Heft
Liz Moore, 2012
W.W. Norton & Co.
352 pp.
ISBN-13: 9780091944209
Summary
Former academic Arthur Opp weighs 550 pounds and hasn't left his rambling Brooklyn home in a decade.
Twenty miles away, in Yonkers, seventeen-year-old Kel Keller navigates life as the poor kid in a rich school and pins his hopes on what seems like a promising baseball career—if he can untangle himself from his family drama. The link between this unlikely pair is Kel’s mother, Charlene, a former student of Arthur’s.
After nearly two decades of silence, it is Charlene’s unexpected phone call to Arthur—a plea for help—that jostles them into action. Through Arthur and Kel’s own quirky and lovable voices, Heft tells the winning story of two improbable heroes whose sudden connection transforms both their lives. Heft is a novel about love and family found in the most unexpected places. (From the publisher.)
Author Bio
• Birth—May 25, 1983
• Where—Boston, Massachusetts, USA
• Education—M.F.A., Hunter College
• Currently—lives in Philadelphia, Pennsylvania
Liz Moore is a writer, musician, and teacher.
She wrote most of her first novel, The Words of Every Song (2007), while in college. The book, which centers on a fictional record company in present-day New York City, draws partly on Liz’s own experiences as a musician. It was selected for Borders’ Original Voices program, received 3.5/4 stars in People Magazine, and was given a starred review by Kirkus. Roddy Doyle wrote of it, “This is a remarkable novel, elegant, wise, and beautifully constructed. I loved the book.”
After the publication of her debut novel, Liz released an album, Backyards, and obtained her MFA in Fiction from Hunter College, where she studied with Peter Carey, Colum McCann, and Nathan Englander. After being awarded the University of Pennsylvania’s ArtsEdge residency, she moved to Philadelphia in the summer of 2009. She has taught Creative Writing at Hunter College and the University of Pennsylvania. She is currently an Assistant Professor of Writing at Holy Family University in Philadelphia, where she lives.
Her second novel, Heft, was published by W.W. Norton in January 2012 to popular and critical acclaim. Of Heft, The New Yorker wrote, “Moore’s characters are lovingly drawn...a truly original voice”; The San Francisco Chronicle wrote, “Few novelists of recent memory have put our bleak isolation into words as clearly as Liz Moore does in her new novel”; and editor Sara Nelson wrote in O, The Oprah Magazine, “Beautiful.... Stunningly sad and heroically hopeful.” (From the publisher.)
Book Reviews
[E]engaging, quirky…Arthur's voice is engaging. His honesty is funny, even if the revelations of his haplessness are painful…Without archness or overly artistic sentences, Heft achieves real poignancy. [Moore]'s explanation of Arthur's psychology is perhaps too neat, but the warmth, the humanity and the hope in this novel make it compelling and pleasurable.
Carol Burns - Washington Post
A bittersweet novel, Heft is peopled by men and women so isolated by their fear or rejection, they’ve ceased to seek meaningful connections.
Philadelphia Inquirer
Few novelists of recent memory have put our bleak isolation into words as clearly as Liz Moore does.... By the end we are in love with the characters and just want to see them happy.
San Francisco Chronicle
his is not a novel with a happy ending, and that’s a good thing. Moore doesn’t tie her story up in a pretty package and hand it to the reader with care, but artfully acknowledges in the end that some heavy loads cannot easily be left behind.
Minneapolis Star-Tribune
Arthur Opp is heartbreaking. A 58-year old former professor of literature, he weighs 550 lbs., hasn’t left his Brooklyn apartment in years and is acutely attuned to both the painful and analgesic dimensions of his self-imposed solitude. Kel Keller, a handsome and popular high school athlete whose mother drinks too much to take care of him or even herself, faces his own wrenching struggles. The pair, apparently connected only by a slender thread, at first seem unlikely as co-narrators and protagonists of this novel, but they both become genuine heroes as their separate journeys through loneliness finally intersect. Though Moore’s narrative is often deeply sad, it is never maudlin. She writes with compassion and emotional insight but resists sentimentality , briskly moving her plot forward, building suspense and empathy. Most impressive is her ability to thoroughly inhabit the minds of Arthur and Kel; these are robust, complex characters to champion, not pity. The single word of the title is obviously a reference to Arthur’s morbid obesity, but it also alludes to the weight of true feelings and the courage needed to confront them. Heft leads to hope.
People Magazine
Discussion Questions
1. Why do you think Arthur has isolated himself? What kind of connection does he want, and does he find it?
2. Is it possible for the characters of Heft to free themselves from the behaviors, the characteristics, and even the physical objects (a house, for instance) they inherit from their parents?
3. Several of the main characters in Heft are outsiders. How does one’s inability to "belong" shape his or her character in the long term? Did the novel reinforce boundaries between different groups? Who appear to be the outsiders in the book?
4. From Charlene to Yolanda to Marty to his neighbor’s wife, Suzanne, Arthur seems more comfortable in the company of women. Why do you think that is? What do you make of these platonic relationships?
5. Why do you think Charlene kept the identity of Kel’s father a secret, even when she knew she was going to die?
6. Do you think Kel will continue to search for his biological father now that he knows Arthur isn’t his? Should he?
7. What are the aspirations of the characters in Heft? When is it important for us to strive for something more, and when do those same impulses become harmful?
8. Why do you think the author chose to tell this story from multiple perspectives? Did it affect how you perceived these characters? What about your impression of the novel as a whole?
9. Both Arthur and Charlene struggle with different types of addiction. Did either of their compulsive behaviors strike you as more dangerous or unacceptable than the other?
