The Pearl
John Steinbeck, 1947
Penguin Group USA
96 pp.
ISBN-13: 9780140177374
Summary
First published in 1947, John Steinbeck's parable is a literary jewel.
Kino is a Mexican pearl-fisher in the Gulf of California. When he and his wife, Juana, have a baby, their joy is complete.... Until the infant is bitten by a scorpion. Kino finds a great pearl worth a fortune, far more than enough to pay the doctor needed to save the baby's life, but it brings only tragedy and evil to his family. A masterpiece of American literature. (From the publisher.)
Author Bio
• Birth—February 27, 1902
• Where—Salinas, California USA
• Death—December 20, 1968
• Where—New York, NY
• Education—Studied marine biology at Stanford University,
1919-25
• Awards—Pulitzer Prize and National Book Award, 1940;
Nobel Prize, 1962.
John Ernst Steinbeck, Nobel and Pulitzer Prize winner, was born in Salinas, California February 27, 1902. His father, John Steinbeck, served as Monterey County Treasurer for many years. His mother, Olive Hamilton, was a former schoolteacher who developed in him a love of literature. Young Steinbeck came to know the Salinas Valley well, working as a hired hand on nearby ranches in Monterey County.
In 1919, he graduated from Salinas High School as president of his class and entered Stanford University majoring in English. Stanford did not claim his undivided attention. During this time he attended only sporadically while working at a variety jobs including on with the Big Sur highway project, and one at Spreckels Sugar Company near Salinas.
Steinbeck left Stanford permanently in 1925 to pursue a career in writing in New York City. He was unsuccessful and returned, disappointed, to California the following year. Though his first novel, Cup of Gold, was published in 1929, it attracted little literary attention. Two subsequent novels, The Pastures of Heaven and To A God Unknown, met the same fate.
After moving to the Monterey Peninsula in 1930, Steinbeck and his new wife, Carol Henning, made their home in Pacific Grove. Here, not far from famed Cannery Row, heart of the California sardine industry, Steinbeck found material he would later use for two more works, Tortilla Flat and Cannery Row.
With Tortilla Flat (1935), Steinbeck's career took a decidedly positive turn, receiving the California Commonwealth Club's Gold Medal. He felt encouraged to continue writing, relying on extensive research and personal observation of the human drama for his stories. In 1937, Of Mice and Men was published. Two years later, the novel was produced on Broadway and made into a movie. In 1940, Steinbeck won the Pulitzer Prize for fiction for Grapes of Wrath, bringing to public attention the plight of dispossessed farmers.
After Steinbeck and Henning divorced in 1942, he married Gwyndolyn Conger. The couple moved to New York City and had two sons, Thomas and two years later, John. During the war years, Steinbeck served as a war correspondent for the New York Herald Tribune. Some of his dispatches reappeared in Once There Was A War. In 1945, Steinbeck published Cannery Row and continued to write prolifically, producing plays, short stories and film scripts. In 1950, he married Elaine Anderson Scott and they remained together until his death.
Steinbeck received the Nobel Prize for Literature in 1962 "for his realistic as well as imaginative writings, distinguished by a sympathetic humor and keen social perception." In his acceptance speech, Steinbeck summarized what he sought to achieve through his works:
Literature is as old as speech. It grew out of human need for it and it has not changed except to become more needed. The skalds, the bards, the writers are not separate and exclusive. From the beginning, their functions, their duties, their responsibilities have been decreed by our species.... Furthermore, the writer is delegated to declare and to celebrate man's proven capacity of greatness of heart and spirit—gallantry in defeat, for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally flags of hope and emulation. I hold that a writer who does not passionately believe in the perfectibility of man has no dedication nor any membership in literature..."
Steinbeck remained a private person, shunning publicity and moving frequently in his search for privacy. He died on December 20, 1968 in New York City, where he and his family made a home. But his final resting place was the valley he had written about with such passion. At his request, his ashes were interred in the Garden of Memories cemetery in Salinas. He is survived by his son, Thomas. (Author bio from Barnes & Noble, courtesy of the National Steinbeck Center.)
Book Reviews
(Older works have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
Kino, a poor Mexican pearl fisher, finds a valuable pearl. Yet instead of bringing blessings, the pearl acts as a harbinger of misfortune to Kino and his wife, Juana. Ultimately, it is returned from whence it came. Steinbeck's parable, originally published in 1947, is a well-written retelling of an old Mexican folktale. Hector Elizondo, with his fine voice and great diction, reads with sincerity, keeping this simple, tragic tale moving toward its inevitable conclusion. Highly recommended for all collections. —Denise A. Garofalo, Mid-Hudson Lib. System, Poughkeepsie, N.Y.
Library Journal
Discussion Questions
1. Why can neither Kino nor Juana protect their baby from the scorpion?
2. Why could Kino kill the doctor more easily than talk to him?
3. Why is it important to Juana that Kino be the one to throw the pearl back into the sea?
4. Why does Kino think the killing of a man is not as evil as the killing of a boat?
5. What does the narrator mean when he says, "A town is a thing like a colonial animal" (p. 21)?
6. Why does the music of the pearl change?
7. Why does Kino come to feel that he will lose his soul if he gives up the pearl?
8. Why does Tomás help Kino?
9. Why does Juana feel the events following the pearl's discovery may all have been an illusion?
10. What is the significance of Juana and Kino's walking side by side when they return to the town?
For Further Reflection
1. Did Kino do the right thing in demanding a fair price for the pearl, even if it meant leaving his community?
2. Why does Steinbeck choose the parable as the form for this story?
(Questions issued by publisher.)
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The Ten-Year Nap
Meg Wolitzer, 2009
Penguin Group USA
400 pp.
ISBN-13: 9781594483547
Summary
For a group of four New York friends, the past decade has been defined largely by marriage and motherhood—but it wasn’t always that way.
Growing up, Amy, Jill, Roberta, and Karen were told by their mothers that their generation would be different. “You girls will be able to do just about anything you want, ”Amy’s mother had predicted. And for a while, this was true. Amy and her friends went to good colleges and began careers as lawyers, film producers, bankers, and artists. But after they got married and had babies, they decided for a variety of reasons to stay home, temporarily, to raise them.
