Lost City Radio
Daniel Alarcon, 2007
HarperCollins
288 pp.
ISBN-13: 9780060594817

Summary
For ten years, Norma has been the voice of consolation for a people broken by violence. She hosts Lost City Radio, the most popular program in their nameless South American country, gripped in the aftermath of war. Every week, the Indians in the mountains and the poor from the barrios listen as she reads the names of those who have gone missing, those whom the furiously expanding city has swallowed. Loved ones are reunited and the lost are found. Each week, she returns to the airwaves while hiding her own personal loss: her husband disappeared at the end of the war.

But the life she has become accustomed to is forever changed when a young boy arrives from the jungle and provides a clue to the fate of her long-missing husband.

Stunning, timely, and absolutely mesmerizing, Lost City Radio probes the deepest questions of war and its meaning: from its devastating impact on a society transformed by violence to the emotional scarring each participant, observer, and survivor carries for years after. This tender debut marks Alarcón's emergence as a major new voice in American fiction. (From the publisher.)

Author Bio
• Birth—1977
• Where—Lima, Peru
• Reared—Birmingham, Alabama, USA
• Education—B.A., Columbia University; M.A. Iowa Writers'
   Workshop.
• Awards—Fulbright Scholarship; Guggenheim Fellowship;
   Lannan Fellowship
• Currently—lives in Oakland, California, USA

Daniel Alarcon’s work has been published in The New Yorker, Harper's, Virginia Quarterly Review and elsewhere, and anthologized in Best American Non-Required Reading 2004 and 2005. His non-fiction has appeared in Salon.com and Eyeshot, and he is Associate Editor of the Peruvian magazine Etiqueta Negra. He edited a portfolio for the magazine A Public Space on the writing of Peru. He is a former Fulbright Scholar to Peru.

Alarcon, a native of Peru, was raised, from the age of 3, in Birmingham, Alabama, U.S. and is an alumnus of Indian Springs School in Shelby County, Alabama. He holds a bachelors degree in anthropology from Columbia University and a masters from the Iowa Writers' Workshop. He has studied in Ghana and taught in New York City.

His first book War by Candlelight was a finalist for the 2006 PEN/Hemingway Foundation Award. He was recently awarded a Guggenheim Fellowship, a Lannan Fellowship, nominated "One of 21 Young American Novelists" under 35 by Granta magazine.

His debut novel, Lost City Radio, was published in 2007. Both his books have been translated into Spanish. Lost City Radio will be also published in French and Italian in 2008.

Daniel Alarcon lives in Oakland, California, where he is the Distinguished Visiting Writer at Mills College.(From Wikipedia.)

Book Reviews
This book ... lacks the dramatic punch of [his previous] stories.... He never establishes a solid relationship between the story and [the omniscient] narrator, who becomes increasingly intrusive. The first third of the book is evenhanded, allowing various characters to come forward. But the final parts capriciously switch point of view within chapters, sections, even paragraphs....This tactic diffuses the impact of the war...on which the plot hinges.... The final half of the book is marred by dull descriptions ... that lapse into sentimentality (“Norma smiled at him, and she looked like sunshine”), as well as stylistic tics in which fragments echo sentences. Still, there’s enough here to confirm that Alarcón is talented—and wise—beyond his years, that he remains intent on challenging himself and his readers.
Sarah Fay - New York Times Book Review

Daniel Alarcón's thoughtful, engaging first novel is set in a fictitious South American country where the reader will immediately recognize fragments of recent history in Argentina, Chile and...Peru. No name is ever given to the country: Alarcon means the novel to be a fable about civil wars and their repercussions, rather than an account of a specific war within a specific place.... Alarcon ... express[es], eloquently and exactly, the self-destructiveness of violent insurgency and official retaliation. The victims are the people whom the revolution ostensibly aims to serve. This has been true in just about every actual country in Latin America, as it is true in the fictional one that Alarcón has invented. Lost City Radio is a fable for an entire continent, and is no less pertinent in other parts of the world where different languages are spoken in different climates but where the same ruinous dance is played out.
Jonathan Yardley - Washington Post

Set in a fictional South American nation where guerrillas have long clashed with the government, Alarcon's ambitious first novel (after the story collection War by Candlelight) follows a trio of characters upended by civil strife. Norma, whose husband, Rey, disappeared 10 years ago after the end of a civil war, hosts popular radio show Lost City Radio, which reconnects callers with their missing loved ones. (She quietly entertains the notion that the job will also reunite her with her missing husband.) So when an 11-year-old orphan, Victor, shows up at the radio station with a list of his distant village's "lost people," the station plans a special show dedicated to his case and cranks up its promotional machine. Norma, meanwhile, notices a name on the list that's an alias her husband used to use, prompting her to resume her quest to find him. She and Victor travel to Victor's home village, where local teacher Manau reveals to Norma what she's long feared—and more. Though the mystery Alarcón makes of the identity of Victor's father isn't particularly mysterious, this misstep is overshadowed by Alarcon's successful and nimbly handled portrayal of war's lingering consequences.
Publishers Weekly