10. Is it possible to divide the characters in Heft into those who help others and those who are dependent on others' help? Are there examples of mutual support, too?
11. Arthur and Kel still have not met at the novel’s close. What do you think will happen between the two of them when they do meet? Are you optimistic about their futures?
(Questions issued by publisher.)
Secret Daughter
Shilpi Somaya Gowda, 2010
HarperCollins
368 pp.
ISBN-13: 9780061928352
Summary
On the eve of the monsoons, in a remote Indian village, Kavita gives birth to a baby girl but faces a heartbreaking choice. In a culture that favors sons, the only way for Kavita to save her daughter's life is to give her away. It is a decision that will haunt her and her husband for the rest of their lives, even after the arrival of their cherished son.
Halfway around the globe, Somer, an American doctor, decides to adopt a child after making the wrenching discovery that she will never have one of her own. When she and her husband Krishnan see a photo of the baby with gold-flecked eyes from a Mumbai orphanage, they are convinced the love they feel will overcome all obstacles.
Interweaving the stories of Kavita, Somer, and the daughter they both love, Secret Daughter is a deeply moving family drama that poignantly explores the emotional terrain of love, loss and identity, witnessed through the lives of two families, worlds apart, and the child who binds their destinies. (From the publisher.)
Author Bio
• Birth—December, 1970
• Where—Toronto, Ontario, Canada
• Education—B.A., University of North Carolina;
M.B.A., Stanford University
• Currently—lives in San Francisco, California, USA
Shilpi Somaya Gowda was born and raised in Toronto to parents who migrated there from Mumbai. She holds an MBA from Stanford University, and a Bachelor’s Degree from the University of North Carolina at Chapel Hill. In 1991, she spent a summer as a volunteer in an Indian orphanage. A native of Canada, she has lived in New York, North Carolina, and California. She now lives in Dallas with her husband and children. (From the publisher.)
Book Reviews
Shilpi Somaya Gowda strikes a pleasing balance in her first novel, which draws upon the hot-button issues of female infanticide and overseas adoption…Secret Daughter tells a nuanced coming-of-age story that is faithful to the economic and emotional realities of two very different cultures…Gowda doesn't neaten up the messy complications of family life as she warmly affirms the power of love to help people grow and change.
Wendy Smith - Washington Post
A debut novel from [a] fresh, vibrant voice portraying a heroine straddling two cultures ... offers readers cause of celebration ... A page-turning dual narrative.
Charlotte Observer / Raleigh News & Observer
This story about motherhood, loss, family and forgiveness is authentic in every way. The prose is so achingly touching, it draws the reader in with every description and emotion of the characters.
Associated Press
Gowda’s debut novel opens in a small Indian village with a young woman giving birth to a baby girl. The father intends to kill the baby (the fate of her sister born before her) but the mother, Kavita, has her spirited away to a Mumbai orphanage. Meanwhile, in San Francisco, Somer, a doctor who can’t bear children, is persuaded by her Indian husband, Krishnan, to adopt a child from India. Somer reluctantly agrees and they go to India where they coincidentally adopt Kavita’s daughter, Asha. Somer is overwhelmed by the unfamiliar country and concerned that the child will only bond with her husband because “Asha and Krishnan will look alike, they will have their ancestry in common.” Kavita, still mourning her baby girl, gives birth to a son. Asha grows up in California, feeling isolated from her heritage until at college she finds a way to visit her birth country. Gowda’s subject matter is compelling, but the shifting points of view weaken the story.
Publishers Weekly
Responding to poverty and a cultural preference for boys, an Indian mother hides her newborn daughter in an orphanage. The girl is adopted by an Indian-born doctor and his American wife, who live in California. Parallel stories are told of young Asha's life in America, where she is distanced from her native culture, and the growing rift between her adoptive parents, along with the fate of her birth parents and their son, who leave their small village for Mumbai and gradually rise out of poverty. After a slow start and some trite dialog, the book becomes more engrossing, as Asha takes a journalism fellowship in Mumbai and seeks a greater connection to her roots. First novelist Gowda offers especially vivid descriptions of the contrasts and contradictions of modern India. Verdict: Rife with themes that lend themselves to discussion, such as cultural identity, adoption, and women's roles, this will appeal to the book club crowd. —Christine DeZelar-Tiedman, Univ. of Minnesota Libs., Minneapolis
Library Journal
In her engaging debut, Gowda weaves together two compelling stories. In India in 1984, destitute Kavita secretly carries her newborn daughter to an orphanage.... That same year in San Francisco...two doctors...adopt Asha, a 10-month-old Indian girl from a Bombay orphanage. Yes, it’s Kavita’s daughter. In alternating chapters, Gowda traces Asha’s life in America...and Kavita and Jasu’s hardships...in Dharavi, Bombay’s (now Mumbai’s) infamous slum.... Gowda writes with compassion and uncanny perception from the points of view of Kavita, Somer, and Asha, while portraying the vibrant traditions, sights, and sounds of modern India. —Deborah Donovan
Booklist
Fiction with a conscience, as two couples worlds apart are linked by an adopted child.... A lightweight fable of family division and reconciliation, gaining intensity and depth from the author's sharp social observations.
Kirkus Reviews
Discussion Questions
1. On the way to the orphanage in Bombay, Kavita reflects on "what power there is in naming another living being." She gives her daughter the name Usha at birth, but she is later raised by her adoptive parents as Asha. Kavita's name changed when she was married, and her given name reappears again later in the story. Even Krishnan becomes known as "Kris" in America. What is the significance of these changing names throughout the story? How are names intertwined with your own sense of identity and belonging?