Now, ten years later, at age forty, with their children older and no longer in need of their constant presence, and without professions through which to define themselves, the four friends wonder how they got here—in lives so different from the ones they were brought up to expect—and why they have chosen to stay so long.
As the women redefine their relationship to their children and husbands—and reevaluate their former selves—a lifetime’s worth of concerns opens up, both practical and existential, and questions begin to surface: Is simply being a mother enough? Does a lack of motivation for returning to work signal a weakness in character? Is it possible—or even desirable—to “have it all,” to be an attentive mother, a loving wife, and a successful professional? And if not, is the choice of motherhood over career a betrayal of the hard-fought victories of the women who came before?
A carefully observed character study set in the context of the evolution of the feminist ideal over the last several decades, Meg Wolitzer’s The Ten-Year Nap uses the lives of these four friends to explore the breadth and complexity of women’s experiences in the post-feminist era.
When Amy embarks on a relationship with Penny Ramsey, a woman on the other side of the work divide who is an object of both envy and derision to Amy and her friends, the balance of the women’s lives is shifted, and the four women are forced to confront the choices and compromises they have made over the last ten years. As counterpoint, Wolitzer interweaves glimpses into the lives of a previous generation of women, the choices they made and the limitations they faced.
Although for the four friends the possibilities may have expanded, each must still choose her own path, and through it, find the woman she has become. (From the publisher.)
Author Bio
• Birth—May 28. 1959
• Where—Brooklyn, New York, USA
• Education—B.A., Brown University
• Awards—National Endowment for the Arts grant, 1994; Best
American Short Stories, 1999; Pushcart Prize; 1998
• Currently—New York, New York
Meg Wolitzer grew up around books. Her mother, Hilma Wolitzer, published two novels while Meg was still in school, and weekly trips to the library were a ritual the entire family looked forward to. Not surprisingly, Meg served as editor for her junior high and high school literary magazines. She graduated from Brown University in 1981. One year later, she published her debut novel, Sleepwalking, the story of three college girls bonded by an unhealthy fascination with suicidal women poets. It marked the beginning of a successful writing career that shows no sign of slacking.
Over the years, Wolitzer has proven herself a deft chronicler of intense, unconventional relationships, especially among women. She has explored with wit and sensitivity the dynamics of fractured families (This Is Your Life, The Position); the devastating effects of death (Surrender, Dorothy), the challenges of friendship (Friends for Life), and the prospective minefield of gender, identity, and dashed expectations (Hidden Pictures, The Wife, The Ten-Year Nap, The Interestings).
In addition to her bestselling novels, Wolitzer has written a number of screenplays. Her short fiction has appeared in The Best American Short Stories and The Pushcart Prize, and she has also taught writing at the University of Iowa Writers' Workshop and at Skidmore College.
Extras
From a Barnes & Noble interview:
• First of all, I am obsessed with playing Scrabble. It relaxes me between fits of writing, and I play online, in a bizarro world of anonymous, competitive players. It's my version of smoking or drinking—a guilty pleasure. The thing is, I love words, anagrams, wordplay, cryptic crossword puzzles, and anything to do with the language.
• I also love children's books, and feel a great deal of nostalgia for some of them from my own childhood (Harriet the Spy and The Phantom Tollbooth among others) as well as from my children's current lives. I have an idea for a kids' book that I might do someday, though right now my writing schedule is full up.
• Humor is very important to me in life and work. I take pleasure from laughing at movies, and crying at books, and sometimes vice versa. I also have recently learned that I like performing. I think that writers shouldn't get up at a reading and give a dull, chant-like reading from their book. They should perform; they should do what they need to do to keep readers really listening. I've lately had the opportunity to do some performing on public radio, as well as singing with a singer I admire, Suzzy Roche, formerly of the Roches, a great group that started in 1979. Being onstage provides a dose of gratification that most writers never get to experience.
• But mostly, writing a powerful novel—whether funny or serious, or of course both—is my primary goal. When I hear that readers have been affected by something I've written, it's a relief. I finally have come to no longer fear that I'm going to have to go to law school someday....
• When asked what book most influenced her career as a writer, here is her response:
Mrs. Bridge by Evan S. Connell—this is the perfect modern novel. Short, concise, moving, and about a character you come to care about, despite her limitations. It reminds me of life. It takes place over a span of time, and it's hilarious, tragic, and always stirring.
(Author bio and interview from Barnes & Noble.)
Book Reviews
As in earlier novels like The Wife and This Is Your Life, Meg Wolitzer presents a taxonomy of the subspecies known as the urban female. Lavishly educated and ruefully self-aware, the women in The Ten-Year Nap are never quite at the top of their game, time and success having passed them by—because of their gender, weak ambition, middling talent or some combination thereof. Amy and her friends aren't total losers, they're just not big technicolor winners. Caught between the second and third waves of feminism, they've created lives—as daughters do—in opposition to those of their mothers. All this could make for a dreary soup, except that it's a Wolitzer novel, so it's very entertaining. The tartly funny Wolitzer is a miniaturist who can nail a contemporary type, scene or artifact with deadeye accuracy.
New York Times
If Wolitzer were content to people her book solely with women happily married and wealthy enough to afford the luxury of ambivalence, it would be a too-familiar read. But she weaves in vignettes of marginal South Dakotans and various iconoclastic mothers and muses, subtly showing how women's individual choices (or lack thereof) are inextricable from the history and future of feminism....The book occasionally reads like an overly earnest polemic or a chatty episode of "The View," but for the most part Wolitzer perfectly captures her women's resolve in the face of a dizzying array of conflicting loyalties.