Often compared to the work of William Faulkner and Gabriel García Márquez, Alarcón's harrowing tale of the breakdown of a society and the emotional price paid by its survivors will undoubtedly haunt you long after you've turned the last page.
Bookmarks Magazine

(Starred review.) Writing rapturously and elegiacally of the wildness in both jungle and city, creating indelible images that concentrate the horrors of war, and unerringly articulating the complex feelings of individuals caught in barbaric and senseless predicaments, Alarcon reaches to the heart of our persistent if elusive dream of freedom and peace. —Donna Seaman
Booklist

Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:

• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)

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A Redbird Christmas
Fannie Flagg, 2004
Random House
240 pp.
ISBN-13: 9780345480262

Summary
With the same incomparable style and warm, inviting voice that have made her beloved by millions of readers far and wide, New York Times bestselling author Fannie Flagg has written an enchanting Christmas story of faith and hope for all ages that is sure to become a classic.

Deep in the southernmost part of Alabama, along the banks of a lazy winding river, lies the sleepy little community known as Lost River, a place that time itself seems to have forgotten. After a startling diagnosis from his doctor, Oswald T. Campbell leaves behind the cold and damp of the oncoming Chicago winter to spend what he believes will be his last Christmas in the warm and welcoming town of Lost River.

There he meets the postman who delivers mail by boat, the store owner who nurses a broken heart, the ladies of the Mystic Order of the Royal Polka Dots Secret Society, who do clandestine good works. And he meets a little redbird named Jack, who is at the center of this tale of a magical Christmas when something so amazing happened that those who witnessed it have never forgotten it. (From the publisher.)

Author Bio
• Real Name—Patricia Neal
• Birth—September 21, 1944
• Where—Birmingham, Alabama, USA
• Education—University of Alabama
• Currently—lives in Montecito, California


Fannie Flagg began writing and producing television specials at age nineteen and went on to distinguish herself as an actress and writer in television, films, and the theater. She is the author of the New York Times bestsellers Daisy Fay and the Miracle Man, Fried Green Tomatoes at the Whistle Stop Cafe (which was produced by Universal Pictures as Fried Green Tomatoes), Welcome to the World, Baby Girl!, Standing in the Rainbow, and A Redbird Christmas. Flagg’s script for Fried Green Tomatoes was nominated for both the Academy and Writers Guild of America awards and won the highly regarded Scripters Award. Flagg lives in California and in Alabama.

Before her career as a novelist, Flagg was known principally for her on-screen television and film work. She was second banana to Allen Funt on the long-running Candid Camera, perhaps the trailblazer for the current crop of so-called reality television. (Her favorite segment, she told Entertainment Weekly in 1992, was driving a car through the wall of a drive-thru bank.) She appeared as the school nurse in the 1978 film version of Grease, and on Broadway in The Best Little Whorehouse in Texas. And she was a staple of the Match Game television game shows in the '70s.

Quite early on in her writing career, Fannie Flagg stumbled onto the holy grail of secrets in the publishing world: what editors are actually good for.

Attending the Santa Barbara Writer's Conference in 1978 to see her idol, Eudora Welty, Flagg won first prize in the writing contest for a short story told from the perspective of a 11-year-old girl, spelling mistakes and all—a literary device that she figured was ingenious because it disguised her own pitiful spelling, later determined to be an outgrowth of dyslexia. But when a Harper & Row editor approached her about expanding the story into a full-length novel, she realized the jig was up. In 1994 she told the New York Times:

I just burst into tears and said, "I can't write a novel. I can't spell. I can't diagram a sentence." He took my hand and said the most wonderful thing I've ever heard. He said, "Oh, honey, what do you think editors are for?"

Writing
And so Fannie Flagg—television personality, Broadway star, film actress and six-time Miss Alabama contestant—became a novelist, delving into the Southern-fried, small-town fiction of the sort populated by colorful characters with homespun, no-nonsense observations. Characters that are known to say things like, "That catfish was so big the photograph alone weighed 40 pounds."

