Mrs. Dalloway
Virginia Woolf, 1925
Houghton Mifflin Harcourt
216 pp
ISBN-13: 9780156628709
Summary
Woolf's Mrs. Dalloway is the inspiration for Michael Cunningham's The Hours, the award-winning novel and Oscar-nominated film.
A 1925 landmark of modernist fiction that follows an the wife of an MP around London as she prepares for her party that afternoon.
Direct and vivid in its telling of details, the novel shifts from the consciousness of Clarissa Dalloway to that of others, including a shell-shocked veteran of World War I whose destiny briefly intersects with hers.
The feelings that loom behind such mundane events as buying flowers—the social alliances, the exchanges with shopkeepers, the fact of death—give Mrs. Dalloway its texture and richness.
Heralded as Virginia Woolf's greatest novel, this is a vivid portrait of a single day in a woman's life. When we meet her, Mrs. Clarissa Dalloway is preoccupied with the last-minute details of party preparation while in her mind she is something much more than a perfect society hostess.
As she readies her house, she is flooded with remembrances of faraway times. And, met with the realities of the present, Clarissa reexamines the choices that brought her there, hesitantly looking ahead to the unfamiliar work of growing old. (From Houghton Mifflin Harcourt edition, cover image, top right.)
Author Bio
• Birth—January 25, 1882
• Where—London, England, UK
• Death—March 28, 1941
• Where—near Lewes, East Sussex, England
• Education—home schooling and studies at Cambridge
Born in 1882, the daughter of Julia Jackson Duckworth and Victorian scholar Sir Leslie Stephen, Virginia Stephen settled in 46 Gordon Square, Bloomsbury, in 1904. This house would become the first meeting place of the now-famous Bloomsbury Group—writers, artists, and intellectuals such as E. M. Forster, John Maynard Keynes, and Lytton Strachey who, along with Virginia and her sister Vanessa, shared an intense belief in the importance of the arts and a skepticism regarding their society's conventions and restraints.
Woolf's first novel, The Voyage Out, appeared in 1915 and was followed by Night and Day (1919), Jacob's Room (1922), Mrs. Dalloway (1925), To the Lighthouse (1927), Orlando (1928), The Waves (1931), and The Years (1937).
Woolf is also admired for her contributions to literary criticism in general and to feminist criticism in particular, with A Room of One's Own (1929) and Three Guineas (1937) reflecting the full range of her intellectual vigor, insight, and compassion for the role cast for female artists in the modern world. Additionally, Woolf s diary and correspondence, published posthumously, provide an invaluable window into her world offer-flung relationships and interests, imaginative depth, and creative method.
The victim of a lifetime of mental illness, Woolf committed suicide in 1941. She left behind her a literary legacy, including The Hogarth Press, established with Leonard in 1917, which published not only Woolf's own work but that of an increasingly influential group of innovative writers—including T. S. Eliot, James Joyce, and Katherine Mansfield.
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Virginia Stephen married writer Leonard Woolf in 1912, referring to him during their engagement as a "penniless Jew." The couple shared a close bond; in 1937, Woolf wrote in her diary: "Love-making—after 25 years can’t bear to be separate.... You see it is enormous pleasure being wanted: a wife. And our marriage so complete." The two also collaborated professionally, in 1917 founding the Hogarth Press, which subsequently published Virginia's novels along with works by T.S. Eliot, Laurens van der Post, and others.
The ethos of the Bloomsbury group discouraged sexual exclusivity, and in 1922, Virginia met the writer and gardener Vita Sackville-West, wife of Harold Nicolson. After a tentative start, they began a sexual relationship that lasted through most of the 1920s. In 1928, Woolf presented Sackville-West with Orlando, a fantastical biography in which the eponymous hero's life spans three centuries and both genders. It has been called by Nigel Nicolson, Vita Sackville-West's son, "the longest and most charming love letter in literature."
After their affair ended, the two women remained friends until Woolf's death in 1941. Virginia Woolf also remained close to her surviving siblings, Adrian and Vanessa; Thoby had died of an illness at the age of 26.
After completing the manuscript of her last (posthumously published) novel, Between the Acts, Woolf fell victim to a depression similar to that which she had earlier experienced. The onset of World War II, the destruction of her London home during the Blitz, and the cool reception given to her biography of her late friend Roger Fry all worsened her condition until she was unable to work.
On 28 March 1941, Woolf committed suicide. She put on her overcoat, filled its pockets with stones, then walked into the River Ouse near her home and drowned herself. Woolf's body was not found until 18 April. Her husband buried her cremated remains under a tree in the garden of their house in Rodmell, Sussex. In her last note to her husband she wrote:
I feel certain that I am going mad again. I feel we can't go through another of those terrible times. And I shan't recover this time. I begin to hear voices, and I can't concentrate. So I am doing what seems the best thing to do. You have given me the greatest possible happiness. You have been in every way all that anyone could be. I don't think two people could have been happier 'til this terrible disease came. I can't fight any longer. I know that I am spoiling your life, that without me you could work. And you will I know. You see I can't even write this properly. I can't read. What I want to say is I owe all the happiness of my life to you. You have been entirely patient with me and incredibly good. I want to say that—everybody knows it. If anybody could have saved me it would have been you. Everything has gone from me but the certainty of your goodness. I can't go on spoiling your life any longer. I don't think two people could have been happier than we have been. (Author bio from Wikipedia and Houghton Mifflin Harcourt.)