Sheri Holmes - Washington Post
In her latest novel, Wolitzer takes a close look at the opt out generation: her cast of primary characters have all abandoned promising careers (in art, law and academia) in favor of full-time motherhood. When their children were babies, that decision was defensible to themselves and others; 10 years on, all of these women, whose interconnected stories merge during their regular breakfasts at a Manhattan restaurant, harbor hidden doubts. Do their mundane daily routines and ever-more tenuous connections to increasingly independent children compensate for all that lost promise? Wolitzer centers her narrative on comparisons between her smart but bored modern-day New York and suburban mommies and the women of the generation preceding them, who fought for women's liberation and equality. Contemporary chapters, most of which focus on a single character in this small circle of friends, alternate with vignettes from earlier eras, placing her characters' crises in the context of the women, famous and anonymous, who came before. Wolitzer's novel offers a hopeful, if not exactly optimistic, vision of women's (and men's) capacity for reinvention and the discovery of new purposes.
Publishers Weekly
Wolitzer, best-selling author of The Wife (2003) and The Position (2005), brings some much needed compassion and a rare wit to the contentious divide separating mothers who work from those who don’t.... It’s a rare novelist who can transform domestic fiction into a sustained, smart, and funny inquiry into the price of ambition, the value of work, issues of class, and the meaning of motherhood—Wolitzer is that novelist. —Joanne Wilkinson
Booklist
A wise, witty assessment of the contemporary dilemmas of middle-class mothers (in particular: to work or not to work), set in the competitive terrain of New York City parenting. Using the comfortable format of friendship between four women, Wolitzer's eighth novel (after The Position, 2005, etc.) takes ironic stock of how far females have (and haven't) come since feminism tried to rearrange the work/life balance between the sexes. Lawyer Amy Lamb has still not gone back to her job after the birth of her son ten years ago. Her good friend Jill, a one-time prizewinner who recently left Manhattan for the suburbs with her family, is finding it hard to fit in. Their circle also includes ex-artist Roberta who, like Amy, feels happier without the pressures of a job, yet senses dissatisfactions and uncertainty about her identity; and mathematician Karen, whose Chinese parents take great satisfaction in her not needing to work. The women meet for coffee or yoga and mutual support. Aside from Jill's jealousy of Amy's new friendship with glamorous museum director Penny, unaware that the relationship is driven by a shared secret (Penny's extramarital affair), plot events are few. Instead, Wolitzer uses modern domesticity as a lens through which to scrutinize mixed feelings about ambition, marriage, aging, money and the peculiar results of the women's individual choices. Further telling comparisons arise from glimpses of women of their mothers' generation. Instead of conclusions, there are some gradual changes, sometimes for the better. A perceptive, highly pleasurable novel that serves as Wolitzer's up-to-date answer to the old question: "What do women want?"
Kirkus Reviews
Discussion Questions
1. Though much of the story is told from the perspective of Amy, her friends, and their families, at times the perspective widens to include all women. What is the purpose of this technique? What is the author trying to convey through its use?
2. One of the main themes of the novel is the legacy of the feminist movement, with Amy’s mother representing the promise of its early years and Amy and her friends representing its practical result. What, overall, does the novel have to say about feminism? Is the idea of feminism still relevant in today’s society?
3. Although Roberta initially seeks to help Brandy Gillop with her art career, she ultimately abandons her. How did this affect your assessment of Roberta’s character? Were you surprised? What is your overall assessment of her?
4. Amy’s friendship with Penny begins when she learns of Penny’s affair with Ian, and ends when he is injured on Saint Doe’s. Discuss the relationship between Penny and Amy. Why does the affair create such an intense—though fleeting—bond between these women?
5. While most of the “flashback” chapters deal with the parents of the novel’s main characters, a few focus on real historical and contemporary figures: Margaret Thatcher, Georgette Magritte, Nadia Comaneci. Why do you think the author included these chapters? How do these glimpses of their lives tie into the larger themes of the novel?
6. Amy’s discovery of her Leo’s falsified “business expenses” causes her to question her belief in him and their marriage. Why does this discovery cause her so much distress? What does it say about her relationship with her husband and her expectations from life in general?
7. Though she rarely speaks of it explicitly, the suicide of Jill’s mother has clearly cast a shadow over Jill’s entire life. Discuss Jill’s life story—her early promise as a student at Pouncey, the humiliation of her failed doctoral thesis, her struggles with raising Nadia—in the context of this early trauma. How does her mother’s fate shape Jill’s reactions to events in adulthood? Are there ways in which it has made her stronger?
8. Unlike the rest of the book, which is told from the point of view of women, chapter fourteen is told from Amy’s father’s perspective. What is the significance of this chapter? What do you think the author is trying to convey through this character?
(Questions issued by publisher.)
Moonlight Mile
Dennis Lehane, 2010
HarperCollins
324 pp.
ISBN-13: 9780061836923
Summary
Amanda McCready was four years old when she vanished from a Boston apartment in 1997. (See Gone, Baby, Gone.) Desperate pleas for help from the child's aunt led savvy, tough-nosed investigators Kenzie and Gennaro to take on the case. The pair risked everything to find the young girl—only to have Patrick orchestrate her return to a neglectful mother and a broken home.
Now Amanda is sixteen—and gone again. A stellar student, brilliant but aloof, she seemed destined to escape her upbringing. Yet Amanda's aunt is once more knocking at Patrick Kenzie's door, fearing the worst for the little girl who has blossomed into a striking, bright young woman who hasn't been seen in two weeks.
Haunted by the past, Kenzie and Gennaro revisit the case that troubled them the most, following a twelve-year trail of secrets and lies down the darkest alleys of Boston's gritty, blue-collar streets. Assuring themselves that this time will be different, they vow to make good on their promise to find Amanda and see that she is safe. But their determination to do the right thing holds dark implications Kenzie and Gennaro aren't prepared for consequences that could cost them not only Amanda's life, but their own. (From the publisher.)
Author Bio
• Birth—August 4, 1965
• Where—Dorchester, Massachusetts, USA
• Education—B.A., Eckerd College; M.F.A., Florida International University
• Awards—Shamus Award, Best First Novel; Anthony Award; Dilys Award
• Currently—lives in Boston, Massachusetts
Dennis Lehane is an American author. He has written several award-winning novels, including A Drink Before the War and the New York Times bestseller Mystic River, which was later made into an Academy Award-winning film.