Her first novel, an expanded take on that prize-winning short story, was Coming Attractions: A Wonderful Novel, the story of a spunky yet hapless girl growing up in the South, helping her alcoholic father run the local bijou. But it was with her second novel where it all came together. Fried Green Tomatoes at the Whistle Stop Cafe—a novel, for all its light humor, that infuses its story with serious threads on racism, feminism, spousal abuse and hints at Sapphic love -- follows two pairs of women: a couple running a hometown café in the Depression-era South and an elderly nursing home resident in the late 1980s who strikes up an impromptu friendship with a middle-aged housewife unhappy with her life.

The result was not only a smash novel, but a hit movie as well, one that garnered Flagg an Academy Award nomination for adapting the screenplay. She won praise from the likes of Erma Bombeck, Harper Lee and idol Eudora Welty, and the Los Angeles Times critic compared it to The Last Picture Show. The New York Times called it, simply, "a real novel and a good one."

As a writer, though, this Birmingham, Alabama native found her voice as a chronicler of Southern Americana and life in its self-contained hamlets. "Fannie Flagg is the most shamelessly sentimental writer in America," The Christian Science Monitor wrote in a 1998 review of her third novel. "She's also the most entertaining. You'd have to be a stone to read Welcome to the World, Baby Girl! without laughing and crying. The cliches in this novel are deep-fat fried: not particularly nutritious, but entirely delicious."

The New York Times, also reviewing Baby Girl, took note of the spinning-yarns-on-the-front-porch quality to her work: "Even when she prattles—and she prattles a great deal during this book—you are always aware that a star is at work. She has that gift that certain people from the theater have, of never boring the audience. She keeps it simple, she keeps it bright, she keeps it moving right along—and, most of all, she keeps it beloved."

But, lest she be pegged as simply a champion of the good ol’ days, it's worth noting that her writing can be something of a clarion call for social change. In Fried Green Tomatoes, Flagg comments not only on the racial divisions of the South but also on the minimization of women in both the 1930s and contemporary life. Just as Idgie Threadgoode and Ruth Jamison commit to a life together—without menfolk—in the Depression-era days of Whistle Stop, Alabama, middle-aged Evelyn Couch in modern-day Birmingham discovers the joys of working outside the home and defining her life outside meeting the every whim of her husband.

On top of her writing, Flagg has also stumped for the Equal Rights Amendment.

I think it's time that women have to stand up and say we do not want to be seen in a demeaning manner," Flagg told a Premiere magazine reporter in an interview about the film adaptation of Fried Green Tomatoes.

Extras
• Flagg approximated the length of her first novel by weight. Her editor told her a novel should be around 400 pages. "So I weighed 400 pages and it came to two pounds and something," she told the Los Angeles Times in 1987." I wrote until I had two pounds and something, and, as it happened, the novel was just about done."

• She landed the Candid Camera gig while a writer at a New York comedy club. When one of the performers couldn't go on, Flagg acted as understudy, and the show's host, Allen Funt, was in the audience.

• Flagg went undiagnosed for years as a dyslexic until a viewer casually mentioned it to her in a fan letter. (Author bio from Barnes & Noble.)

Book Reviews
Lured by a brochure his doctor gives him after informing him that his emphysema has left him with scarcely a year to live, 52-year-old Oswald T. Campbell abandons wintry Chicago for Lost River, Ala., where he believes he'll be spending his last Christmas. Bestselling author Flagg makes this down-home story about good neighbors and the power of love sparkle with wit and humor, as she tells of Oswald's new life in a town with one grocery store and a resident cardinal (or redbird, as the natives call it). Frances Cleverdon, one of four widows and three single women in town, hopes to fix him up with her sister, Mildred—if only Mildred wouldn't keep dying her hair outrageous colors every few days. The quirky story takes a heartwarming turn when Frances and Oswald become involved in the life of Patsy Casey, an abandoned young girl with a crippled leg. As Christmas approaches, the townspeople and neighboring communities-even the Creoles, whose long-standing feud with everybody else keeps them on the other side of the river-rally round shy, sweet Patsy. Flagg is a gifted storyteller who knows how to tug at readers' heartstrings, winding up her satisfying holiday tale with the requisite Christmas miracle.
Publishers Weekly

Flagg's latest work is just the thing this holiday season for anyone who loves warm, cuddly, feel-good books. Much like Jan Karon's popular "Mitford" series, the story takes place in a small town full of interesting characters. But Lost River, AL, is even smaller, and the story is set sometime in the recent past. Oswald T. Campbell leaves snowy Chicago for Lost River either to regain his health or to spend his last few months in peace. Instead, he's welcomed into this tiny community with open arms and discovers not only his health but also love, acceptance, and a whole new life. Along with Oswald's cure are other examples of love's power. Despite some unfortunate stereotypes, Flagg's gentle humor and positive life view should make the book popular. The selected recipes will bring back fond memories for many; expect regional outbreaks of the Mystic Order of the Royal Polka Dots. —Rebecca Kelm, Northern Kentucky Univ. Lib., Highland Heights
Library Journal