2. Kavita faces a difficult choice at the beginning of the novel. Did she make the right decision? What would you have done if you were in Kavita's place? What would the repercussions be of making a different choice?
3. Why do you think Somer made the decision to adopt a child from India, and do you believe her reasons were sound? Are there any parallels between how she made this decision, and her previous decision to marry Krishnan?
4. Both families in the novel leave their home in search of better life—the Merchants leave their village for Bombay, and Krishnan leaves India for America—and this act of migration creates longing for home and feelings of displacement. Do you think their migrations were driven more by wanting to leave home or being attracted to a new place? Would the characters have made different choices if they knew what the consequences would be?
5. The novel explores the issue of how gender affects one's role in society, both in India and the United States. Despite much of the obvious discrimination women face in India, Sarla Thakkar believes, "you can't always see the power women hold, but it is there..." In what ways is this true? What are the benefits and drawbacks of being a woman in each of these countries? Are there any similarities in the female experience across the two cultures?
6. An overarching theme of the novel is motherhood, and how that experience can change a woman. Both Somer and Kavita have powerful experiences and emotions around pregnancy, childbirth and mothering. What are the differences in how they experience motherhood, and are there any similarities? Are there universal aspects to motherhood or is it an individual experience?
7. Both marriages portrayed in the novel, despite different circumstances and origins, face significant challenges. How did Kavita and Jasu's marriage recover from the dramatic conflict they faced at the beginning? What caused the estrangement between Krishnan and Somer, and how did each spouse contribute to it? Do you believe one marriage is fundamentally stronger than the other? What do you believe the future holds for each couple?
8. Asha grows up with a deep curiosity about her biological family in India. Could her parents have done anything to lessen the sense of feeling incomplete Asha had as an adolescent? Can her conflict with Somer be chalked up to that experienced in all mother-teenage daughter relationships, or was it more complicated? What does Asha learn about the true meaning of family, and could she have learned it without going to India?
9. This story turns on a twist of fate that changes the life path of Asha, and follows the parallel lives of Asha and her brother in India. Do you believe Asha was better off being taken to the orphanage as a baby than she would have been with her birth parents? Could Vijay have had a different life? How much of our lives are destined for us, and how much is within our power to change? Reflecting on your own life, what have been the turning points that have been made for you, and those made by you?
10. The importance of relationships across generations echoes through the novel, particularly at the end, with the deaths of Krishnan's father and Kavita's mother. What role do elder relatives play in the story? What hopes and expectations are passed down? What did you think of the relationship that develops between Sarla (Dadima) and Asha? How are these ideas complicated or resolved in the rituals of the cremation ceremonies at the end?
11. What do you believe Kavita and Jasu are feeling and thinking at the end of the novel? Were you surprised at the ending? Did you find it satisfying? How did your view of Jasu's character change from the beginning, and why? What do you imagine happens to these families next?
(Questions issued by publisher.)
The Beginner's Goodbye
Ann Tyler, 2012
Knopf Doubleday
208 pp.
ISBN-13: 9780307957276
Summary
Anne Tyler gives us a wise, haunting, and deeply moving new novel in which she explores how a middle-aged man, ripped apart by the death of his wife, is gradually restored by her frequent appearances—in their house, on the roadway, in the market.
Crippled in his right arm and leg, Aaron spent his childhood fending off a sister who wants to manage him. So when he meets Dorothy, a plain, outspoken, self-dependent young woman, she is like a breath of fresh air. Unhesitatingly he marries her, and they have a relatively happy, unremarkable marriage. But when a tree crashes into their house and Dorothy is killed, Aaron feels as though he has been erased forever. Only Dorothy’s unexpected appearances from the dead help him to live in the moment and to find some peace.
Gradually he discovers, as he works in the family’s vanity-publishing business, turning out titles that presume to guide beginners through the trials of life, that maybe for this beginner there is a way of saying goodbye.
A beautiful, subtle exploration of loss and recovery, pierced throughout with Anne Tyler’s humor, wisdom, and always penetrating look at human foibles. (From the publisher.)
Author Bio
• Birth—October 25, 1941
• Where—Minneapolis, Minnesota, USA
• Education—B.A., Duke University
• Awards—Pulitzer Prize (see below)
• Currently—lives in Baltimore, Maryland
Anne Tyler is a Pulitzer Prize-winning American novelist, short story writer, and literary critic. She has published 20 novels, the best known of which are Dinner at the Homesick Restaurant (1983), The Accidental Tourist (1985), and Breathing Lessons (1988). All three were nominated for the Pulitzer Prize for Fiction and the third won it.
She has also won the Janet Heidinger Kafka Prize, the Ambassador Book Award, and the National Book Critics Circle Award. In 2012 she was awarded The Sunday Times Award for Literary Excellence. She is recognized for her fully developed characters, her "brilliantly imagined and absolutely accurate detail" (New York Times), and her "rigorous and artful style" and "astute and open language" (also, New York Times). While many of her characters have been described as quirky or eccentric, she has managed to make them seem real through skillfully fleshing out their inner lives in great depth.
Her subject in all her novels has been the American family and marriage: the boredom and exasperating irritants endured by partners, children, siblings, parents; the desire for freedom pulling against the tethers of attachments and conflicted love; the evolution over time of familial love and sense of duty. Tyler celebrates unremarkable Americans and the ordinary details of their everyday lives. Because of her style and subject matter, she has been compared to John Updike, Jane Austen, and Eudora Welty, among others.
Childhood
The eldest of four children, she was born in Minneapolis, Minnesota. Her father, Lloyd Parry Tyler, was an industrial chemist and her mother, Phyllis Mahon Tyler, a social worker. Both her parents were Quakers who were very active with social causes in the Midwest and the South. Her family lived in a succession of Quaker communities in the South until they settled in 1948 in a Quaker commune in Celo, in the mountains of North Carolina near Burnsville.