Another novel, Gone, Baby, Gone, was also adapted into an Academy Award-nominated film. His novel Shutter Island was adapted into a film by Martin Scorsese in 2010. Lehane is a graduate of Florida International University in Miami, Florida.
Personal Life
Lehane was born and reared in the Dorchester neighborhood of Boston, Massachusetts, and continues to live in the Boston area, which provides the setting for most of his books. He spent summers on Fieldston Beach in Marshfield. Lehane is the youngest of five children. His father was a foreman for Sears & Roebuck, and his mother worked in a Boston public school cafeteria. Both of his parents emigrated from Ireland. His brother, Gerry Lehane, who is two and a half years older than Dennis, is a veteran actor who trained at the Trinity Repertory Company in Providence before heading to New York in 1990. Gerry is currently a member of the Invisible City Theatre Company.
He was previously married to Sheila Lawn, formerly an advocate for the elderly for the city of Boston but now working with the Suffolk County District Attorney's Office as an Assistant District Attorney. Currently, he is married to Dr. Angela Bernardo, with whom he has one daughter.
He is a graduate of Boston College High School (a Boston Jesuit prep school), Eckerd College (where he found his passion for writing), and the graduate program in creative writing at Florida International University in Miami, Florida. He occasionally makes guest appearances as himself in the ABC comedy/drama TV series Castle.
Literary Career
His first book, A Drink Before the War, which introduced the recurring characters Patrick Kenzie and Angela Gennaro, won the 1995 Shamus Award for Best First P.I. Novel. The fourth book in the series, Gone, Baby, Gone, was adapted to a film of the same title in 2007; it was directed by Ben Affleck and starred Casey Affleck and Michelle Monaghan as Kenzie and Gennaro. Reportedly, Lehane "has never wanted to write the screenplays for the films [based on his own books], because he says he has 'no desire to operate on my own child.'"
Lehane's Mystic River was made into a film in 2003; directed by Clint Eastwood, it starred Sean Penn, Tim Robbins, and Kevin Bacon. The novel itself was a finalist for the PEN/Winship Award and won the Anthony Award and the Barry Award for Best Novel, the Massachusetts Book Award in Fiction, and France's Prix Mystère de la Critique.
Lehane's first play, Coronado, debuted in New York in December 2005. Coronado is based on his acclaimed short story "Until Gwen," which was originally published in The Atlantic Monthly and was selected for both The Best American Short Stories and The Best Mystery Short Stories of 2005.
Lehane described working on his historical novel, The Given Day, as "a five- or six-year project" with the novel beginning in 1918 and encompassing the 1919 Boston Police Strike and its aftermath. The novel was published in October, 2008.
On October 22, 2007 Paramount Pictures announced that they had optioned Shutter Island with Martin Scorsese attached as director. The Laeta Kalogridis-scripted adaptation has Leonardo DiCaprio playing U.S. Marshal Teddy Daniels, "who is investigating the disappearance of a murderess who escaped from a hospital for the criminally insane and is presumed to be hiding on the remote Shutter Island." Mark Ruffalo played opposite DiCaprio as U.S. Marshal Chuck Aule. Shutter Island was released on February 19, 2010.
Teaching Career
Since becoming a literary success after the broad appeal of his Kenzie and Gennaro novels, as well as the success of Mystic River, Lehane has taught at several colleges. He taught fiction writing and serves as a member of the board of directors for a low-residency MFA program sponsored by Pine Manor College in Chestnut Hill, Massachusetts. He has also been involved with the Solstice Summer Writers' Conference at Boston's Pine Manor College and taught advanced fiction writing at Harvard University, where his classes quickly filled up.
In May 2005, Lehane was presented with an honorary Doctor of Humane Letters degree from Eckerd College and was appointed to Eckerd's Board of Trustees later that year. In Spring 2009, Lehane became a Joseph E. Connor Award recipient and honorary brother of Phi Alpha Tau professional fraternity at Emerson College in Boston, MA. Other brothers and Connor Award recipients include Robert Frost, Elia Kazan, Jack Lemmon, Red Skelton, Edward R. Murrow, Yul Brynner, and Walter Cronkite. Also in Spring 2009, Lehane presented the commencement speech at Emmanuel College in Boston, Massachusetts, and was awarded an honorary degree.
Film Career
Lehane wrote and directed an independent film called Neighborhoods in the mid 1990s. He joined the writing staff of the HBO drama series The Wire in 2004. Lehane returned as a writer for the fourth season in 2006 Lehane and the writing staff won the Writers Guild of America (WGA) Award for Best Dramatic Series at the February 2008 ceremony and the 2007 Edgar Award for Best Television Feature/Mini-Series Teleplay for their work on the fourth season. Lehane remained a writer for the fifth and final season in 2008. Lehane and the writing staff were nominated for the WGA Award award for Best Dramatic Series again at the February 2009 ceremony.He served as an executive producer for Shutter Island. (Adapted from Wikipedia.)
Bibliography
The Kenzie-Gennaro Novels
1994 - A Drink Before the War
1996 - Darkness, Take My Hand
1997 - Sacred
1998 - Gone, Baby, Gone
1999 - Prayers for Rain
2010 - Moonlight Mile
Joe Coughlin Novels
2008 - The Given Day
2012 - Live by Night
2015 - World Gone By
Stand-alones
2001 - Mystic River
2003 - Shutter Island
2006 - Coronado
Book Reviews
What...keep[s] Moonlight Mile from heading down an overly well-trodden path...[is] the conviction with which Mr. Lehane breathes life into these characters. Unlike the usual sequel writer who simply puts old creations through new paces, Mr. Lehane registers a deep affection for the Kenzie-Gennaro team and a passionate involvement in their problems. And he treats each book in this series as an occasion for wondering what kind of world can produce the depravity that each new plotline describes.