One more Christmas, one more chance. Diagnosed with terminal emphysema, Oswald T. Campbell leaves wintry Chicago for a friendly little town in Alabama recommended by his doctor. Lost River seems as good a place as any to spend his last Christmas on earth; and Oswald, a cheerful loser all his life, believes in going with the flow. Turns out that the people of Lost River are a colorful bunch: Roy Grimmit, the strapping owner of the grocery/bait/beer store, hand-feeds a rescued fledgling named Jack (the redbird of the title) and doesn't care who thinks he's a sissy. Many of the local women belong to the Mystic Order of the Royal Polka Dots, which does good things on the sly, like fixing up unattached men. Betty Kitchen, former army nurse, coaxes Oswald's life story out of him. Seems he was an orphan named for a can of soup—could there be anything sadder? Oswald is quite taken with the charms of Frances Cleverdon, who has a fabulous collection of gravy boats and a pink kitchen, too. Back to Jack, the redbird: it's a favorite of Patsy, a crippled little girl abandoned by her worthless parents. She'll be heartbroken when she finds out that Jack died, so the townsfolk arrange for a minor miracle. Will they get it? Yes—and snow for Christmas, too. Charming tale, sweet as pie, with a just-right touch of tartness from the bestselling Flagg.
Kirkus Reviews

Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:

• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)

Also consider these LitLovers talking points to help get a discussion started for A Redbird Christmas:

1. Describe Oswald Campbell at the beginning of the story. How did he come by his name...and how might his naming incident be symbolic of the life he has led (so far)?

2. Fannie Flagg seems to be having fun with names in this novel: not just Oswald's name, but also the name of Lost River. In what way do many of its residents fit the name of the town? What have some of them lost...or missed out on...?

3. Who are your favorites among the cast of characters and why—Betty Kitchen, Roy Grimmitt, Frances Cleverdon, Claude Underwood, Mildred, Dottie ...? (Exclude Jack or Patsy; we'll get to them next.)

4. Jack, the redbird...do you love him? How does he "serve" the community? In what way does he foreshadow what happens to both Patsy and Oswald?

5. Talk about Patsy and her plight. Why is she so drawn to Jack? And why is Lost River so drawn to her?

6. Healing is a central motif in this novel. Who gets healed in this book—and it what ways? And, more importantly, what enables healing to occur? What is Flagg suggesting about the power of community?

7. Can you relate the sense of community in A Redbird Christmas to where you live? What are the attractions, or drawbacks, of a tightly-knit group of people? What other types of community are there? In other words, what do we mean by "community"... what makes a community?

8. Why is this book and its title centered around the Christmas holiday?

9. Talk about the ways in which this book might be considered a fable, as well as a novel?

10. Do you find this book satisfying—is it what you hoped for? Is it too sweet, or saccharine, for your taste? Or is it just right—its sweetness cut by Fannie Flagg's wit? If you've read other works by Flagg, how does this one compare?

(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)

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The Virgin of Small Plains
Nancy Pickard, 2006
Random House
368 pp.
ISBN-13: 9780345471000


Summary
Small Plains, Kansas, January 23, 1987: In the midst of a deadly blizzard, eighteen-year-old Rex Shellenberger scours his father’s pasture, looking for helpless newborn calves. Then he makes a shocking discovery: the naked, frozen body of a teenage girl, her skin as white as the snow around her. Even dead, she is the most beautiful girl he’s ever seen.

It is a moment that will forever change his life and the lives of everyone around him. The mysterious dead girl—the “Virgin of Small Plains”—inspires local reverence. In the two decades following her death, strange miracles visit those who faithfully tend to her grave; some even believe that her spirit can cure deadly illnesses. Slowly, word of the legend spreads.

But what really happened in that snow-covered field? Why did young Mitch Newquist disappear the day after the Virgin’s body was found, leaving behind his distraught girlfriend, Abby Reynolds? Why do the town’s three most powerful men—Dr. Quentin Reynolds, former sheriff Nathan Shellenberger, and Judge, Tom Newquist—all seem to be hiding the details of that night?

Seventeen years later, when Mitch suddenly returns to Small Plains, simmering tensions come to a head, ghosts that had long slumbered whisper anew, and the secrets that some wish would stay buried rise again from the grave of the Virgin. Abby—never having resolved her feelings for Mitch—is now determined to uncover exactly what happened so many years ago to tear their lives apart.

