie actor and other vacationers, throughout the book? What effect does this achieve?
5. What does Claire’s name change to Emily signify to you?
6. Did you ever think Clive might pose a threat to Emily when he found out who she was?
7. What does Clive’s nickname Gogo indicate about his personality? About Edwin’s?
8. Emily’s world in New York becomes very small after she encounters Clive. Do you think that was intentional or unintentional on her part? What might have motivated her to turn inward?
9. What do Alison’s recorded diary entries reveal to Emily? Was Emily right to listen to them, or do you think it was an invasion of privacy? What about their mom?
10. What are the similarities between Emily’s life in New York and Clive’s? What are the differences?
11. What do you think about Edwin’s relationship with Sara?
12. Alison witnessed a pivotal moment in Clive and Edwin’s relationship. How did that shape the rest of the narrative—Clive and Edwin’s relationship, their futures, Alison’s tragedy?
13. When Emily learns the truth, and remembers the night before Alison disappeared, what do you think is her primary emotion? Grief? Relief? Guilt? Something else?
14. Do you think Emily coming into Clive’s life was ultimately a bad thing or a good thing for Clive?
(Questions issued by the publisher.)
Saints of All Occasions
J. Courtney Sullivan, 2017
Knopf Doubleday
352 pp.
ISBN-13: 9780307959577
Summary
A sweeping, unforgettable novel from The New York Times best-selling author of Maine, about the hope, sacrifice, and love between two sisters and the secret that drives them apart.
Nora and Theresa Flynn are 21 and 17 when they leave their small village in Ireland and journey to America. Nora is the responsible sister; she's shy and serious and engaged to a man she isn't sure that she loves. Theresa is gregarious; she is thrilled by their new life in Boston and besotted with the fashionable dresses and dance halls on Dudley Street.
But when Theresa ends up pregnant, Nora is forced to come up with a plan—a decision with repercussions they are both far too young to understand.
Fifty years later, Nora is the matriarch of a big Catholic family with four grown children: John, a successful, if opportunistic, political consultant; Bridget, quietly preparing to have a baby with her girlfriend; Brian, at loose ends after a failed baseball career; and Patrick, Nora's favorite, the beautiful boy who gives her no end of heartache.
Estranged from her sister, Theresa is a cloistered nun, living in an abbey in rural Vermont. Until, after decades of silence, a sudden death forces Nora and Theresa to confront the choices they made so long ago.
A graceful, supremely moving novel from one of our most beloved writers, Saints for All Occasions explores the fascinating, funny, and sometimes achingly sad ways a secret at the heart of one family both breaks them and binds them together. (From the publisher.)
Author Bio
• Birth—1982
• Where—near Boston, Massachusetts, USA
• Education—B.A., Smith College
• Currently—Brooklyn, New York, New York
Julie Courtney Sullivan, better known as J. Courtney Sullivan, is an American novelist and former writer for the New York Times. She comes from an Irish-Catholic family where many of the women go by their middle rather than first names.
Sullivan grew up outside of Boston, Massachusetts. She attended Smith College in Northampton, Massachusetts, where she majored in Victorian literature and received the Ellen M. Hatfield Memorial Prize for best short story, the Norma M. Leas prize for excellence in written English, and the Jeanne MacFarland Prize for excellent work in Women's Studies.
She graduated in 2003, then moved to New York and began working at Allure. Sullivan later moved to the New York Times, where she worked for over three years. Her writing has since appeared in the New York Times Book Review, Chicago Tribune, New York magazine, New York Observer, Men's Vogue, Elle, and Glamour.
In 2007, her first book was published, a dating guide titled Dating Up: Dump the Shlump and Find a Quality Man; she has since stated that she wrote the book for money and that "fiction was always [her] passion."
She self-identifies as a feminist, a stance that has been reflected in both her fiction and nonfiction work. In 2006, she wrote a piece for the New York Times "Modern Love" column about her experiences in the dating world, and in 2010 she co-edited a feminist essay collection titled Click: When We Knew We Were Feminists. Her novels often deal prominently with relationships between female characters.
Currently, Sullivan serves on the advisory board of Girls Write Now, a nonprofit organization that pairs young and professional female writers in mentoring partnerships. She has also been involved with GEMS, a New York organization dedicated to ending child sex trafficking.[6]
Novels
• Commencement
In 2010, Sullivan published her first novel, Commencement, which focuses on the experiences of four friends at Smith College, Sullivan's alma mater. She wrote 15 different drafts of the book before sending it to her editor, after which it underwent two or three more revisions.