Janet Maslin - New York Times
An old case takes on new dimensions in Lehane's sixth crime novel to feature Boston PIs Patrick Kenzie and Angie Gennaro, last seen in 1999's Prayers for Rain. Twelve years earlier, in 1998's Gone, Baby, Gone, Patrick and Angie investigated the kidnapping of four-year-old Amanda McCready. The case drove a temporary wedge between the pair after Patrick returned Amanda to her mother's neglectful care. Now Patrick and Angie are married, the parents of four-year-old Gabriella, and barely making ends meet with Patrick's PI gigs while Angie finishes graduate school. But when Amanda's aunt comes to Patrick and tells him that Amanda, now a 16-year-old honor student, is once again missing, he vows to find the girl, even if it means confronting the consequences of choices he made that have haunted him for years. While Lehane addresses much of the moral ambiguity from Gone, this entry lacks some of the gritty rawness of the early Kenzie and Gennaro books.
Publishers Weekly
In 1998's Gone, Baby, Gone, Boston PI Patrick Kenzie rescued a four-year-old kidnapping victim and returned the child to her neglectful mother over partner and lover Angela Gennaro's objections. That decision ended the couple's professional and romantic relationship, although they briefly reunited in Prayers for Rain. In the 12 succeeding years, Lehane wrote several acclaimed stand-alone titles (e.g., Shutter Island; Mystic River) and his first historical novel, The Given Day. Yet the haunting conclusion of Gone, Baby, Gone obviously resonated with the author, as the result is this satisfying sequel. Now a freelance investigator for a white-shoe law firm, Patrick knows he was legally right but morally wrong in his actions years ago, but he and Angie, now married and raising a young daughter, don't discuss the Amanda McCready case. That is, until Amanda's aunt asks for Patrick's help in finding her missing (again) niece, who has grown into a brilliant but aloof 16-year-old. This time, he and Angie are determined to do the right thing by Amanda. Verdict: Longtime readers will appreciate how Lehane's protagonists have believably aged. Fatherhood has mellowed Patrick, but he's not above inflicting a little pain with the help of sidekick Bubba. Temporarily a stay-at-home mom, Angie misses the hard-edged excitement of her old life. A few false notes involve some cartoonish Russian villains, but the resolution, while sad to series fans, makes perfect sense. —Wilda Williams
Library Journal
Discussion Questions
1. Talk about Angie and Patrick. What are they like? How do their personalities work together? How have they changed over the years? How has becoming parents altered their lives and their outlook? How do they sustain each other and their marriage?
2. At the beginning of the novel, Patrick admits that he feels like a sell out. "What I was selling out was less clear to me, but I felt it all the same." Why does he feel this way? Does he have a better understanding by the novel's end? How do the events that unfold help him find clarity? Do you share his opinion of himself? What about his choices at the novel's end?
3. To support his family, Patrick freelances at a private security and investigation firm where he hopes to be officially hired. But his supervisor at the firm tells him that they won't make him a permanent employee because, "you think you're wearing that nice suit but all I see you wearing is class rage." What does he mean by this? Does Patrick "wear class rage"? Why? Is he right to do so?
4. Think about the cases Patrick has handled for this private security and investigation firm. How far should we—must we—compromise our beliefs for the sake of security—employment and health insurance? How does compromising our values affect us? Would you compromise your values for a job?
5. Would you say Patrick has integrity? How does this affect the man he is and the choices he makes? How does this quality elevate him, and how does it get him into trouble?
6. When Beatrice McCready calls Patrick she tells him, "You owe me." What, exactly, does he owe her? Should Patrick feel guilty for returning Amanda to her birth mother all those years ago?
7. After talking to Bea, Patrick thinks about the past and his role in shaping the circumstances of Amanda's life. "Twelve years ago, I'd been wrong. Every day that had passed since, roughly 4,440 of them, I was sure of that. But twelve years ago, I'd been right. Leaving Amanda with kidnappers, no matter how vested they were in her welfare, was leaving her with kidnappers. In the 4,400 days since I'd taken her back, I was sure this was true. So where did it leave me?" How would you answer him? Was his choice correct back then or was it wrong? Develop arguments to support both viewpoints.
8. As Patrick discovered all those years ago, doing what is legal isn't always doing what is right. How do we reconcile the occasional divergence between "situational ethics" and "societal ethics"?
9. Imagine if the law could be revised so that mothers like Helene wouldn't be allowed to raise their children. How do we ultimately write such a law and who gets to decide who is a good parent and who is not?
10. By agreeing to search for the teenage Amanda, is Patrick attempting to atone for the sins of the past? "I don't believe in redemption," he tells Angie. Is this true? Can we make up for our mistakes? By the novel's end, do you think Patrick is redeemed?
11. Angie argues that by trying to help Amanda McCready, Patrick would be doing good. What entails "doing good?" Do you think people want to do good? What other characters do good in the story? Why do so many people refrain from doing good when the opportunity arises?
12. Angie also uses their daughter to challenge Patrick. "When your daughter asks what you stand for, don't you want to be able to answer her?" What does Patrick stand for? What do you stand for? What might it be like if there were more people like Patrick and Angie in our society?
13. In Moonlight Mile, Dennis Lehane uses Patrick's character to comment on contemporary American society. Choose a few of Patrick's observations and discuss on them.
14. Parenting and its impact on a child's life are undercurrents that run through the novel. Compare and contrast the novel's various parental figures—from Patrick to the Russian mobster Kirill Borzkov to Helene and even Amanda. Just because someone can have a baby should he/she?
15. Amanda's social worker, Dre, and Patrick have a charged discussion about Dre's choice to sell babies. "You think the state knows any better about placing kids? You think anyone does?" Dre challenges Patrick. "We don't know shit. And by we, I mean all of us. We all showed up at the same semi-formal and we hope that somehow everyone will buy that we are what we dressed up as. A few decades of this, and what happens? Nothing happens. We learn nothing, we don't change, and then we die. And the next generation of fakers takes our place." Do you share Dre's bleak assessment? Can we, as a society, change? Have we over the years?
16. What are your impressions of Amanda? Do you agree with her choices? What kind of life do you think she will have?
17. By the novel's end, do you think Patrick would make the same choices about Amanda if he were able to undo time?
18. If you've read the previous books in the series, how does Moonlight Mile compare? What about the author's other works, including Mystic River, Shutter Island, and The Given Day? How does this book differ from those? Are there themes they share that offer insight into the author's values?