Book Reviews
Who's afraid of Virginia Woolf? A lot of us. Despite her fragile elegance, Woolf is no quaint Edwardian. She's very much of the 20th-century: a writer who can be ferociously intellectual and sometimes downright intimidating.
Fortunately, we don't have to be all that intimidated by Mrs. Dalloway. On one level, it is accessible as a novel about class, unrequited love, and madness. On another level, though, the book is a more adventuresome read.
LitLovers LitPick - Oct. 2006
One day in the life of Clarissa Dalloway, a June day in London, punctuated accurately, impersonally, unfeelingly, by the chimes of Big Ben and a fashionable party to end it, is the complete story of Mrs. Woolf's new novel, Mrs. Dalloway, yet she contrives to enmesh all the inflections of Mrs. Dalloway's personality, and many of the implications of modern civilization in the account of those twenty-four hours.... Virginia Woolf stands as the chief figure of modernism in England and must be included with Joyce and Proust in the realization of experiments that have completely broken with tradition.
John W. Crawford - New York Times (5/10/1925)
Most of my reading is rereading. Last night I opened Mrs. Dalloway to look up something (I thought I remembered a reference to Wagner, whom I've been thinking a lot about lately) and started to read and couldn't stop. I read until two in the morning and woke at eight to read until eleven...something I had no intention of doing. I first read Mrs. Dalloway when I was sixteen; and each time—this was the fourth—it has seemed like a different book. This time I thought it more extraordinary, more original, even stronger than I remembered.
Susan Sontag - author
Mrs. Dalloway was the first novel to split the atom. If the novel before Mrs. Dalloway aspired to immensities of scope and scale, to heroic journeys across vast landscapes, with Mrs. Dalloway Virginia Woolf insisted that it could also locate the enormous within the everyday; that a life of errands and party-giving was every bit as viable a subject as any life lived anywhere; and that should any human act in any novel seem unimportant, it has merely been inadequately observed. The novel as an art form has not been the same since. Mrs. Dalloway also contains some of the most beautiful, complex, incisive and idiosyncratic sentences ever written in English, and that alone would be reason enough to read it. It is one of the most moving, revolutionary artworks of the twentieth century.
Michael Cunningham - author
Discussion Questions
1. In Mrs. Dalloway Virginia Woolf combines interior with omni-scient descriptions of character and scene. How does the author handle the transition between the interior and the exterior? Which characters' points of view are primary to the novel; which minor characters are given their own points of view? Why, and how does Woolf handle the transitions from one point of view to another? How do the shifting points of view, together with that of the author, combine to create a portrait of Clarissa and her milieu? Does this kind of novelistic portraiture resonate with other artistic movements of Woolf's time?
2. Woolf saw Septimus Warren Smith as an essential counterpoint to Clarissa Dalloway. What specific comparisons and contrasts are drawn between the two? What primary images are associated, respectively, with Clarissa and with Septimus? What is the significance of Septimus making his first appearance as Clarissa, from her florist's window, watches the mysterious motor car in Bond Street?
3. What was Clarissa's relationship with Sally Seton? What is the significance of Sally's reentry into Clarissa's life after so much time? What role does Sally play in Clarissa's past and in her present?
4. What is Woolf s purpose in creating a range of female characters of various ages and social classes—from Clarissa herself and Lady Millicent Burton to Sally Seton, Doris Kilman, Lucrezia Smith, and Maisie Johnson? Does she present a comparable range of male characters?
5. Clarissa's movements through London, along with the comings and goings of other characters, are given in some geographic detail. Do the patterns of movement and the characters' intersecting routes establish a pattern? If so, how do those physical patterns reflect important internal patterns of thought, memory, feelings, and attitudes? What is the view of London that we come away with?
6. As the day and the novel proceed, the hours and half hours are sounded by a variety of clocks (for instance, Big Ben strikes noon at the novel's exact midpoint). What is the effect of the time being constantly announced on the novel's structure and on our sense of the pace of the characters' lives? What hours in association with which events are explicitly sounded? Why? Is there significance in Big Ben being the chief announcer of time?
7. Woolf shifts scenes between past and present, primarily through Clarissa's, Septimus's, and others' memories. Does this device successfully establish the importance of the past as a shaping influence on and an informing component of the present? Which characters promote this idea? Does Woolf seem to believe this holds true for individuals as it does for society as a whole?
8. Threats of disorder and death recur throughout the novel, culminating in Septimus's suicide and repeating later in Sir William Bradshaw's report of that suicide at Clarissa's party. When do thoughts or images of disorder and death appear in the novel, and in connection with which characters? What are those characters' attitudes concerning death?
9. Clarissa and others have a heightened sense of the "splendid achievement" and continuity of English history, culture, and tradition. How do Clarissa and others respond to that history and culture? What specific elements of English history and culture are viewed as primary? How does Clarissa's attitude, specifically, compare with Septimus's attitude on these points?
10. As he leaves Regent's Park, Peter sees and hears "a tall quivering shape,... a battered woman" singing of love and death: "the voice of an ancient spring spouting from the earth" singing "the ancient song." What is Peter's reaction and what significance does the battered woman and her ancient song have for the novel as a whole?
11. Clarissa reads lines from Shakespeare's Cymbeline (IV, ii) from an open book in a shop window:
Fear no more the heat o' the sun
Nor the furious winter's rages.