Three families and three friends, their worlds inexorably altered in the course of one night, must confront the ever-unfolding consequences inaward-winning author Nancy Pickard’s remarkable novel of suspense. Wonderfully written and utterly absorbing, The Virgin of Small Plains is about the loss of faith, trust, and innocence...and the possibility of redemption. (From the publisher.)

Author Bio
• Birth—1945
• Where—N/A
• Education—University of Missouri-Columbia
• Awards—Anthony Award, Macavity Awards (5), Agatha
   Christie Award (4), Shamus Award
• Currently—lives in Prairie Village, Kansas

Nancy Pickard is Nancy Pickard is the author of eighteen popular and critically acclaimed novels, including the Jenny Cain and Marie Lightfoot mystery series. She is also the author of The Virgin of Small Plains (2006). The Scent of Rain and Lightning is her most recent novel.

She has won the Anthony Award, two Macavity Awards, and two Agatha Awards for her novels. She is a three-time Edgar Award nominee, most recently for her first Marie Lightfoot mystery, The Whole Truth, which was a national bestseller. With Lynn Lott, Pickard co-authored Seven Steps on the Writer’s Path.

She has been a national board member of the Mystery Writers of America, as well as the president of Sisters in Crime. She lives in Prairie Village, Kansas (From the publisher.)

Book Reviews 
Nancy Pickard (the author of series novels based in the East) has set [her novel] in Kansas, where she lives. Making deft use of parallel time frames, Pickard writes with insight and compassion about an unresolved crime that continues to haunt a farming community. Burdened by its legacy of long-buried sins, the town of Small Plains hasn't been the same since 18-year-old Mitch Newquist was hustled out of the house by his father the judge in the middle of a blizzard.... Pickard draws out the truth with tantalizing suspense, while using the mystery to illuminate the ways a community would rather live in guilt and believe in miracles than give up its dark secrets.
Marilyn Stasio - New York Times

Nancy Pickard is acclaimed as one of today's best mystery writers. Mounting evidence suggests that this description is too limited. . .Pickard (is) one of today's best writers, period.
San Diego Union

Pickard (Storm Warnings) probes the truth behind miracles and the tragedies behind lies in this mesmerizing suspense novel set in Kansas. While rounding up newborn calves during a 1987 blizzard, Nathan Shellenberger, sheriff of Small Plains, and his teenage sons, Rex and Patrick, discover the naked frozen body of a beautiful teenage girl. Later, Nathan and Dr. Quentin "Doc" Reynolds bash the girl's face to an unrecognizable pulp, since they know who she is and fear that either Patrick or Rex's best friend, 17-year-old Mitch Newquist, is her killer. Witnessing this terrible scene is Mitch, hidden in Doc's home office supply closet where he's gone for a condom to use with Abby, Doc's 16-year-old daughter. Mitch's father, a judge, forces Mitch to leave town after the boy admits what he saw. In 2004, Abby and Rex-now the sheriff-find another blizzard victim, Mitch's mother, dead near the marker commemorating the still-unidentified "virgin." Readers may wish the author supplied more detail about the dead girl's background, but some cleverly planted surprises and the convincing portrait of smalltown life make this a memorable read.
Publishers Weekly

Cold case, indeed: a blizzard with too many parallels to a long-ago storm shocks 33-year-old Abby Reynolds into unraveling the mystery behind a 17-year-old homicide. The unidentified young woman found bloodied and naked in the snow has literally haunted the small Kansas town ever since, her unmarked grave emitting a miraculous glow. The secret begins to peel away when Abby realizes that the stories told about that night don't quite ring true. As she asks the people she loves to return to that time in 1987, Abby fears the murderer might be staring her in the face. Pickard's careful plotting builds slowly toward a climax, with the weather contributing to a sense of foreboding. Using flashbacks and multiple viewpoints, she provides an absorbing tale of love and deceit. This very readable standalone suspense novel, the first by popular mystery series author Pickard (Jenny Cain, Marie Lightfoot), will appeal to those who relished Martha Grimes's Hotel Paradise. Recommended for all popular fiction collections. —Teresa L. Jacobsen, Solano Cty. Lib., CA
Library Journal