(Questions issued by publisher.)
What Matters Most
Luanne Rice, 2007
Random House
352 pp.
ISBN-13: 9780553386868
Summary
Sister Bernadette Ignatius has returned to Ireland in the company of Tom Kelly to search for the past—and the son—they left behind. For it was here that these two long-ago lovers spent a season of magic before Bernadette’s calling led her to a vocation as Mother Superior at Star of the Sea Academy on the sea-tossed Connecticut shore.
For Tom, Bernadette’s choice meant giving up his fortune and taking the job as caretaker at Star of the Sea, where he could be close to the woman he could no longer have but whom he never stopped loving. And while one miracle drew them apart, another is about to bring them together again.
For somewhere in Dublin a young man named Seamus Sullivan is also on a search, dreaming of being reunited with his own first love, the only “family” he’s ever known. They’d been inseparable growing up together at St. Augustine’s Children’s Home, until Kathleen Murphy’s parents claimed her and she vanished across the sea to America.
Now, in a Newport mansion, that very girl, grown to womanhood, works as a maid and waits with a faith that defies all reason for the miracle that will bring back the only boy she’s ever loved.
That miracle is at hand—but like most miracles, it can come only after the darkest of nights and the deepest of heartbreaks. For life can be as precarious as a walk along a cliff, and its greatest rewards reached only by those who dare to risk everything for what matters most. (From the publisher.
Author Bio
• Birth—September 25, 1955
• Where—New Britain, Connecticut, USA
• Education—Connecticut College (did not take a degree)
• Currently—lives in Lyme, Connecticut and New York City
Luanne Rice is the New York Times bestselling author who has inspired the devotion of readers everywhere with her moving novels of love and family. She has been hailed by critics for her unique gifts, which have been described as "a beautiful blend of love and humor, with a little magic thrown in."
Rice began her writing career in 1985 with her debut novel Angels All Over Town. Since then, she has gone on to pen a string of heartwarming bestsellers. Several of her books have been adapted for television, including Crazy in Love, Blue Moon, Follow the Stars Home, and Beach Girls.
Rice was born in New Britain, Connecticut, where her father sold typewriters and her mother, a writer and artist, taught English. Throughout her childhood, Rice spent winters in New Britain and summers by Long Island Sound in Old Lyme, where her mother would hold writing workshops for local children. Rice's talent emerged at a very young age, and her first short story was published in American Girl Magazine when she was 15.
Rice later attended Connecticut College, but dropped out when her father became very ill. At this point, she knew she wanted to be a writer. Instead of returning to college, Rice took on many odd jobs, including working as a cook and maid for an exalted Rhode Island family, as well as fishing on a scallop boat during winter storms. These life experiences not only cultivated the author's love and talent for writing, but shaped the common backdrops in her novels of family and relationships on the Eastern seaboard. A true storyteller with a unique ability to combine realism and romance, Rice continues to enthrall readers with her luminous stories of life's triumphs and challenges.
In her words
From a 2008 Barnes & Noble interview:
• I take guitar lessons.
• I was queen of the junior prom. Voted in, according to one high school friend I saw recently, as a joke because my date and I were so shy, everyone thought it would be hilarious to see us onstage with crowns on our heads.
• I shared a room with both sisters when we were little, and I felt sorry for kids who had their own rooms.
• To support myself while writing in the early days, I worked as a maid and cook in one of the mansions in Newport, Rhode Island. I'd learned to love to cook in high school, by taking French cooking from Sister Denise at the convent next door to the school. The family I worked for didn't like French cooking and preferred broiled meat, well done, and frozen vegetables.
• I lived in Paris. The apartment was in the Eighth Arrondissement. Every morning I'd take my dog for a walk to buy the International Herald Tribune and have coffee at a cafe around the corner. Then I'd go upstairs to the top floor, where I'd...write.... Living in another country gave me a different perspective on the world. I'm glad I realized there's not just one way to see things.
• While living there, I found out my mother had a brain tumor. She came to Paris to stay with me and have chemotherapy at the American Hospital. She'd never been on a plane before that trip. In spite of her illness, she loved seeing Paris. I took her to London for a week, and as a teacher of English and a lover of Dickens, that was her high point.
After she died, I returned to France and made a pilgrimage to the Camargue, in the South. It is a mystical landscape of marsh grass, wild bulls, and white horses. It is home to one of the largest nature sanctuaries in the world, and I saw countless species of birds. The town of Stes. Maries de la Mer is inspiring beyond words. Different cultures visit the mysterious Saint Sarah, and the presence of the faithful at the edge of the sea made me feel part of something huge and eternal. And all of it inspired my novel Light of the Moon.
• During that period I also wrote two linked books Summer's Child and Summer of Roses...and became involved with trying to help families affected by abuse in particular.... [I also worked with] Deborah Epstein's domestic violence clinic at Georgetown University Law Center.... A counselor recommended The Verbally Abusive Relationshipby Patricia Evans. It is life-changing, and I have given it to many women over the years.
• I became a vegetarian. I decided...I wanted only gentleness and peace in my life.... A friend reminds me of a great quote in the Zen tradition: "How you do anything is how you do everything.
• When asked what book most influenced her life as a writer, here's what she said:
[There] are two books. The Sea Around Us by Rachel Carson and Franny and Zooey by J.D. Salinger. Carson's book is scientific and poetic, and it taught me that every single thing we do contributes to the harm or well-being of ourselves and the oceans, the world at large. It influenced me to incorporate my love of nature into my fiction.
Franny and Zooey Glass are two of the all-time great siblings of fiction. Nothing has ever inspired me more than being a sister; when I was young, the only stories I wanted to write were about sisters from a close, funny, secretive family like mine. The Glass family was quirky and eccentric in ways that felt very familiar to me.... Salinger loved his characters so much...[he] taught me to love my characters. (Author bio and interview from Barnes & Noble.)