Commencement received positive reviews from many major publications and became a New York Times bestseller. After the book's publication, feminist icon Gloria Steinem called Sullivan personally to offer her praise. Steinem described the novel as "generous-hearted, brave...Commencement makes clear that the feminist revolution is just beginning". In 2011, Oprah's Book Club included Commencement in a list of "5 Feminist Classics to (Re)read as a Mom, Wife and Writer."
• Maine
Sullivan's second novel, Maine, deals with four women from three different generations of the same family spending the summer at a beachfront cottage in New England. Though Sullivan did not base the fictional Kellehers directly on her own Irish-Catholic family, she drew on her own childhood experiences while writing the novel. Maine received reviews that were slightly more mixed than those for Commencement, but that were ultimately postitive. It was named one of the top ten fiction books of 2011 by Time magazine.
• The Engagements
Sullivan's third novel, The Engagements, came out in 2013 to solid reviews. The novel traces four different marriages. Ron Charles of the Washington Post called it, "a delightful marriage of cultural research and literary entertainment." (From Wikipedia. Retrieved 6/11/2013.)
Book Reviews
[R]ichly told.… Sullivan writes assuredly and engagingly, layering her story with complexity, if not always depth. Perspective shifts among characters, making us care for them, sometimes in spite of themselves, and even laugh at them a little. For all of its sorrow, the book refuses to be weighed down by sadness. In fact, there is a buoyancy that draws its lightness from family conversation, the closeness of siblings, and the care and devotion of nuns in Theresa’s abbey. Much to talk about for book clubs. A super read. READ MORE …
Molly Lundquist - LitLovers
Sullivan succeeds in creating a believably complicated, clannish Irish-American family, and the novel’s most engrossing scenes occur when the Raffertys gather in Nora’s kitchen to drink beer, laugh at inside jokes, finger old wounds and puzzle over their dour, conscientious mother. Because it’s Nora, rather than Theresa, who emerges as the novel’s most mysterious character. Its real drama involves her gradual transformation from a shy, unhappy young immigrant to an established matriarch, with a matriarch’s long skein of pride and sorrow — and secrets.
Suzanne Berne - New York Times Book Review
Here to fill the Brooklyn-sized hole in your heart is the story of sisters Nora and Theresa Flynn, Irish Catholics who journey to America full of hope (Best Books to Read in 2017).
Elizabeth Logan - Glamour
Sullivan has a gift for capturing complicated sibling dynamics, especially in a family ruled by Catholic repression.… [Her] quiet ending is a satisfying conclusion to this rich, well-crafted story.
Publishers Weekly
Sullivan brings her characters to life, capturing the complexities and nuances of family, tradition, and kept secrets. For all fiction readers. —Joanna Burkhardt, Univ. of Rhode Island Libs., Providence
Library Journal
Sullivan once again expertly delivers a messy and complicated family story with sharp yet sympathetic writing. —Magan Szwarek
Booklist
Of Catholic guilt, silences, and secrets: an expertly spun family drama, a genre Sullivan has staked out as her own.… Sullivan often approaches melodrama, but she steers clear of the sentimentality that might easily have crept into this tale of regret and nostalgia.
Kirkus Reviews
Discussion Questions
1. Describe the differences between Nora and Theresa when they were girls. Did you find it surprising how their paths diverged as they grew older?
2. Discuss Nora’s sense of responsibility and obligation to her family, including as the oldest sibling and following her mother’s death. How does this role, which she adopts from a young age, influence her understanding of motherhood throughout her life?
3. Although Patrick is not alive in the present-day sections of the novel (2009), how does the author give us a full portrait of his character? What do others’ opinions and memories of him help us glean about his personality and behaviors that a more direct interaction with him in the narrative wouldn’t provide?
4. How do all of Nora’s children complement one another, even as we see their vastly disparate feelings toward Patrick? What do their reactions Even though a death is at the center of the novel’s plot, did you find that death was a central concern of the novel’s themes? Either way, what does the cascade of events following a death like Patrick’s suggest about how we might value our time with loved ones and the legacy that we leave them with when we’re gone?
5. Even though a death is at the center of the novel’s plot, did you find that death was a central concern of the novel’s themes? Either way, what does the cascade of events following a death like Patrick’s suggest about how we might value our time with loved ones and the legacy that we leave them with when we’re gone?