Thou thy worldly task hast done,
Home art gone and ta'en thy wages:
Golden lads and girls all must,
As chimney-sweepers, come to dust.
These lines are alluded to many times. What importance do they have for Clarissa, Septimus, and the novel's principal themes? What fears do Clarissa and other characters experience?
12. Why does Woolf end the novel with Clarissa as seen through Peter's eyes? Why does he experience feelings of "terror," "ecstasy," and "extraordinary excitement" in her presence? What is the significance of those feelings, and do we as readers share with them?
(Questions issued by Houghton Mifflin Harcourt edition.)
Saying Grace
Beth Gutcheon, 1995
HarperCollins
320 pp.
ISBN-13: 9780060927271
Summary
Rue Shaw has everything—a much loved child, a solid marriage, and a job she loves. Saying Grace takes place in Rue's mid-life, when her daughter is leaving home, her parents are failing, her husband is restless and the school she has built is being buffeted by changes in society that affect us all. Funny, rich in detail and finally stunning, this novel presents a portrait of a tight-knit community in jeopardy, and of a charming woman whose most human failing is that she wants things to stay the same.
Saying Grace is about the fragility of human happiness and the strength of convictions, about keeping faith as a couple whether it keeps one safe or not. Beth Gutcheon has a gift for creating a world in microcosm and capturing the grace in the rhythms of everyday life. (From the publisher.)
Author Bio
• Birth—March 18, 1945
• Where—Sewickley, Pennsylvania, USA
• Education—B.A., Harvard University
• Currently—New York, NY
Beth Gutcheon grew up in western Pennsylvania. She attended the Sewickley Academy, Miss Porter's School in Farmington, Connecticut, and Harvard College, where she took an honors B.A. in English literature. She has spent most of her adult life in New York City, except for sojourns in San Francisco and on the coast of Maine.
In 1978, she wrote the narration for a feature-length documentary on the Kirov ballet school, The Children of Theatre Street, which was nominated for an Academy Award, and she has made her living as a full-time storyteller (novels and occasional screenplays) since then. Gutcheon's novels have been translated into 14 languages (if you count the pirated Chinese edition of Still Missing), plus large-print and audio formats. Still Missing was made into a feature film called Without a Trace and was also published in a Reader's Digest Condensed version, which particularly pleased the author's mother. (From the author's website.)
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From a 2005 Barnes and Noble interview:
"When my second novel was in manuscript, a subsidiary rights guy at my publisher secretly sent a copy of it to a friend who was working in Hollywood with the producer Stanley Jaffe, who had made Goodbye Columbus, The Bad News Bears, and Kramer v. Kramer, run Paramount Pictures before he was 30, and met the queen of England. My agent had an auction set up for the film rights of Still Missing for the following Friday, with some very heavy-hitter producers and such, which was exciting enough. Two days before the auction, Stanley Jaffe walked into my agent's office in New York and said,
"I want to make a pre-emptive bid for Beth Gutcheon's novel."
"But you haven't read it," says Wendy.
"Nevertheless," says Stanley.
"There's an auction set up. It'll cost a lot to call it off," says Wendy.
"I understand that," says Stanley.
Wendy named a number.
Stanley said, "Done," or words to that effect.
To this day, remembering Wendy's next phone call to me causes me something resembling a heart attack. When, several weeks later, Stanley called and asked me if I had an interest in writing the screenplay of the movie that became Without a Trace, I said, ‘No.' He quite rightly hung up on me.
I then spent twenty minutes in a quiet room wondering what I had done. A man with a shelf full of Oscars, on cozy terms with Lizzie Windsor, had just offered me film school for one, all expenses paid by Twentieth Century Fox. He knew I didn't know how to write screenplays. He wasn't offering to hire me because he wanted to see me fail. Who cares that all I ever wanted to see on my tombstone was ‘She Wrote a Good Book?' The chance to learn something new that was both hard and really interesting was not resistible. I spent the rest of the weekend tracking him from airport to airport until I could get him back on the phone. (This was before we all had cell phones.)
I was sitting in my bleak office on a wet gray day, on which my newly teenaged son had shaved his head and I had just realized I'd lost my American Express card, when the phone rang. "Is this Beth Gutcheon?" asked a voice that made my hair stand on end. I said it was. ‘This is Paul Newman,' said the voice.
It was, too. The fine Italian hand of Stanley Jaffe again, he'd recommended me to work on a script Paul was developing. Paul invited me to dinner to talk about it. My son said, "For heaven's sake, Mother, don't be early and don't be tall." I was both. We did end up writing a script together; it was eventually made for television with Christine Lahti, and fabulous Terry O'Quinn in the Paul Newman part, called The Good Fight."
Extras
• I read all the time. My husband claims I take baths instead of showers because I can't figure out how to read in the shower, and he's right.
• I started buying poetry for the first time since college after 9/11, but wasn't reading it until a friend mentioned that she and her husband read poetry in the morning before they have breakfast. She is right — a pot of tea and a quiet table in morning sunlight is exactly the right time for poetry. I read the New York Times Book Review in the bath and on subways because it is light and foldable. I listen to audiobooks through earphones while I take my constitutionals or do housework. I read physical books for a couple of hours every night after everyone else is in bed—usually two books alternately, one novel and one biography or book of letters.
• I have a dog named Daisy Buchanan. She ran for president last fall; her slogan was ‘No Wavering, No Flip-flopping, No pants.' She doesn't know yet that she didn't win, so if you meet her, please don't tell her.