The Celo Community settlement was founded by conscientious objectors and members of the liberal Hicksite branch of the Society of Friends, with community labor needs shared by the residents. Tyler lived there from age 7 through 11 and helped her parents and others with caring for livestock and organic farming. While she did not attend formal public school in Celo, lessons were taught in art, carpentry, and cooking in homes and in other subjects in a tiny school house. Her early informal training was supplemented by correspondence school.
Her first memory of her own creative story-telling was of crawling under the bed covers at age 3 and "telling myself stories in order to get to sleep at night." Her first book at age 7 was a collection of drawings and stories about "lucky girls...who got to go west in covered wagons." Her favorite book as a child was The Little House by Virginia Lee Burton. Tyler acknowledges that this book, which she read many times during this period of limited access to books, had a profound influence on her, showing how the years flowed by, people altered, and nothing could ever stay the same."
This early perception of changes over time is a theme that reappears in many of her novels decades later, just as The Little House itself appears in her novel Dinner at the Homesick Restaurant. Tyler also describes reading Little Women 22 times as a child. When the Tyler family left Celo after four years to move to Raleigh, NC, 11-year-old Anne had never attended public school and never used a telephone. This unorthodox upbringing enabled her to view "the normal world with a certain amount of distance and surprise."
Raleigh, North Carolina
It also meant that Tyler felt herself to be an outsider in the public schools she attended in Raleigh, a feeling that has followed her most of her life. She believes that this sense of being an outsider has contributed to her becoming a writer:
I believe that any kind of setting-apart situation will do [to become a writer]. In my case, it was emerging from the commune…and trying to fit into the outside world.
Despite her lack of public schooling prior to age 11, Anne entered school academically well ahead of most of her classmates in Raleigh. With access now to libraries, she discovered Eudora Welty, Gabriel García Márquez, F. Scott Fitzgerald, and many others. Welty remains one of her favorite writers, and she credits Welty with showing her that books could be about the everyday details of life, not just about major events.
During her years at N. B. Broughton High School in Raleigh, she was inspired and encouraged by a remarkable English teacher, Phyllis Peacock. Peacock had previously taught the writer Reynolds Price, under whom Tyler would later study at Duke University. She would also later teach the writer Armistead Maupin. Seven years after high school, Tyler would dedicate her first published novel to "Mrs. Peacock, for everything you’ve done."
Education
Tyler won a full scholarship to Duke University, which her parents urged her to go accept it because they also needed money for the education of her three younger brothers. At Duke, Tyler enrolled in Reynolds Price's first creative writing class, which also included a future poet, Fred Chappell. Price was most impressed with the sixteen-year-old Tyler, describing her as "frighteningly mature for 16," "wide-eyed," and "an outsider." Years later Price would describe Tyler as "one of the best novelists alive in the world,… who was almost as good a writer at 16 as she is now."
While an undergraduate, Tyler published her short story "Laura" in the Duke literary journal Archive, for which she won the newly created Anne Flexner award for creative writing. She wrote many short stories, one of which impressed Reynolds Price so that he later stated that it was the "most finished, most accomplished short story I have ever received from an undergraduate in my thirty years of teaching." "The Saints in Caesar’s Household" was published in Archive also and won her a second Anne Flexner award. This short story led to her meeting Diarmuid Russell, to whom Price had sent it with kudos. Russell, who was an agent for both Reynolds Price and for Tyler’s "crowning influence" Eudora Welty, later became Tyler’s agent.
Tyler majored in Russian Literature at Duke—not English—and graduated in 1961, at age 19, having been inducted into Phi Beta Kappa. With her Russian Literature background she received a fellowship to graduate school in Slavic Studies at Columbia University although she left after a year without her master's degree. She returned to Duke where she got a job in the library as a Russian bibliographer. It was there that she met Taghi Modarressi, a resident in child psychiatry in Duke Medical School and a writer himself, and they were married a year later (1963).
Early writing
While working at the Duke library—before and after marrying Modarressi—Tyler continued to write short stories, which appeared in The New Yoker, Saturday Evening Post, and Harpers. She also started work on her first novel, If Morning Ever Comes, eventually published 1964, followed by The Tin Can Tree in 1965. Years later she disowned both of these novels, as well as many of the short stories she wrote during this period, going so far as to say she "would like to burn them." She feels that most of this early work suffers from the lack of thorough character development and her failure to rework material repeatedly.
After the birth of two children (1965 and 1967), followed by a move from Montreal, Canada, to Baltimore in the U.S., Tyler had little time or energy for writing. She published nothing from 1965 to 1970. By 1970, however, she began writing again and published three more novels by 1974—A Slipping-Down Life, The Clock Winder, and Celestial Navigation. In her own opinion, her writing improved considerably during this period; with her children entering school, she was able to devote more time—and focus more intensely—than at any time since her undergraduate days.
National recognition
With Celestial Navigation, Tyler began to get wider recognition. Morgan's Passing (1980) won her the Janet Heidinger Kafka Prize for Fiction and was nominated for both the American Book Awards and the National Book Critics Circle Award.
With her next novel (her ninth), Dinner at the Homesick Restaurant, Tyler truly arrived as a recognized artist in the literary world. (She considers Homesick her best work.) Her tenth novel, The Accidental Tourist, was awarded the National Book Critics Circle Award for Fiction in 1985. It was also made into a 1988 movie starring William Hurt and Geena Davis. The popularity of this well-received film further increased the growing public awareness of her work. Her 11th novel, Breathing Lessons, received the Pulitzer Prize for Fiction in 1989 and was Time magazine’s "Book of the Year." It was adapted into a 1994 TV movie, as eventually were four other of her novels.