Accomplished mystery writer Pickard (The Truth Hurts, 2002, etc.) skillfully exposes insidious elements in a small town. Two smitten teenagers in Small Plains, Kan., contemplate making love for the first time. Sent downstairs by girlfriend Abby Reynolds to fetch condoms from her doctor father's supply cabinet, Mitch Newquist instead secretly witnesses the brutal disfigurement of a dead girl's corpse by the respectable Dr. Reynolds. Mitch recognizes the girl as a local maid from another town. Being an honorable boy bound for college, he discloses what he has seen to his own father, the town judge. To the boy's amazement and growing bitterness, his parents cover up the incident, seeming to believe Dr. Reynold's lies about it, and send Mitch away the very next morning. Seventeen years later, Abby still lives in Small Plains and owns a tree service. Mitch's mother, Nadine, who suffers from Alzheimer's, dies of exposure in a snowstorm after running out in her nightgown to visit the grave of the maid who died so mysteriously. Locals call this unknown girl the Virgin of Small Plains, and her grave has become a shrine, attracting people from all over who believe in miraculous healing. The novel moves back and forth in time, from its present in 2004 to the definitive events of 17 years before. Among the players in the original drama who must now confront the damage it inflicted are the town sheriff and his two boys, who found the girl in the snow (they denied knowing her, although both boys were in love with her); and Abby and Mitch, torn from each other in the heat of young love. Pickard demonstrates an effective restraint with the material, so that when Mitch returns to the town for a reckoning, the shame of the town fathers leads to a satisfying denouement. A quietly fashioned, credible tale about the loss of innocence.
Kirkus Reviews

Discussion Questions 
(LitLovers Note: We have NO idea no idea why these questions are written in an "author-interview" format. Do the best you can with them.)

1. The Virgin of Small Plains is your eighteeenth novel, but the first you’ve set in your home state of Kansas. Why have you waited until now? What challenges presented themselves in writing about an area and community so close to home?

2. What inspired you to write this story? Was the genesis of The Virgin of Small Plains significantly different from the ideas that spawned your previous books?

3. What about the development of the novel? Did this book present any unique challenges?

4. The action shuttles back and forth in time, alternately charting the events that lead to and follow from the Virgin’s death in 1987 and the repercussions still simmering seventeen years later. Why did you choose to braid the two narratives in this way? Was it difficult to keep your timelines straight?

5. How carefully do you map the plots of your books before setting down to write? Do your characters sometimes surprise you?

6. Did you find it hard to adopt and sustain the perspectives and voices of multiple narrators in The Virgin of Small Plains? Were certain characters more readily accessible to you than others?

7. You really capture the rhythms of adolescent thought, from Rex’s sexual frustrations to Abby’s heartbreak. Did you base their travails on your own experiences? On those of anyone you know?

8. You never expressly tip your hat to divine intervention in The Virgin of Small Plains, but there are indications throughout the text that some higher power may be at play–even though the story carefully supplies more plausible explanations for seemingly extraordinary events. (Case in point: The climactic car crash, which evokes the clockwork precision of a deus ex machina but at the same time seems like an natural narrative development.) Do you believe in the supernatural or spiritual?

9. The subplot involving Catie Washington both complements and nicely counters the murder mystery at the heart of The Virgin of Small Plains. Did you specifically conceive this character and her story to vary the tone of the book, or did they evolve organically from the story?

10. The twister that dominates the central passage of the novel alters not only the town of Small Plains but also the shape of the action unfolding there: Abby sees Mitch again; Catie’s faith is providentially confirmed; and the reader is properly introduced to Jeff Newquist, a pivotal minor character. How did you hit upon the idea of this perfect storm, so to speak?

11. You’ve achieved success and acclaim as an author of mysteries. Have you always been interested in that genre?

12. How did you launch your career?

13. As many reviewers noted, The Virgin of Small Plains transcends the parameters of that genre. Do you feel that this book delves into new territory for you as a writer?

14. What are you working on next?

15. It must be asked: Have you ever experienced a tornado firsthand?
(Questions issued by publisher...as found...sorry.)

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The Passion of Artemisia
Susan Vreeland, 2002
Penguin Group USA
352 pp.
ISBN-13: 9780142001820

Summary
Set against the lush tapestry of Renaissance Rome, this is a mesmerizing tale of love, art, and most notably, the love of art. After Artemisia Gentileschi, a promising young painter, is raped by her instructor, a papal court orders her torture and her father betrays her. Shamed but not vanquished, she asks her harsh parent to arrange her marriage to another painter and, thus vindicated in the eyes of society and the church, she begins a new life. But not a happy one.

Artemisia's visceral passion to create art—specifically, to depict on canvas the kind of strong heroine she herself has become—threatens to overwhelm her roles as wife and daughter. Her struggle to reconcile her conflicting passions lies at the heart of Artemisia's story, ingeniously crafted by Susan Vreeland, whose gift of language is matched by her uncanny ability to evoke a distant time and place.