• When I was in high school I invented, by knitting one, a double-wide sweater with two turtlenecks for my brother and his girlfriend. It was called a Tweter and was even manufactured in college colors for a year or two. There was a double-paged color spread in Life magazine of models wearing Tweters and posing with the Jets football team. My proudest moment was the Charles Addams cartoon that ran in The New Yorker that year. It showed a Tweter in a store window, while outside, gazing at it in wonder, was a man with two heads.
• When asked what book most influenced her life as a writer, here is her answer:
Great Expectations by Charles Dickens. Dickens often manages to be both dramatic and funny, while telling a thundering great story, but in Great Expectations, in spite of the unforgettable gargoyles like Miss Havisham and charming Wemmick with his Aged P, it's a very human story about the difference between how things look and how they really are. When Pip recognizes how he has fooled himself, and what he must accept about reality, you see that while Dickens has been amusing you with any number of major and minor melody lines that all seemed to be tripping along by themselves, he has in fact been in perfect control, building up to a major chord, every note right and every instrument contributing at just the right moment. I understood that to make a novel pay off like that, you have to know from the get-go what story you are telling, how it ends, what it means, and exactly what you want the reader to feel and know when it's over. It was the book that made me start thinking like a writer, not just as a passionate reader, about how stories are made. (From Barnes and Noble.)
Book Reviews
I was more surprised to see the extent of Gutcheon's work (7 novels)...and even more surprised, now that I've read some of her books...that she isn't more widely talked about in book club circles. She's an extremely intelligent, gifted writer. Where's Oprah?
A LitLovers LitPick (May '08)
In her lively and engaging fourth novel, Saying Grace, Beth Gutcheon takes a look at the day-to-day workings of a small private day school in California. Under the direction of Rue Shaw, the school has thrived, but a disruptive new board president lessens Rue's delight in her job, as well as her support from the faculty. Both at home and at school, she experiences a series of disturbing events that test her character and resilience. As it follows Rue's trials, Saying Grace provides a realistic portrait of both a good school and its gifted leader. Ms. Gutcheon knows private schools, and she knows her craft — and that's a winning combination.
Constance Decker Thompson - New York Times
In her mid-40s, Rue Shaw, the head of a country day school in a small California town, has much to be thankful for: satisfying and meaningful work; a warm and loving marriage; a talented 19-year-old daughter who has never caused her a moment's worry. Yet in Gutcheon's elegiac fourth novel (after Domestic Pleasures), even a life as well composed and stable as this is vulnerable to unexpected changes. Rue is depicted as a warm, wise woman able to navigate school politics and to accept bravely the changes for her family when her daughter leaves home to attend Julliard. But when an unthinkable disaster occurs, even Rue cannot cope. After an absorbing if slow-paced setup, Gutcheon errs in focusing the denouement too closely on Rue, abandoning the points of view of crucial minor characters (such as the secretary who plays an important role in Rue's marriage) who added dimension to the first half of the story. By relying too heavily on the perspective of a character who responds to heartbreak primarily with dignified composure, this quiet novel fails to deliver sufficient emotional impact.
Publishers Weekly
Discussion Questions
1. When Bonnie describes to Rue the Zoroastrian system for recognizing personality types, she defines a "helper" as a person so focused on being Good that she doesn't see the big picture. Is this true of Rue? If so, how?
2. One of the most prominent conflicts in this novel involves the clash of values represented by Rue Shaw and Chandler Kip. What are those values and do you believe that they are irreconcilable? Do you think that Rue was politically savvy in dealing with Chandler?
3. In Saying Grace, the purpose of education is a subject of continuous debate. For Chandler, the mission of education is to equip a person to compete and win. How would you define Rue's beliefs? Whose arguments do you feel are more compelling? How does the world of this school resemble current political thinking in the world at large?
4. Catherine Trainer is a perpetually vulnerable character and important catalyst to the major events in this story. Is she a comic figure or a tragic one? If she had behaved differently, would the story have had a different ending?
5. Hints about Henry's relationship with Emily percolate in the course of this story. Do you think Rue's reaction to it shows strength or weakness? Do you feel Henry deserves blame or sympathy?
6. At Chandler Kip's Christmas party Rue talks about the "spiritual gestation" each person undergoes. Why did Chandler's mother find Rue's statement so offensive?
7. Henry and Rue have different views about the meaning and purpose of work in their individual lives. While Henry had chosen a traditional high-stress high-income career path, Rue chose to be an educator, an altruistic occupation compared to one of the more highly paid professions that the Chandler Kips of the world find impressive. Do you feel that Henry is disillusioned, at mid-life, about the beliefs and expectations he had when he was younger? What about Rue? How does it make you feel about the career choices you've made and where they have brought you?
(Questions issued by publisher.)
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The Widow's War
Sally Gunning, 2006
HarperCollins
336 pp.
ISBN-13: 9780060791582
Summary
Married for twenty years to Edward Berry, Lyddie is used to the trials of being a whaler's wife in the Cape Cod village of Satucket, Massachusetts—running their house herself during her husband's long absences at sea, living with the daily uncertainty that Edward will simply not return.
When her worst fear is realized, she finds herself doubly cursed. She is overwhelmed by grief, and her property and rights are now legally in the hands of her nearest male relative: her daughter's overbearing husband, whom Lyddie cannot abide. Lyddie decides to challenge both law and custom for control of her destiny, but she soon discovers the price of her bold "war" for personal freedom to be heartbreakingly dear. (From the publisher.)