Since her Pulitzer Prize with Breathing Lessons, Tyler has written 9 more novels, all of favorably reviewed, many Book of the Month Club Main Selections and New York Times Bestsellers.
Analysis
In Tyler’s own words, the characters are the driving forces behind the stories and the starting point for her writing:
I do make a point of writing down every imaginable facet of my characters before I begin a book, trying to get to know them so I can figure out how they’ll react in any situation…..My reason for writing now is to live lives other than my own, and I do that by burrowing deeper and deeper….till I reach the center of those lives.
The magic of her novels starts with her ability to create those characters in the reader’s mind through the use of remarkably realistic details. The late Canadian author Carol Shields, writing about Tyler's characters, observes:
Tyler has always put her characters to work. Their often humble or eccentric occupations, carefully observed and threaded with humor, are tightly sewn to the other parts of their lives, offering them the mixed benefit of tedium and consolation, as well as a lighted stage for the unfolding of their dramatic selves. She also allows her men and women an opportunity for redemption.
Tyler has clearly spelled out the importance of her characters to her stories: "As far as I’m concerned, character is everything. I never did see why I have to throw in a plot, too."
Stylistically, Tyler's writing is difficult to categorize or label. Novelist Cathleen Schine describes how her "style without a style" manages to pull the reader into the story:
So rigorous and artful is the style without a style, so measured and delicate is each observation, so complex is the structure and so astute and open the language, that the reader can relax, feel secure in the narrative and experience the work as something real and natural.
The San Francisco Chronicle made a similar point: "One does not so much read a Tyler novel as visit it.
While Tyler herself does not like to think of her novels in terms of themes, numerous reviewers and scholars have noted the importance of family and marriage relationships to her characters and stories. Reviewing Noah's Compass, New York Times' Mitchiko Kakutani noted that
The central concern of most of this author’s characters has always been their need to define themselves in terms of family—the degree to which they see themselves as creatures shaped by genetics, childhood memories and parental and spousal expectations, and the degree to which they are driven to embrace independent identities of their own.
Tyler is not without her critics. The most common criticism is that her works are "sentimental," "sweet," and "charming and cosy." Even Kakutani has also occasionally bemoaned a "cloying cuteness," noting that "her novels—with their eccentric heroes, their homespun details, their improbable, often heartwarming plots—have often flirted with cuteness." In her own defense, Tyler has said,
For one thing I think it is sort of true. I would say piss and vinegar for [Philip] Roth and for me milk and cookies. I can’t deny it…. [However] there’s more edge under some of my soft language than people realize.
Also, because almost all of Tyler’s work covers the same territory—family and marriage relationships—and are located in the same setting, she has come under criticism for being repetitive and formulaic.
Tyler’s advice to beginning writers:
They should run out and buy the works of Erving Goffman, the sociologist who studied the meaning of gesture in personal interactions. I have cause to think about Erving Goffman nearly every day of my life, every time I see people do something unconscious that reveals more than they’ll ever know about their interiors. Aren’t human beings intriguing? I could go on writing about them forever."
(Author bio adapted from Wikipedia. Retrieved 2/10/2015.)
Book Reviews
In Tyler’s elegant 19th novel, Aaron is an editor at a vanity press with a crippled right arm and leg who thinks of himself as “unluckier but no unhappier” than anyone else. He meets Dorothy, a brisk, no nonsense doctor, while editing a medical tome, and they fall in love, marry, and muddle along until Dorothy dies in an accident that nearly destroys their home. Aaron moves in with his overprotective sister and begins seeing Dorothy’s ghost, spectral appearances that make him realize just how many fissures there were in their marriage. Tyler’s gentle style focuses on the details of daily life, and how the little things, both beautiful and ugly, contribute to the bigger picture. Tyler (Breathing Lessons, awarded the Pulitzer Prize in 1988) portrays complex, difficult, loving individuals struggling to co-exist and find happiness together. This is no gothic ghost story nor chronicle of a man unraveling in his grief, but rather an uplifting tale of love and forgiveness. By the end of this wonderful book, you’ve lived the lives and loves of these characters in the best possible way.
Publishers Weekly
Although crippled in his right arm and leg, Aaron has spent much of his life fending off his family's attempts to protect him from the world. A successful editor of a vanity press in Baltimore that publishes a series of beginner's guides to various subjects, Aaron one day finds himself falling in love with Dr. Dorothy Rosales, whom he has approached about helping to write The Beginner's Cancer. They soon end up married, but catastrophe strikes when a tree falls on their house and kills Dorothy. Unable to live in his house any longer because of memories and roof damage, Aaron goes to live with his sister. He moves through loss, despair, helplessness, and emotional paralysis until one day Dorothy appears to him in the street. Struggling with the meaning of her appearances, Aaron eventually comes to accept them as her way of both saying good-bye and helping him get over her death. Verdict: As always, Pulitzer Prize winner Tyler brilliantly explores a stunning range of human emotion, poignantly considering the challenges of death while creating lovable characters whose foibles capture our hearts. Essential reading. —Henry L. Carrigan Jr., Evanston, IL
Library Journal
Though the plot finds a man in early middle age coming to terms with the death of his wife, the tone of this whimsical fable is so light that it practically floats off the page. Some might consider the latest from Tyler (Noah's Compass, 2010, etc.) typically wise and charming, while others will dismiss it as cloying. She employs a first-person narrator, a 36-year-old man named Aaron, who....receives visits from his dead wife, whom no one else can see, and whom he admits might well be a projection or an apparition. If he is an unreliable narrator, he is also a flawed one, often sounding more like a much older woman than like a man his age (very few of whom use terms like "busy-busy"). Mourning is both a rite of passage and a process of discovery for Aaron, who early worries that, "I can't do this…I don't know how. They don't offer any courses in this; I haven't had any practice," but who is ultimately not a tragic but comic figure, one who will (more or less) live happily ever after. An uncharacteristically slight work by a major novelist.