Book Reviews
True love never dies-but it may need the helping hand of the Virgin Mary and the luck o' the Irish to survive in Rice's latest, effectively a sequel to last year's Sandcastles. Sister Bernadette Ignatius (the former Bernie Sullivan), Mother Superior at the coastal Connecticut Star of the Sea Academy, travels to Dublin with Tom Kelly, the academy's ombudsman, seeking James, the son they gave up over 20 years ago. In a parallel narrative set up in a prologue, young James and Kathleen, raised together as orphans, are devastated when they are forced to separate when Kathleen is 13. While Bernie and Tom look for James (now calling himself Seamus), James searches for Kathleen, who pines for him in a Newport, R.I., mansion, where she is a cook and maid for an atrocious, wealthy family. Rice juices up the predictable plot line with miraculous visions, ghosts, convenient encounters and melodramatic twists of fate-yet the effects are still lukewarm, though there's guilt, redemption and three-hankie moments aplenty for those who stick it out to the end.
Publishers Weekly
An emotionally exhaustive revisit with the two Irish-American families from Sandcastles (2006). This time around, Rice turns her attention to Sister Bernadette (Bernie) Sullivan and Thomas (Tom) Kelly. Long before Sister Bernie took her vows, she and Tom were young lovers. While on a romantic holiday to Ireland connecting with their roots, Bernie and Tom shared a single night of passion. Bernie became pregnant. Tom wanted to keep the baby, but Bernie struggled between her calling to the church and her love for Tom. Ultimately, the baby was given up for adoption. Now, 20-odd years later, Tom and Bernie decide to fly to Dublin to track down their son, Seamus, and introduce themselves as his parents. At the reunion, Seamus wants nothing to do with the family that abandoned him and left him in a crowded orphanage. To make matters more complicated, the disastrous meeting stirs up old passions between Tom and Bernie. Their romantic detente ends and their friendship is irrevocably altered. Tom makes a final effort to win over Seamus before flying back to America. Grudgingly, Seamus accepts Tom's help when Tom offers to use his influence to reunite Seamus with his lost love from the orphanage. With Tom's help, Seamus tracks down his love in America. At this point, the plot spins wildly out of control as the author tosses in one melodramatic, outlandish event after another. Though a few new characters are sprinkled in, it's impossible to care about them. Rice, usually good at bringing to life the Irish landscape, this time falls flat.
Kirkus Reviews
Discussion Questions
1. Discuss the role of miracles in What Matters Most. Which miracles were mixed blessings? Which ones brought unconditional joy to those who experienced them? If you had witnessed Bernadette’s vision, how would you have interpreted the words she heard: “Love my son”?
2. How are family and home defined in What Matters Most? Who forged the strongest family ties? What sort of home life existed for those who inhabited St. Augustine’s Children’s Home, compared to Star of the Sea and the Wells home in Newport?
3. How did you feel about Sister Eleanor Marie after learning about her childhood? Are actions such as hers unforgivable?
4. Tom experienced a lifetime of longing for Bernadette, becoming the caretaker at Star of the Sea so that he could be near her. Kathleen and Seamus’s love remained strong despite years of physical separation. What kept these lovers devoted to each other, regardless of the circumstances? Which is more powerful: devotion or fate?
5. In your opinion, why did Kathleen sleep with Pierce? How did their trysts reflect the loneliness and despair that had defined so much of her life?
6. Discuss the dynamics of the Wells household. Who are the most powerful family members? Do women or men dominate the decision making? What standards do the Wellses use to measure happiness and fulfillment?
7. What does it mean to be a member of the Kelly family? How do Dublin’s monuments and the legend of the sea monster convey their special legacy? What do the stark differences between Seamus’s heritage and Kathleen’s tell us about the consequences of knowing our genealogical roots?
8. What is the effect of Honor and John’s story, and their family’s ability to experience redemption, in the midst of Bernadette’s ordeal?
9. What was the result of the reunions featured in the novel? How do they compare to the reunion scenes anticipated and hoped for by the characters? With which figures from your past would you most want to be reunited?
10. In chapter sixteen, Tom says he believes Bernadette is exempt from fully living in this world; her life as Mother Superior insulates her from real-life woes. What are the benefits and limitations of her life as a nun? How does she perceive this identity?
11. What transformations have taken place in Seamus by the time he sees the ghost? Would the younger Seamus have been able to accept such an experience, or to even hear the ghost’s message?
12. What had you predicted for Bernadette and Tom as they crossed paths with John and Honor in the closing scenes of Sandcastles? What aspects of Bernadette and Tom’s quest surprised you the most? In what way does What Matters Most underscore other aspects of yearning and healing in previous Luanne Rice novels you have read?
(Questions issued by publisher.)
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Peachtree Road
Anne Rivers Siddons, 1988
HarperCollins
832 pp.
ISBN-13: 9780061097232
Summary
Along a quiet street on a hill at the outskirts of Atlanta live a dying breed of Southern aristocrats. Growing up in sprawling mansions, and attended to by black servants, these Buckhead families form a tight nucleus of wealth and power.
This privileged way of life is about to be shattered by the nascent Civil Rights Movement, and the arrival of the headstrong, exuberant beauty, Lucy Bondurant. From the moment young Lucy, her siblings, and their mother, Willa, arrive on their in-law's front doorstep, life in the Bondurant mansion at 2500 Peachtree Road will never be the same. Lucy and her shy older cousin, Sheppard Gibbs Bondurant III, instantly forge a tight, obsessive bond with one another that will leave a trail of ruin and misery in its path.
As Lucy and Shep grow from children to adults, it quickly becomes clear that Shep will never be the gregarious and suave Southern gentleman his family expects, and Lucy will never become a quiet and demur Southern belle. As the rigid aristocratic social codes exert more pressures on the young cousins, their fierce infatuation with one another grows stronger. When Shep attempts to break away from his cousin and lead a separate life in New York as a librarian, Lucy begins to experience severe manic episodes. Swerving from hospital beds to bad marriages and back again, Lucy desperately searches for the father she never had, and finds, instead, heartbreak and betrayal.
As Atlanta transforms itself from a sleepy Southern town into a thriving modern metropolis, the Bondurants struggle with a legacy of incest and their own frustrated, impossible desires. (From the publisher.)