Author Bio
Her own words:
I came to writing at a young age, driven to it in desperation one rainy day when I ran out of books; my main influences at the time being Dr. Seuss and parents who heartily subscribing to the puritan work ethic, my first effort was a poem about making my bed. I continued to tinker with poems and snippets through Winnie-the-Pooh and my brother's Hardy Boys books, but when I hit Salinger's Catcher in the Rye I knew that sooner or later I was going to have to try to write a book. It turned out to be later—after going to college and working as a chambermaid, a stewardess on a cruise ship, a tour guide in a Revolutionary War museum, and staff of one in an old-fashioned country doctor's office.
But one day that doctor decided to do a novel thing—he decided to take a day off, and he liked it so much he decided to do it once a week. That extra day off turned into my writing day—I sealed myself in the dining room with my typewriter; I told friends and family not to call; I didn't shop, clean, do laundry mow the lawn, or go to the beach. Another kind of writer might have entered that room immediately aspiring to the heights of one her writing idols—Harper Lee or Jane Austen in my case—but Lee and Austen had already taught me my first important lesson: I didn't yet know how to write. So I walked into that room thinking Hardy Boys instead.
I thought of that first book as an exercise in novel-writing, a way to teach myself about plot, pace, and structure—in other words, as an exercise in learning how to tell a story. It never occurred to me that very first book would actually sell, or that it would result in a series of contracts that kept me writing mystery novels for the next ten years of my life. But ten years later I found myself asking, wasn't there another kind of story I needed to tell?
I'm often asked where the switch from mystery to historical fiction came from; although there's the usual long answer to the question, the short answer is that it came out of the ground. My husband Tom and I live in Brewster, Massachusetts, on Cape Cod, a place my ancestors had discovered for us about three hundred years before we rode into town. Every day we walk over ancient Indian paths and colonial roads past houses that were built when my ancestors first arrived; we can look out our window at an ocean that cost more than one ancestor his life; we've lived through storms that have left us without heat, light, water, and gasoline for as long as five days, plunging us, however briefly, into the kind of life those ancestors lived.
Living so physically and psychically close to the past inevitably led me to want to know more about it; I began to read every book on Cape Cod history I could find, and bit by bit the Cape's past began to make its way into my novels. That was a start, but it wasn't enough; from own family's history I knew there were stories out there that hadn't yet surfaced. I began to dig out old wills, deeds, diaries, town records, business accounts. I found that the same mix of large-hearted, small-minded, lustful, self-righteous humanity filled the past as filled the present, and when I found Lyddie Berry I knew I'd found the story I needed to tell. The Widow's War was that story. And out of an eighteenth century diary I discovered while writing The Widow's War I found Alice Cole, the indentured servant whose story gave birth to my next novel, Bound. I have no doubt that my next story is back there somewhere in the past, waiting for its chance to connect with the present. (From the author's website.)
Book Reviews
Many historical novels die on the page, the characters never having drawn breath. In Gunning's capable hands, a novel of history is allowed to be as vivid as the smell of a man: "Tobacco and sweat, but a different sweat, and something like sassafras but not sassafras."
Anita Shreve - Washington Post
Heartrending ... Gunning's vibrant portrayal of Lyddie's journey shows that the pursuit of happiness is not for the faint of heart.
Boston Globe
Mystery author Gunning moves to literary historical with this provocative tale of a whaling widow determined to forge a new life in colonial Cape Cod. When Lyddie Berry's husband drowns in 1761, her grief is compounded by the discovery that he's willed her the traditional widow's share-one-third use, but not ownership, of his estate. Lyddie's care, and the bulk of the estate, have been entrusted to their closest male relative, son-in-law Nathan Clarke, husband to their daughter Mehitable and a man used to ordering a household around. Lyddie's struggle to maintain a place in her radically changed home soon brings her into open conflict with an increasingly short-tempered Nathan and his children from two previous marriages. Gunning infuses the story with suspense and intrigue, as Lyddie's plight brings her into the orbit of local Indian Sam Cowett; community censure then brings her an ally in sympathetic lawyer Ebeneezer Freeman. Gunning resists easy generalizations and stereotypes while the story pulls in 18th-century law and Anglo-Indian relations, but the dull period dialogue, of which there is a great deal, reads awkwardly. Yet she makes Lyddie's struggle to remake her life credible and the world she inhabits complex.