Kirkus Reviews
Discussion Questions
1. Aaron is handicapped on his right side as a result of a childhood illness. Why do you think the author chose to give her main character such a handicap? Is it significant—a symbol or metaphor—or entirely coincidental?
2. Does the way that Aaron’s mother and sister treated him when he was growing up impact his character as an adult? Or explain why he might have married Dorothy?
3. In Aaron’s recollections of initially meeting Dorothy and falling in love with her, he portrays himself as having been immediately besotted, though Dorothy herself seems less than scintillating. Is Aaron aware of this discrepancy?
4. After Dorothy’s death, does Aaron fully grieve for her, or is he reluctant to accept what has happened?
5. Why does Dorothy reappear so many months after her death?
6. Aaron states early in the book (pages 11–12) that he is an atheist. Does this (lack of) belief shed any light on Dorothy’s appearances?
7. How does Dorothy act when she reappears? Why? Does her behavior indicate something about her character? About Aaron’s?
8. Beginning on page 175, Aaron reveals that his marriage to Dorothy was not, after all, ideal. Does this come as a surprise? Do you think this has something to do with Dorothy’s reappearances?
9. Toward the end of the book (pages 194–5), Aaron reflects on Gil’s thoughts about his father’s reappearances (“I know Gil felt it was his father’s unfinished business that brought him, but what’s occurred to me lately is, couldn’t it have been Gil’s unfinished business?”). Do Aaron’s reflections suggest why Dorothy has reappeared?
10. If so, what should the reader make of Aaron’s almost defensive remarks on the following page (“Do you imagine it hasn’t occurred to me that I might have just made Dorothy’s visits up?”)? What should we think of Nate’s comments on the page after that (“I think if you knew them well enough...you might be able to imagine what they would tell you even now”)? Do these comments indicate how Aaron has come to view Dorothy’s appearances?
11. What are the possible ways to interpret the final paragraph of the book? Are the apparitions of Dorothy real, after all? Is Aaron deluded? Does the final paragraph suggest a “moral” to the story? Was a moral hinted at earlier?
12. What is the significance of the book’s title?
(Questions issued by publisher.)
top of page (summary)
History of a Pleasure Seeker
Richard Mason, 2011
Knopf Doubleday
288 pp.
ISBN-13: 9780307599476
Summary
From the acclaimed author of The Drowning People (“A literary sensation” —The New York Times Book Review) and Natural Elements (“A magnum opus” —The New Yorker), an opulent, romantic coming-of-age drama set at the height of Europe’s belle epoque, written in the grand tradition with a lightness of touch that is wholly modern and original.
The novel opens in Amsterdam at the turn of the last century. It moves to New York at the time of the 1907 financial crisis and proceeds onboard a luxury liner headed for Cape Town.
It is about a young man—Piet Barol—with an instinctive appreciation for pleasure and a gift for finding it. Piet’s father is an austere administrator at Holland’s oldest university. His mother, a singing teacher, has died—but not before giving him a thorough grounding in the arts of charm.
Piet applies for a job as tutor to the troubled son of Europe’s leading hotelier: a child who refuses to leave his family’s mansion on Amsterdam’s grandest canal. As the young man enters this glittering world, he learns its secrets—and soon, quietly, steadily, finds his life transformed as he in turn transforms the lives of those around him.
History of a Pleasure Seeker is a brilliantly written portrait of the senses, a novel about pleasure and those who are in search of it; those who embrace it, luxuriate in it, need it; and those who deprive themselves of it as they do those they love. It is a book that will beguile and transport you—to another world, another time, another state of being. (From the publisher.)
Author Bio
• Birth—1977 or 1978 (?)
• Where—Johannesburg, South Africa
• Raised—England
• Education—Oxford University
• Currently—lives in New York, New York, USA
Born in Johannesburg, South Africa, Mason was ten years old when he moved to England with his parents. He was educated at Eton and New College Oxford.
His first novel, The Drowning People (1999), was published during his time at Oxford and has since been translated into 22 languages. His subsequent novels include: Us (2005), The Lighted Rooms (2008), Natural Elements (2010) and History of a Pleasure Seeker (2011). Mason now lives in New York City.
Mason set up the Kay Mason Foundation, in memory of his sister, who died when he was a child. The aim of the foundation is to make the best education available for young people in South Africa. The foundation has the patronage of Nobel Peace laureate Archbishop Desmond Tutu. In 2010, Mason was awarded a Merit in Philanthropy Award at the Inyathelo Philanthropy Awards in Cape Town.
In 2008, Mason set up Project Lulutho on 36 hectares of land in the Tunga Valley in the Eastern Cape of South Africa. Lulutho offers skills transfer, employment opportunities, and the restoration of a ravaged eco-system, to protect and preserve the Eastern Cape landscape. Lulutho is now an established Trust and Public Benefit Organization. (From Wikipedia.)
Book Reviews
If the book scares off prudish readers, it's their loss. Mason writes in a beautifully turned, classical style that yields both pleasing phrases and psychological complexity. Piet's relationships with Jacobina, Egbert and Didier, a footman who yearns for him, are genuinely moving.