Vreeland's previous novel, the best-selling Girl in Hyacinth Blue, dazzled the critics and was voted a Book Sense Book of the Year finalist. Once again bringing the visual arts to vivid life, The Passion of Artemisia is a glowing, subtly delineated portrait of a remarkable woman—the first to make a significant contribution to art history. (From the publisher.)

Author Bio
• Birth—January 20, 1946
• Where—Racine, Wisconsin, USA
• Death—August 23, 2017
• Where—San Diego, California
• Education—San Diego State University
• Awards—Inkwell Grand Prize, Fiction, 1999; San Diego Book Awards' Theodore Geisel Award and Best Novel of the Year, 2002.


Susan Vreeland's short fiction has appeared in journals such as The New England Review, The Missouri Review, Confrontation, Calyx, Manoa, and Alaska Quarterly Review. Her first novel, What Love Sees, was broadcast as a CBS Sunday night movie in 1996. Ms. Vreeland is the recipient of several awards, including a Women's National Book Association First Place Award in Short Fiction (1991) and a First Place in Short Fiction from New Voices (1993). Inkwell Magazine for her short story, "Gifts". She teaches English literature, creative writing, and art in San Diego public schools, where she has taught since 1969. (From the publisher.)

More
"When I was nine, my great-grandfather, a landscape painter, taught me to mix colors," Susan Vreeland recalls in an interview on her publisher's web site. "With his strong hand surrounding my small one, he guided the brush until a calla lily appeared as if by magic on a page of textured watercolor paper. How many girls throughout history would have longed to be taught that, but had to do washing and mending instead?"

As a grown woman, Vreeland found her own magical way of translating her vision of the world into art. While teaching high school English in the 1980s, she began to write, publishing magazine articles, short stories, and her first novel, What Love Sees. In 1996, Vreeland was diagnosed with lymphoma, which forced her to take time off from teaching—time she spent undergoing medical treatment and writing stories about a fictional Vermeer painting.

Creative endeavor can aid healing because it lifts us out of self-absorption and gives us a goal," she later wrote. In Vreeland's case, her goal "was to live long enough to finish this set of stories that reflected my sensibilities, so that my writing group of twelve dear friends might be given these and know that in my last months I was happy—because I was creating."

Vreeland recovered from her illness and wove her stories into a novel, Girl in Hyacinth Blue. The book was a national bestseller, praised by the New York Times as "intelligent, searching and unusual" and by Kirkus Reviews as "extraordinarily skilled historical fiction: deft, perceptive, full of learning, deeply moving." Its interrelated stories move backward in time, creating what Marion Lignana Rosenberg in Salon called "a kind of Chinese box unfolding from the contemporary hiding-place of a painting attributed to Vermeer all the way back to the moment the work was conceived."

Vreeland's next novel, The Passion of Artemisia, was based on the life of the 17th-century painter Artemisia Gentileschi, often regarded as the first woman to hold a significant place in the history of European art. "Forthright and imaginative, Vreeland's deft recreation ably showcases art and life," noted Publishers Weekly.

Love for the visual arts, especially painting, continues to fire Vreeland's literary imagination. Her new novel, The Forest Lover, is a fictional exploration of the life of the 20th-century Canadian artist Emily Carr. She has also written a series of art-related short stories. For Vreeland, art provides inspiration for living as well as for literature. As she put it in an autobiographical essay, "I hope that by writing art-related fiction, I might bring readers who may not recognize the enriching and uplifting power of art to the realization that it can serve them as it has so richly served me."

Extras
• Two other novels relating to Vermeer were published within a year of Girl in Hyacinth Blue: The Music Lesson by Katharine Weber and Girl with a Pearl Earring by Tracy Chevalier.

• Vreeland taught high school English and ceramics for 30 years before retiring to become a full-time writer. She lived in San Diego, California, and died in 2017. (From Barnes & Noble.)

Book Reviews
Susan Vreeland's novel is about Artemisia Gentileschi, who—along with her father is the subject of a current show at the Metropolitan Museum. But in depicting Artemisia's life, Vreeland announces in a prefatory note that she has been true to the record ''only so long as fact furnishes believable drama,'' and that she seeks to portray her subject ''in a way meaningful to us.'' Alas, Vreeland fails on both counts.... Vreeland seems to think she can make all this ''meaningful'' by imbuing it with a dated 1970's-style feminism.... See the [2002 museum] show; skip the novel.
Julie Gray - New York Times