6. Discuss the portrayal of romantic love in the novel: between Nora and Charlie, Bridget and Natalie, John and Julia, and other couples. How is it prioritized differently among them, and what are the particular ways that affection and passion manifest themselves between couples?
7. How does Mother Cecilia’s experience in the abbey compare with your expectations of what religious life is like? Were you surprised by any of the stances she took toward the church, other nuns and priests, and changes in culture during the novel’s time period of the late 1950s through 2009?
8. What seem to be the biggest differences between the girls’ lives in Ireland and their lives in the United States? Did you feel that either of them regretted the move at any given point, and why?
9. Describe the shifting gender dynamics over the course of the novel’s time line. In the roughly fifty years that pass, what changes about men’s and women’s roles and what doesn’t, including to the roles influenced by the family’s deep, traditional Irish roots?
10. How do Nora and Theresa respond differently to the task of motherhood that falls upon them, biologically or otherwise? In what ways are they both mothers to Patrick and the other people in their lives? How does the novel upend the traditional definition of motherhood, which Nora describes as “a physical act as much as an emotional one. It took every part of you” (page 229)?
11. How did the structure of the novel influence your understanding of and sympathy toward the characters as the narrative moved back and forth in time? What was the benefit of learning about Patrick, in particular, in this way—seeing him first in a posthumous light and then more closely as he grew up? And how did the perspective on the family that you had as a reader differ from what the characters could know about themselves and one another in real time?
12. What were common threads among the secrets the characters kept from one another? Why do you think some characters, more than others, were more willing to be complicit in keeping those secrets, especially when it came to Patrick?
13. How do you think the circumstances of Patrick’s birth affected his sense of belonging, even if only implicitly? What other characters struggled to feel like they belonged, and how did they deal with those feelings?
14. Early in the novel, Theresa is described as “simply the most. The most brave and beautiful and brash and clever” (page 15). How does this quality help her stay resilient through the many obstacles in her life? How do other characters, including Nora, prove to be resilient in their own ways, and which characters are most successful?
15. What did you make of the end of the novel? Do you think that the sisters will be able to truly forgive each other, or is their past too much to overcome?
16. Consider your own family relationships and customs, including religious beliefs and traditions. Were there parts of the Raffertys’ rituals or conflicts among one another that seemed familiar to you, even if they weren’t specific to being Irish and/or Catholic?
(Questions issued by the publisher.)
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Salvage the Bones
Jesmyn Ward, 2011
Bloomsbury USA
272 pp.
ISBN-13: 9781608196265
Summary
Winner, 2011 National Book Award
A hurricane is building over the Gulf of Mexico, threatening the coastal town of Bois Sauvage, Mississippi, and Esch's father is growing concerned. A hard drinker, largely absent, he doesn't show concern for much else.
Esch and her three brothers are stocking food, but there isn't much to save. Lately, Esch can't keep down what food she gets; she's fourteen and pregnant. Her brother Skeetah is sneaking scraps for his prized pitbull's new litter, dying one by one in the dirt. Meanwhile, brothers Randall and Junior try to stake their claim in a family long on child's play and short on parenting.
As the twelve days that make up the novel's framework yield to their dramatic conclusion, this unforgettable family-motherless children sacrificing for one another as they can, protecting and nurturing where love is scarce-pulls itself up to face another day.
A big-hearted novel about familial love and community against all odds, and a wrenching look at the lonesome, brutal, and restrictive realities of rural poverty, Salvage the Bones is muscled with poetry, revelatory, and real. (From the publisher.)
Author Bio
• Birth—1977
• Where—DeLisle, Mississippi, USA
• Education—B.A., Stanford University; M.F.A., University of Michigan
• Awards—2 National Book Awards (others below)
• Currently—lives in Mississippi; commutes to Mobile, Alabama
Jesmyn Ward is an American novelist and two-time National Book Award winner for fiction. Salvage the Bones won in 2011 (it also won a 2012 Alex Award), and Sing, the Unburied, Sing, won in 2017. Her other two books include her first novel, Where the Line Bleeds (2008) and a memoir, The Men We Reaped (2013), about the deaths of her brother and other young male friends.
Early years
Jesmyn Ward grew up in DeLisle, a small rural community in Mississippi. She developed a love-hate relationship with her hometown after having been bullied at public school by black classmates and, subsequently, by white students while attending a private school paid for by her mother’s employer.