John Williams - New York Times Book Review
the best new work of fiction to cross my desk in many moons. Mason…has written an unabashed romance, a classic story of a young man who rises from unprepossessing circumstances to win the favor of the rich and prominent…Mason's hand simply gets surer and surer with each new novel. He has an appealingly playful quality that has never been more evident than it is here; he likes all of his characters and mostly gives them what they deserve; he conjures up early-20th-century Amsterdam and, more briefly, New York, with confidence and exceptional descriptive powers. My only regret about History of a Pleasure Seeker...is that it didn't go on for several hundred pages more.
Jonathan Yardley - Washington Post
Richard Mason is the rare novelist who can write a very sexy book that never quite turns prurient.... This book about pleasure is a provocative joy.
O Magazine
It’s hard to imagine a better connoisseur of late 19th-century Europe’s gilded delights than Piet Barol, the bisexual hero at the heart of Richard Mason’s witty fourth novel, History of a Pleasure Seeker.... Think Balzac, but lighter and sexier – an exquisitely laced corset of a novel with a sleek, modern zipper down the side.”
Marie Claire
The title of Mason’s latest misleads, not only because his story details an interlude in a young man’s life, not a history, but also because this man is less a seeker than a receiver. The operative word, however, is pleasure, which comes in abundance to both the reader and the seductively handsome Piet Barol. The story opens in Amsterdam, 1907, during the belle époque, which Mason evokes with delightful period detail. Piet, at 24, is hired as a tutor for the deeply troubled son of the wealthy Maarten Vermeulen-Sickerts, a devout Calvinist whose belief in predetermination guides him to a degree that he conceals even from his cherished wife, Jacobina. Their obsessive son, Egbert, is tormented by invisible demons; his suffering adds weight to a tale that is otherwise amusingly, at times stubbornly, lighthearted. No one, including Jacobina or Egbert’s two older sisters, fails to notice Piet’s allure. He is bright, talented, and ambitious, but he trusts those qualities less than he trusts his sexuality, which leads him to many enthusiastic encounters with women, including Jacobina, and men, and helps him slide haplessly into passivity. Mason (Natural Elements) writes with sensuality and humor, but the novel fails to deeply satisfy, especially at its forced and hollow end.
Publishers Weekly
What would you do if you were Piet Barol, charismatic, head-turningly handsome, and ambitious for the best things in life yet raised in shabby circumstances and now, after the death of his sophisticated Parisienne mother, stuck with a glum academic father in a shack that has an outhouse? You'd accept Jacobina Vermeulen-Sickerts's invitation to interview for a job as tutor to young son Egbert, a brilliant pianist so powerfully phobic he cannot leave the house. Since the Vermeulen-Sickertses are among the wealthiest families of early 1900s Amsterdam, Piet is soon savoring the truly elegant life. He handles himself smoothly with the two spoiled Vermeulen-Sickerts daughters and mightily impresses the father, but not the least of his pleasures is his relationship with affection-starved Jacobina. When Piet leaves, only half in triumph, he's managed to heal some family wounds, though it takes him longer to learn which pleasures he should really seek. Verdict: Mason (Natural Elements) writes lushly, and he persuasively gets readers to side with Piet, despite his oily manipulations—for aren't those around him even more obviously self-serving? Highly recommended as an engaging portrait of an individual, a family, and time. —Barbara Hoffert
Library Journal
This bildrungsroman is as smart as it is seductive.... Readers will savor final scenes aboard the gilded ocean-liner Eugenie and welcome the undercurrent that perhaps Piet’s good fortune isn’t luck at all but a lesson that pleasure exists for those who seek it.
Booklist
Piet [Barol] infiltrates the household of Maarten Vermeulen-Sickerts, one of the wealthiest men in Amsterdam. Maarten's sex-starved wife Jacobina hires Piet to tutor their son Egbert, a boy who becomes hysterical outside his own home. Though playing a dangerous game—the image of a man walking a tightrope is threaded through the narrative—Piet loses no time in pursuing all pleasures, be it music, fine food, wealth or the charms of his employer's wife. Throughout the novel Mason displays a sharp eye and a wit to rival Oscar Wilde. A provocative and keenly funny portrait of a rake with an agenda all his own.
Kirkus Reviews
Discussion Questions
1. Who is the “pleasure seeker” of the title? Who else might that describe?
2. How does Maarten’s repudiation of pleasure define his character?
3. What is the metaphor of the tightrope?
4. How do the characters’ different religious beliefs shape the events of the story?
5. “Like his father, Egbert was deeply private about his interior afflictions” (page 40). Are there other ways in which father and son are alike? How are they different?
6. Throughout the novel, Mason calls our attention to shared character traits. What do Egbert and Piet share? Piet and Maarten?
7. What role does guilt play in Piet’s actions?
8. The voices Egbert hears are guided by color: “toying with primary colors was an offense that merited prolonged punishment” (page 100). Why do you think color affects Egbert this way? How does Mason use color with other characters?
9. What is the significance of the horseback-riding scene on pages 109–14? Why does it prompt Piet to carry Egbert outside?
10. How does having money—or not having it—affect the characters’ behavior? What about the other members of the household staff? In the terms of this novel, what is the difference between money and class?
11. Why is Piet willing to risk everything to see Jacobina? Is he in love with her?
12. When Louisa seeks her father’s help in opening a shop, he tells her: “You must marry a man with talent and ambition, whose interests you may serve as your mother has served mine. That is the way in which a woman may succeed” (page 153). Is this true for all the women in the novel? How are things changing with the times?
13. What finally gives Egbert the strength to go outside on his own? What role does music play in the decision (pages 154–5)?