Vreeland follows up the success of Girl in Hyacinth Blue with another novel delving into the themes of art, history and the lives of women. Narrated in the wise, candid first-person voice of Italian painter Artemisia Gentileschi (1593-1653), the novel tells the story of Gentileschi's life and career in Renaissance Italy. Publicly humiliated and scorned in Rome after her participation as defendant in a rape trial in which the accused is her painting teacher (and father's friend) Agostino Tassi, Artemisia accepts a hastily arranged marriage at the age of 18 to Pietro Stiatessi, an artist in Florence. Her marriage, while not a love match, proves at first to be affectionate, and the arrival of a daughter, Palmira, strengthens the bond with her husband. But rifts soon develop as Artemisia begins to have some success: she wins the patronage of the Medicis and is the first woman to be elected to the Accademia dell'Arte before her husband. Studio and home become the battlefields of Artemisia's life, and Vreeland chronicles 20 years of the painter's struggles while raising her daughter alone. Details and visuals abound in the book; readers who loved the painterly descriptions of Girl will be spellbound in particular by the scenes in which Artemisia is shown at work. While some threads in the story are frustratingly dropped and the narrative concludes before the end of Artemisia's life, the underlying themes of familial and artistic reconciliation are satisfyingly developed. Forthright and imaginative, Vreeland's deft recreation ably showcases art and life.
Publishers Weekly


Following her best-selling Girl in Hyacinth Blue, Vreeland tells of Artemisia Gentileschi, a 16th-century painter and the first woman admitted to the Accademia dell' Arte in Florence. The book begins with Artemisia's public humiliation in a papal court after she accuses her father's friend and her painting teacher, Agostino Tassi, of rape. Her father, Orazio, to make up for his lack of support during the trial, arranges for her to marry Pietro Stiatessi, a painter from Florence. Happy at first, the couple have a daughter, but as Artemisia's painting gains recognition and eclipses that of her husband's, the marriage falters. Forced to support herself and her daughter, Artemisia travels to Genoa, Rome, and Naples to find work and advance her career, maintaining her steadfast devotion to art while trying to be a good mother. Vreeland skillfully captures the detail of the paintings and of Artemisia's joy in creating beauty. Few writers can convey the visual arts as vividly. —Nancy R. Ives, SUNY at Geneseo.
Library Journal


Vreeland's popular novel The Girl in Hyacinth Blue (1999) traced a Vermeer painting through its various owners, and her follow-up is also a moving celebration of the power of art.... The Passion of Artemisia offers a vivid portrait of a complex female artist who doggedly pursues her passion despite seemingly overwhelming obstacles. This accomplished novel should appeal particularly to those who enjoyed the author's previous book. —Kristine Huntley
Booklist


After her brilliant Girl in Hyacinth Blue (1999), Vreeland shows a deep knowledge of art once more but also veers toward message and melodrama.
Kirkus Reviews

Discussion Questions
1. Sometimes, it's too easy to assume that in centuries past, women were victims of gender prejudice and limitations. What negative events in Artemisia's experience were caused by her own thinking and actions? What better decisions could she have made? What advantages did Artemisia have as a woman?

2. Orazio is seen by Artemisia as the cause of her misfortunes. To what degree is this a fair assessment? How did the attitudes and strictures of the time influence him? Limit his alternatives? Blind him?
 
3. When Sister Graziela gives Artemisia the pearl earring, she also gives her some advice. How did she follow and not follow this advice? When it's her turn to give advice to Palmira, she reduces it to one line. Why did she make that choice?

4. In what ways did Galileo influence Artemisia? She said to him, "Even stone bears the footprints of many men." How does this apply to women and to her in particular?

5. To what extent was Graziela in control of her own fate? In what ways does the term "passion" apply to Graziela, Orazio, Galileo, and Artemisia? How is Michelangelo's Pieta echoed by the characters?

6. Artemisia told Palmira, "To be a painter, you've got to care for people, for their feelings." Why did she believe this? Is it true for all art in all time periods? In her time period?

7. How has Artemisia influenced the minor female characters—Umiliana, Fina, Vanna, Renata, Paola? What has she learned from them? How are they representatives of the time, or exceptions to the social mores?

8. Through what stages must Artemisia grow if she is to reconcile with her father? What experiences move her in that direction, or away from that direction? Did they love each other?

9. Artemisia asked her father, "Haven't you ever felt like shouting, 'Look. Look and let this beauty transform your heart'?" Has this happened to her? What beauties?

10. Of all her paintings, which one(s) was she most passionate about? Which one(s) do you favor? Hypothetically, if Artemisia, the woman with the same history, lived in the nineteenth century, what do you think she'd be painting? What would her style(s) be like? If she could have seen the scope of art history after her as well as before, which artists would she have admired and why? Which ones do you?
(Questions issued by publisher.)

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