Author Bio
• Birth—January 9, 1936
• Where—Atlanta, Georgia, USA
• Education—B.A., Auburn University; Atlanta School of Art
• Currently—lives in Charleston, South Carolina and Maine
Born in 1936 in a small town near Atlanta, Anne Rivers Siddons was raised to be a dutiful daughter of the South — popular, well-mannered, studious, and observant of all the cultural mores of time and place. She attended Alabama's Auburn University in the mid-1950s, just as the Civil Rights Movement was gathering steam. Siddons worked on the staff of Auburn's student newspaper and wrote an editorial in favor of integration. When the administration asked her to pull the piece, she refused. The column ran with an official disclaimer from the university, attracting national attention and giving young Siddons her first taste of the power of the written word.
After a brief stint in the advertising department of a bank, Siddons took a position with the up and coming regional magazine Atlanta, where she worked her way up to senior editor. Impressed by her writing ability, an editor at Doubleday offered her a two-book contract. She debuted in 1975 with a collection of nonfiction essays; the following year, she published Heartbreak Hotel, a semi-autobiographical novel about a privileged Southern coed who comes of age during the summer of 1956.
With the notable exception of 1978's The House Next Door, a chilling contemporary gothic compared by Stephen King to Shirley Jackson's classic horror novel The Haunting of Hill House, Siddons has produced a string of well-written, imaginative, and emotionally resonant stories of love and loss —all firmly rooted in the culture of the modern South. Her books are consistent bestsellers, with 1988's Peachtree Road (1988) arguably her biggest commercial success. Described by her friend and peer, Pat Conroy, as "the Southern novel for our generation," the book sheds illuminating light on the changing landscape of mid-20th-century Atlanta society.
Although her status as a "regional" writer accounts partially for Siddons' appeal, ultimately fans love her books because they portray with compassion and truth the real lives of women who transcend the difficulties of love and marriage, family, friendship, and growing up.
Extras
• Although she is often compared with another Atlanta author, Margaret Mitchel, Siddons insists that the South she writes about is not the romanticized version found in Gone With the Wind. Instead, her relationship with the region is loving, but realistic. "It's like an old marriage or a long marriage. The commitment is absolute, but the romance has long since worn off...I want to write about it as it really is: I don't want to romanticize it."
• Siddons' debut novel Heartberak Hotel was turned into the 1989 movie Heart of Dixie, starry Ally Sheedy, Virginia Madsen, and Phoebe Cates. (From Barnes & Noble.)
Book Reviews
(Pre-internet books have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
As in the bestselling Homeplace, Siddons again depicts the demise of genteel Atlanta and its submergence in the Sunbelt culture while keeping the reader engrossed in a suspenseful tale featuring vividly portrayed characters. If sometimes her prose acquires melodramatic excess, Siddons is generally a gifted raconteur in the style of Pat Conroy, and her imaginative plot twists make this hefty novel an absorbing page-turner. From the sad vantage point of middle age, narrator Shepard Gibbs Bondurant III tells the story of his bewitchingly beautiful but manipulative, destructive cousin Lucy Bondurant Chastain Venable. Abandoned by her father and ignored by her cold, social-climbing mother, Lucy has an insatiable need for love and protection. She commands Shep's devotion and loyalty through her two doomed marriages even as her volatile behavior accelerates into madness. Meanwhile, she has destroyed Shep's relationship with Sarah Cameron, daughter of another socially prominent Atlanta family. Central to the novel is Siddons's portrayal of Atlanta's social elite, who live in the exclusive suburb called Buckland, epitomized by Peachtree Road. Her depiction of the young set, called Pinks and Jells, "the golden elect of an entire generation," is a cameo of social history. She is equally adroit in interpolating civil rights and other germane social issues into the plot. But it is as an accomplished story teller that Siddons makes her mark, pulling out all the emotional stops in a compulsively readable narrative.
Publishers Weekly
Discussion Questions
1. Peachtree Road begins with the famous sentence, "The South killed Lucy Bondurant Chastain Venable on the day she was born." How so? What aspects of the South laid the groundwork for her "textbook murder" before Lucy was even born? How was her destruction "classical in concept?" Could anyone have saved her?
2. Both Lucy and her mother, Willa, were outsiders to the world of Peachtree Road. How did they each adapt to their new environment? What steps do they each take to insure their own protection? Who was more successful, and why? What price did each of them pay for their adaptation?
3. Why were Lucy and Shep so obsessed with one another? How did they each define themselves by the other? By always being Lucy's "rescuing knight," did Shep exacerbate or ameliorate Lucy's manic behavior? How much responsibility does he bear for Lucy's death? Was it a murder, or a suicide?
4. Why does the novel begin with Lucy's funeral? How does the flashback structure affect your experience of Shep's tale? What is the significance of funerals for the Peachtree Road society?
5. By the time Malory turned eighteen, Shep, "had learned, finally, the value of love held lightly in an open hand." What does he mean by that? How had he come to this realization? What are some loves of his life that were NOT "held lightly in an open hand?"
6. Shep remarks frequently on the difficulties faced by Southern women. Do the men of Peachtree Road fare much better? What sorts of pressures do Southern men endure in the novel?
7. How was the elder Ben Cameron the architect of his own political obsolescence? What plans did Ben have for the Buckhead Boys, and Shep in particular? How did the younger Peachtree Road generation fail him?
8. How would you characterize Lucy's relationship with the black people in her life? Why might she have gravitated to their company? Why might she have so fervently adopted their struggles as her own? Do they ultimately betray her? Or does she betray their cause?
9. What role does incest play in the Bondurant family? How does it structure the family's dynamic? Why do you think it is so prevalent? Is it a useful metaphor for the entire privileged class of the South? Why or why not?
10. What role does the elder Ben Cameron play in the Civil Rights Movement? Is it odd that he grooms his chauffeur's son for the position of mayor? Is there a contradiction to having black servants and yet campaigning for racial equality? Do the Camerons' servants enjoy special privileges denied to other servants on Peachtree Road?
(Questions issued by publisher.)
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