14. When Piet turns down Louisa’s proposal, what is the result? How does it influence the novel’s denouement?
15. Why doesn’t the novel end when Piet leaves the Vermeulen-Sickerts household? How might you have imagined Piet’s next steps, if Mason hadn’t supplied them?
16. How does Piet’s interlude with his father change your understanding of his character? How did his late mother shape his behavior?
17. What role does Didier play in the novel’s ending? What impact might a different response from him have had on Piet’s future?
18. What has changed within Piet, that he resolves to tell the truth to Stacey?
(Questions issued by publisher.)
The Lifeboat
Charlotte Rogan, 2012
Little, Brown and Co.
288 pp.
ISBN-13: 9780316185905
Summary
Grace Winter, 22, is both a newlywed and a widow. She is also on trial for her life.
In the summer of 1914, the elegant ocean liner carrying her and her husband Henry across the Atlantic suffers a mysterious explosion. Setting aside his own safety, Henry secures Grace a place in a lifeboat, which the survivors quickly realize is over capacity. For any to live, some must die.
As the castaways battle the elements, and each other, Grace recollects the unorthodox way she and Henry met, and the new life of privilege she thought she'd found. Will she pay any price to keep it?
The Lifeboat is a page-turning novel of hard choices and survival, narrated by a woman as unforgettable and complex as the events she describes. (From the publisher.)
Author Bio
• Birth—ca. 1953?
• Where—N/A
• Education—B.A., Princeton University
• Currently—lives in Westport, Connecticut, USA
Charlotte Rogan graduated from Princeton University in 1975. She worked at various jobs, mostly in the fields of architecture and engineering, before teaching herself to write and staying home to bring up triplets. An old criminal law text and her childhood experiences among a family of sailors provided inspiration for The Lifeboat, her first novel. After many years in Dallas and a year in Johannesburg, she and her husband now live in Westport, Connecticut. (From the publisher.)
Book Reviews
Charlotte Rogan manages to distill this drama about what's right and wrong when the answer means life or death into a gripping, confident first novel.... Other novels have examined the conscience and guilt of a survivor among the dead, but few tales are as thoughtful and compelling as this.
Christina Ianzito - Washington Post
Set at the beginning of WWI, Rogan’s debut follows 22-year-old Grace Winter, a newlywed, newly minted heiress who survives a harrowing three weeks at sea following the sinking of her ocean liner and the disappearance of her husband, Henry. Safe at home in the U.S., Grace and two other survivors are put on trial for their actions aboard the under-built, overloaded lifeboat. At sea, as food and water ran out, and passengers realized that some among them would die, questions of sacrifice and duty arose. Rogan interweaves the trial with a harrowing day-by-day story of Grace’s time aboard the lifeboat, and circles around society’s ideas about what it means to be human, what responsibilities we have to each other, and whether we can be blamed for choices made in order to survive. Grace is a complex and calculating heroine, a middle-class girl who won her wealthy husband through smalltime subterfuge. Her actions on the boat are far from faultless, and her memory of them spotty. By refusing to judge her, Rogan leaves room for readers to decide for themselves. A complex and engrossing psychological drama.
Publishers Weekly
First-time novelist Rogan's architectural background shows in the precision with which she structures the edifice of moral ambiguity surrounding a young woman's survival during three weeks in a crowded lifeboat adrift in the Atlantic in 1914.... There are natural deaths and (reluctantly) voluntary sacrificial drownings. Dissention grows.... The lifeboat becomes a compelling, if almost overly crafted, microcosm of a dangerous larger world in which only the strong survive..
Kirkus Reviews
Discussion Questions
1. In disaster situations, is it right to save women and children first? What moral justifications exist for your answer?
2. Discuss the thought experiment referred to in Grace’s trial, also known as “The Plank of Carneades.” Is either the first or second swimmer to reach the plank justified in pushing the other swimmer away?
3. What do you think of the concept of necessity as a justification for behavior that would not be condoned in ordinary circumstances?
4. If you were to ask Grace what qualities she looked for in a friend, what would she say? What would the truth be?
5. Which characters, in your opinion, hold the moral high ground?
6. Seventeenth-century political philosophers Thomas Hobbes and John Locke postulated that humankind started off in a state of nature and gradually gave up certain freedoms in return for security, an exchange sometimes called the social contract. How does the lifeboat approximate a state of nature? Does survival in such a state require giving up personal freedom and autonomy?
7. Some modern writers assert that the advances in opportunities for women have been predicated on the requirement that women become more like men. Do you agree with this?
8. Are people more likely to revert to traditional male/female roles in crisis situations? What traditional male/female traits might help a person survive?
9. Author Warren Farrell, who writes about gender issues, has said: “Men’s weakness is their façade of strength; women’s strength is their façade of weakness.” Does this hold true for the characters in The Lifeboat?
10. In his book In the Heart of the Sea: The Tragedy of the Whaleship Essex, Nathaniel Philbrick argues that an “authoritarian” leadership style is useful in the early stages of a disaster, but a “social” style becomes more important over time. Does this dynamic fully explain the power struggle in Lifeboat 14, or were other forces at work?
11. Does power always involve the threat of coercion? Besides violence, what forms of power influence the characters in The Lifeboat?|
12. The first thing a person says is often more honest than later explanations. Are there instances in the book where a character’s early words are a clue to assessing the truth of a particular situation or incident?
13. Do you think Mr. Hardie stole or helped to steal anything from the sinking Empress Alexandra? Would this have been wrong, given that any valuables were destined to be lost forever?
14. Should Grace have been acquitted of Mr. Hardie’s murder?
15. Comment on the use of storytelling in the novel. Does your answer shed any light on Grace’s own story?