Publishers Weekly
In 1761, Massachusetts-born attorney James Otis challenged the British government's right to impose legal writs on the American Colonies. He was also an outspoken abolitionist and supporter of women's suffrage. In her latest novel, Gunning (Fire Water) uses Otis as a catalyst for change in the life of Lyddia Berry. While most people find the lawyer's sentiments appalling, she is quietly thrilled-in fact, Otis's speeches inspire Lyddia to defy her son-in-law, a pompous businessman who assumed legal responsibility for her following the accidental death of her fisherman husband. Gunning exposes the sexism of the era-married women were denied the right to own property and were barred from signing contracts, while widows were under the thumb of male heirs and granted use of only one-third of their deceased husband's property-and juxtaposes it with the racism of the white Colonists against Native Americans. By merging historical fact with riveting fiction, she offers readers an intimate peak into the daily life of pre-Revolutionary War Satucket, MA. Along the way, they'll get a vivid sense of the race, gender, and class dynamics of America's foreparents while enjoying a wonderful story. This is historical fiction at its best; highly recommended. —Eleanor J. Bader, Brooklyn, NY
Library Journal
The crisp prose is flavored with the stinging salty atmosphere of a New England community witnessing one individual's war for independence. Good choice for book clubs. —Kaite Mediatore
Booklist
Gunning's quietly compelling historical novel places the limited rights of 18th-century New England married women, particularly widows, within the context of a pre-Revolutionary America in which rebellious attitudes toward English rule foment new ideas about freedom and individual rights. When her husband dies in a whaling accident, 39-year-old Cape Codder Lyddie Berry is entitled only to a widow's third of her husband's estate. She is expected to move in with her daughter Mehitable and avaricious son-in-law Nathan Clarke, who, as Lyddie's closest male relative, now controls her life. Her only ally is her husband's lawyer, widower Eben Freeman. While Nathan is a stingy, narrow-minded Puritan, Eben, whose friend James Otis's suit against Britain's Writs of Assistance is a precursor to the Revolution, is more open-minded. Unable to live with Clarke, Lyddie defies social norms and moves back into her home—or one-third of it. Clarke's plan to sell the cottage is thwarted because Lyddie's neighbor Sam Cowett, a local Indian semi-accepted by the townspeople, refuses to relinquish his timber rights to the Berry property. When Sam's wife Rebecca comes down with brain fever, a financially desperate Lyddie works as her paid nurse. Despite malicious gossip concerning her relationship with recently widowed Sam, Eben proposes marriage. A happy outcome seems possible until Lyddie finds herself unwilling to put herself at a man's mercy, even reasonable Eben's. Gunning (Dirty Water, 2004, etc.) paints the ethical, emotional and financial dilemmas of her refreshingly adult characters in surprisingly lively shades of gray.
Kirkus Reviews
Discussion Questions
1. Lyddie Berry, a woman very much of her time, ends up making a series of choices that put her at odds with the social, legal, and religious strictures of her time. What external and internal events cause this transformation? Do you think other women of this time, facing the same series of events, would have evolved in this same way? If not, what characteristics make Lyddie unique to her situation?
2. Are there other options that Lyddie ignores which might have peacefully achieved her goal of controlling her own destiny? If so, why do you think Lyddie ignores them?
3. What factors draw Lyddie Berry and Sam Cowett into their relationship? What factors cause them to back away? What parallels or contrasts do you see in the relationship between Lyddie and Eben Freeman?
4. Considering the time in which she lives, do you believe a long term relationship with Sam Cowett is a viable option for Lyddie? Does the relationship serve only as a source of physical comfort as Lyddie initially implies?
5. At one point Lyddie Berry blames Sam Cowett for alienating her from her religion. How fair is this a statement?
6. Considering the time in which he lives, do you believe Eben Freeman is forward thinking in regard to women?
7. What factors shape Lyddie's relationship with her daughter? How might they have acted to better protect the mother/daughter bond? Why don't they?
8. Sam Cowett claims that of the two Clarke brothers, Silas is the greater menace. Do you agree? Do you find any redeeming features in either brother?
9. Considering the methods of travel and communication in 1761, how do limited access and long delays affect the characters and events in this novel?
10. What is the actual significance of the Berry house in Lyddie's life? If the house had burned to the ground in the fire, do you think Lyddie would have been better able to accept living in her son-in-law's home?
11. If you were Lyddie Berry, what options would you have considered and which would you have rejected in order to make your way? Has Lyddie fully explored all her options? If not, why not?
12. Compare the political philosophies of Eben Freeman and James Otis. Who is the greater idealist? Is Lyddie an idealist or a realist?
13. If you were alive in 1761 America, how would you have responded to the ideas of James Otis? How do you imagine today's politicians would have responded to them?
14. How would you explain Lyddie's attitude toward Mercy Otis Warren and her accomplishments? How does her attitude define her times?
(Questions issued by publisher.)
The Peach Keeper
Sarah Addison Allen, 2011
Random House
304 pp.
ISBN-13: 9780553385601
Summary
The New York Times bestselling author of The Girl Who Chased the Moon welcomes you to her newest locale: Walls of Water, North Carolina, where the secrets are thicker than the fog from the town’s famous waterfalls, and the stuff of superstition is just as real as you want it to be.
It’s the dubious distinction of thirty-year-old Willa Jackson to hail from a fine old Southern family of means that met with financial ruin generations ago. The Blue Ridge Madam—built by Willa’s great-great-grandfather during Walls of Water’s heyday, and once the town’s grandest home—has stood for years as a lonely monument to misfortune and scandal. And Willa herself has long strived to build a life beyond the brooding Jackson family shadow. No easy task in a town shaped by years of tradition and the well-marked boundaries of the haves and have-nots.
But Willa has lately learned that an old classmate—socialite do-gooder Paxton Osgood—of the very prominent Osgood family, has restored the Blue Ridge Madam to her former glory, with plans to open a top-flight inn. Maybe, at last, the troubled past can be laid to rest while something new and wonderful rises from its ashes. But what rises instead is a skeleton, found buried beneath the property’s lone peach tree, and certain to drag up dire consequences along with it.
For the bones—those of charismatic traveling salesman Tucker Devlin, who worked his dark charms on Walls of Water seventy-five years ago—are not all that lay hidden out of sight and mind. Long-kept secrets surrounding the troubling remains have also come to light, seemingly heralded by a spate of sudden strange occurrences throughout the town.