Ward received her undergraduate degree from Stanford University, choosing to become a writer upon graduation in order to honor the memory of her younger brother killed by a drunk driver earlier that year. Ward went on to earn an M.F.A. from the University of Michigan in 2005. At U of M she won five Hopwood Awards for essays, drama, and fiction.
Shortly afterwards, she and her family became victims of the 2005 Hurricane Katrina. With their house in De Lisle flooding rapidly, the Ward family set out in their car to get to a local church, but ended up stranded in a field full of tractors. When the white owners of the land eventually checked on their possessions, they refused to invite the Wards into their home, claiming they were overcrowded. Tired and traumatized, the refugees were eventually given shelter by another white family down the road.
Ward went on to work at the University of New Orleans, where her daily commute took her through neighborhoods ravaged by the hurricane. Empathizing with the struggle of the survivors and coming to terms with her own experience during the storm, Ward was unable to write creatively for three years—the time it took her to find a publisher for her first novel, Where the Line Bleeds.
In 2008 she returned to Stanford as a Stegner Fellow—one of the most prestigious awards available to emerging American writers.
Literary career
Earlier in 2008, just as Ward was deciding to give up writing and enroll in a nursing program, Where the Line Bleeds was accepted by Doug Seibold at Agate Publishing. Starting on the day twin protagonists Joshua and Christophe DeLisle graduate from high school, Where the Line Bleeds follows the brothers as their choices pull them in opposite directions. Unwilling to leave the small rural town on the Gulf Coast where they were raised by their loving grandmother, the twins struggle to find work, with Joshua eventually becoming a dock hand and Christophe joining his drug-dealing cousin.
In a starred review, Publishers Weekly called Ward "a fresh new voice in American literature" who "unflinchingly describes a world full of despair but not devoid of hope." The novel was picked as a Book Club Selection by Essence and received a Black Caucus of the American Library Association (BCALA) Honor Award in 2009. It was shortlisted for the Virginia Commonwealth University Cabell First Novelist Award and the Hurston-Wright Legacy Award.
Her second novel Salvage the Bones (2011) homes in once more on the visceral bond between poor black siblings growing up on the Gulf Coast. Chronicling the lives of pregnant teenager Esch Batiste, her three brothers, and their father during the 10 days leading up to Hurricane Katrina, the day of the cyclone, and the day after, Ward uses a vibrant language steeped in metaphors to illuminate the fundamental aspects of love, friendship, passion, and tenderness.
Explaining her main character's fascination with the Greek mythological figure of Medea, Ward told Elizabeth Hoover of the Paris Review
It infuriates me that the work of white American writers can be universal and lay claim to classic texts, while black and female authors are ghetto-ized as "other." I wanted to align Esch with that classic text, with the universal figure of Medea, the antihero, to claim that tradition as part of my Western literary heritage. The stories I write are particular to my community and my people, which means the details are particular to our circumstances, but the larger story of the survivor, the savage, is essentially a universal, human one.
In 2011, Ward won the National Book Award in the Fiction category for Salvage the Bones. Interviewed by CNN’s Ed Lavandera, she said that both her nomination and her victory had come as a surprise, given that the novel had been largely ignored by mainstream reviewers. In a television interview with Anna Bressanin of BBC News on (December 22, 2011), Ward said...
When I hear people talking about the fact that they think we live in a post-racial America, … it blows my mind, because I don’t know that place. I’ve never lived there. … If one day, … they’re able to pick up my work and read it and see … the characters in my books as human beings and feel for them, then I think that that is a political act.
Jesmyn Ward received an Alex Award for Salvage the Bones in 2012. The Alex Awards are given out each year by the Young Adult Library Services Association to ten books written for adults that resonate strongly with young people aged 12 through 18. Commenting on the winning books in School Library Journal, former Alex Award committee chair, Angela Carstensen described Salvage the Bones as a novel with "a small but intense following—each reader has passed the book to a friend."
In 2013, Ward published her memoir Men We Reaped. She announced on her blog two years earlier that she had finished the book's first draft, calling it the hardest thing she had ever written. The memoir explores the lives of her brother and four other young black men who lost their lives in her hometown. (Adapted from the publisher and Wikipedia. Retrieved 9/28/2013.)