Now, thrust together in an unlikely friendship, united by a full-blooded mystery, Willa and Paxton must confront the dangerous passions and tragic betrayals that once bound their families—and uncover truths of the long-dead that have transcended time and defied the grave to touch the hearts and souls of the living.
Resonant with insight into the deep and lasting power of friendship, love, and tradition, The Peach Keeper is a portrait of the unshakable bonds that—in good times and bad, from one generation to the next—endure forever. (From the publisher.)
Author Bio
• Aka—Katie Gallagher
• Birth—ca. 1972
• Where—Ashville, North Carolina, USA
• Education—B.A., University of North Carolina, Asheville
• Currently—lives in Asheville, North Carolina
Garden Spells didn't start out as a magical novel," writes Sarah Addison Allen. "It was supposed to be a simple story about two sisters reconnecting after many years. But then the apple tree started throwing apples and the story took on a life of its own... and my life hasn't been the same since."
North Carolina novelist Sarah Addison Allen brings the full flavor of her southern upbringing to bear on her fiction—a captivating blend of fairy tale magic, heartwarming romance, and small-town sensibility.
Born and raised in Asheville, in the heart of the Blue Ridge Mountains, Allen grew up with a love of books and an appreciation of good food (she credits her journalist father for the former and her mother, a fabulous cook, for the latter). In college, she majored in literature—because, as she puts it, "I thought it was amazing that I could get a diploma just for reading fiction. It was like being able to major in eating chocolate."
After graduation in 1994, Allen began writing seriously. She sold a few stories and penned romances for Harlequin under the pen name Katie Gallagher; but her big break occurred in 2007 with the publication of her first mainstream novel, Garden Spells, a modern-day fairy tale about an enchanted apple tree and the family of North Carolina women who tend it. Booklist called Allen's accomplished debut "spellbindingly charming," and the novel became a BookSense pick and a Barnes & Noble Recommends selection.
The Sugar Queen followed in 2008, The Girl Who Chased the Moon in 2009, The Peach Keeper in 2011; and Lost Lake in 2014. Allen's 2015 novel First Frost returned to some of her charaters in Garden Spells.
Since then, Allen has continued to serve heaping helpings of the fantastic and the familiar in fiction she describes as "Southern-fried magic realism." Clearly, it's a recipe readers are happy to eat up as fast as she can dish it out.
Extras
From a 2007 Barnes and Noble interview:
• I love food. The comforting and sensual nature of food always seems to find its way into what I write. Garden Spells involves edible flowers. My book out in 2008 involves southern and rural candies. Book three, barbeque. But, you know what? I'm a horrible cook.
• In college I worked for a catalog company, taking orders over the phone. Occasionally celebrities would call in their own orders. My brush with celebrity? I took Bob Barker's order.
• I was a Star Wars fanatic when I was a kid. I have the closet full of memorabilia to prove it — action figures, trading cards, comic books, notebooks with ‘Mrs. Mark Hamill' written all over the pages. I can't believe I just admitted that.
• While I was writing this, a hummingbird came to check out the trumpet vine outside my open window. I stopped typing and sat very still, mesmerized, my hands frozen on the keys, until it flew away. I looked back to my computer and ten minutes had passed in a flash.
• I love being a writer.
• When asked what book most influenced her career as a writer, here is her response:
Every book I've ever read has influenced me in some way. Paddington Bear books and Beverly Cleary in elementary school. Nancy Drew and Judy Blume in middle school. The sci-fi fantasy of my teens. The endless stream of paperback romances I devoured as I got older. Studying world literature and major movements in college. Who I am, what I am, is the culmination of a lifetime of reading, a lifetime of stories. And there are still so many more books to read. I'm a work in progress. (Author bio from Barnes & Noble.)
Book Reviews
An enjoyable read [with] doses of magical realism and romance.
Associated Press
At 30, Willa Jackson returns to her small Southern hometown, Walls of Water, N.C., in the wake of a failed marriage to her college sweetheart. She's determined now to lead the quiet life she believes her father wants her to have, but is soon derailed by the wealthy and powerful Osgoods, the family that shaped her high school experience. The Jacksons were also wealthy once, until the logging industry failed, and Willa's teenage grandmother went to work as a maid for the Osgoods. Paxton Osgood, Willa's counterpart, has everything Willa envies—wealth, beauty and a sense of belonging—but Paxton hides a deep loneliness and discontent. To further complicate Willa's unrest, Paxton's brother, Colin, fled town years before but has returned and become an irresistible force in Willa's life. When a skeleton that holds the secret to both the Osgood and Jackson family fortunes is discovered at the Jackson family's old estate, long-held beliefs are likely to be overturned. Allen (The Girl Who Chased the Moon) juggles smalltown history and mystical thriller, character development and eerie magical realism in a fine Southern gothic drama. The underlying tension will please and unnerve readers, as well as leave them eager for Allen's next.
Publishers Weekly
Her marriage a shambles, Willa Jackson returns home to Walls of Water, the town where she grew up, and tries to fit in. There she discovers an extraordinary feud that has divided two sisters for decades. Hmm, Allen's standard small-town charm, maybe not the usual flights of fantasy—but then I haven't read it yet. Lots of promotion, including to libraries and cooking/foodie websites.
Library Journal
Discussion Questions
1. What do you think the title The Peach Keeper means? Who is the peach keeper in the story?
2. Superstitions played a big part in Willa's grandmother's life, and in Willa's life, by extension. What superstitions did you grow up with? Why do you think superstitions exist?