Book Reviews
On one level, Salvage the Bones is a simple story about a poor black family that's about to be trashed by one of the most deadly hurricanes in U.S. history. What makes the novel so powerful, though, is the way Ward winds private passions with that menace gathering force out in the Gulf of Mexico. Without a hint of pretension, in the simple lives of these poor people living among chickens and abandoned cars, she evokes the tenacious love and desperation of classical tragedy…Salvage the Bones has the aura of a classic about it.
Ron Charles - Washington Post
The novel’s power comes from the dread of the approaching storm and a pair of violent climaxes. The first is a dog fight, an appalling spectacle given emotional depth by Skeetah’s love for the pit bull China (their bond is the strongest and most affecting in the book). When the hurricane strikes, Ms. Ward endows it, too, with attributes maternal and savage: ‘Katrina is the mother we will remember until the next mother with large merciless hands, committed to blood, comes.
Wall Street Journal
Jesmyn Ward has written...the first Katrina-drenched fiction I'd press upon readers now.... Ward's pacing around the hurricane is exquisite—we nearly forget its impending savagery. The Batistes’ shared sacrifice is moving, made more so by their occasional shirking of sacrifice. Ward allows the letdowns integral to family life to play their part.
Cleveland Plain Dealer
Searing.... Despite the brutal world it depicts, Salvage the Bones is a beautiful read. Ward’s redolent prose conjures the magic and menace of the southern landscape.
Dallas Morning News
(Starred review.) Ward's poetic second novel covers the 12 days leading up to Hurricane Katrina via the rich, mournful voice of Esch Batiste, a pregnant 14-year-old black girl living.… [T]hough her voice threatens to overpower the story, it does a far greater service to the book by giving its cast of small lives a huge resonance.
Publishers Weekly
(Starred review.) Ward uses fearless, toughly lyrical language to convey this family's close-knit tenderness, the sheer bloody-minded difficulty of rural African American life.… [A]n eye-opening heartbreaker that ends in hope. —Barbara Hoffert
Library Journal
A pitch-perfect account of struggle and community in the rural South… Though the characters in Salvage the Bones face down Hurricane Katrina, the story isn’t really about the storm. It’s about people facing challenges, and how they band together to overcome adversity.
BookPage
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Salvage the Bones:
1. How would you describe the Batiste family—first, as a family unit, then each of the members, Esch (our narrator), Claude (the father), Randall, Skeetah, and Junior? What motivates (or not) each of them? Which family member frustrates you most? Which do you admire most?
2. Talk about Bois Sauvage and its deprivations—the poverty, unemployment and housing. How does the area shape the people, especially young people, who live there? Or the reverse—do its residents shape Bois Sauvage?
3. The love affair Skeetah has with China is very much at the heart of this story. Is Skeetah right to rob neighbors to obtain medicine he needs for her?
4. Are you disturbed by the book's concentration on dog fighting? How does the author portray the fighting? Does the love Skeetah has for China contradict your understanding of that culture?
5. What about Esch's pregnancy? Why might the author have created a narrator, and central character, as a young pregnant teenager? What, overall, does the author of this book suggest about the nature of motherhood?
6. What is the symbolic meaning of Esch's fascination with the myth of Medea? What does the author mean, in an interview with the Paris Review, when she says...
Medea is in Hurricane Katrina because her power to unmake worlds, to manipulate the elements, closely aligns with the storm. And [Medea is] in Esch, too.*
7. Suspense is results from the fact that readers are anxious to learn what happens to characters. However, given that readers know the outcome of Katrina—that it will destroy almost everything in its path—how does Ward create suspense in this story?
8. In what way is Katrina both destructive and cleansing? What does Katrina represent symbolically?
9. In the book's title, the word "salvage" is close to "savage." According to the author, the term savage has honor to it: meaning that, when all has been lost, "you are strong, you are fierce, and you possess hope."* Talk about the interplay between those two words—salvage and savage—in other words, the way the two come together in this book.
10. Were you disappointed in how the book ended? Ward, having experienced firsthand the horrors of Katrina, has said in the Paris Review...
I realized that if I was going to assume the responsibility of writing about my home, I needed narrative ruthlessness. I couldn’t dull the edges and fall in love with my characters and spare them. Life does not spare us.*
Do you agree with her? Or is her view of life too harsh? Isn't there also the possibility that life will spare us? What do you think?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
*Paris Review.org, 8/30/2011
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