3. Several of the characters in The Peach Keeper struggle with how people used to see them as opposed to who they are now. Who were you in high school? Do you miss that person? Or are you glad to leave that time in your life behind?
4. Willa spent her formative years as The Joker, acting out and sparking controversy that she wouldn't become aware of until she was an adult. What do you make of her past actions? How does it connect to the way she acts in the novel? How does it affect her relationships as an adult?
5. The characters in The Peach Keeper live in an extraordinarily beautiful area, one surrounded by waterfalls. Yet Willa once remarks, "When you see it every day, sometimes you wonder what the big deal is." Do you think you get so used to beauty that you stop seeing it? What are some natural wonders in your area? Does Willa's comment also refer to people?
6. The Blue Ridge Madam takes on a life of its own in the novel, becoming much more than a building. What do you think it represents for the town? For Willa and Paxton?
7. There's a wisp of something supernatural following the characters in the story, seemingly brought into their lives by the discovery of buried bones under a peach tree. What are your thoughts on the supernatural? Do you think disturbing a grave upsets the spiritual side of things? Have you ever had a paranormal experience?
8. One of the prevailing themes in The Peach Keeper is friendship. Agatha and Georgie are elderly, and have been friends all their lives. Paxton and Willa have a newly formed friendship. The book posits that friendship is "a living breathing thing, something that comes to life the moment it happens and doesn't just go away when it's no longer acknowledged." If there is no big break-up, just a gradual separation, do you think the friendship still exists? Do you think once you are a friend, are you always a friend? Have you ever reconnected with an old friend and found that you still share a bond with them?
9. Sarah Addison Allen's books usually have themes of forgiveness and food. Have you read Sarah's other books? How is The Peach Keeper similar? How is it a departure? Did you recognize the reference to the main characters in her debut novel, Garden Spells?
10. Paxton, Willa, and even Willa's father, deal with parental expectation. Do you think that who we become in life is due in part to what our parents wanted us to be, or who are parents were? If you have children, how do they fit the pattern?
11. How do you take your coffee? Do you think that says something about you? Do you believe, like Rachel, that how someone takes their coffee says something about their personality?
12. What do you think of Paxton and Sebastian's relationship, and how it evolves over the course of the novel? Have you ever had a similar relationship in your life? How do you feel it fed into the overall themes of The Peach Keeper?
13. Willa and Colin have a complicated relationship from the start—what do you think is the strongest force pulling them together? Do you think their relationship would have worked had they met in another time and place?
14. In the end, Agatha keeps a secret she promised to keep seventy-five years ago. In this information age, we are not a private society. How hard is it to keep secrets? Would you be capable of keeping a secret that long?
15. The theme of roots runs through the novel—from the peach tree, to Colin's work, to the characters struggling with their place in Walls of Water. What about the town and its history draws people to it and entices them to put down roots? On the flip side, what about it causes others to deny their roots and move away? Have you had a similar experience with your home town?
(Questions issued by publisher.)
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Falling Together
Marisa de los Santos, 2011
HarperCollins
384 pp.
ISBN-13: 9780061670886
Summary
What if saying hello to an old friend meant saying good-bye to life as you know it?
It’s been six years since Pen Calloway watched her best friends walk out of her life. And through the birth of her daughter, the death of her father, and the vicissitudes of single motherhood, she has never stopped missing them.
Pen, Cat, and Will met on their first day of college and formed what seemed like a lifelong bond, only to break apart amid the realities of adulthood. When, after six years of silence, Cat—the bewitching center of their group—emails Pen and Will asking to meet at their college reunion, they can’t refuse. But instead of a happy reconciliation, what awaits is a collision of past and present that sends Pen and Will on a journey across the world.
With her trademark wit, vivid prose, and gift for creating captivating characters, Marisa de los Santos returns with an emotionally resonant novel about our deepest human con-nections. (From the publisher.)
Author Bio
• Birth—August 12, 1966
• Where—Baltimore, Maryland, USA
• Education—B.A., University of Virginia; M.F.A., Sarah Lawrence College; Ph.D., University
of Houston
• Currently—lives in Wilmington, Delaware
Marisa de los Santos achieved her earliest success as an award-winning poet, and her work has been published in several literary journals. In 2000, her debut collection, From the Bones Out, appeared as part of the James Dickey Contemporary Poetry Series.
De los Santos made her first foray into fiction in 2005 with the surprise bestseller Love Walked In. Optioned almost immediately for the movies, this elegant "literary romance" introduced Cornelia Brown, a diminutive, 30-something Philadelphian with a passion for classic film and an unshakable belief in the triumph of true love.
In her 2008 sequel, Belong to Me, de los Santos revisited Cornelia, now a married woman, newly relocated to the suburbs, and struggling to forge friendships with the women in her new hometown.
Her third novel, Falling Together, released in 2011, recounts the reunion of three college friends, whose friendships dissolve as everything they believed about themselves and each other is brought into question.
The Precious One, published in 2015, follows the two half-sisters who meet for the first time as they struggle to please their narcissistic, domineering father.
Extras
From a 2008 Barnes & Noble interview:
• De los Santos' love affair with books began at a young age. She claims to have risked life and limb as a child by insisting on combining reading with such incompatible activities as skating, turning cartwheels, and descending stairs.
• I'm addicted to ballet, completely head-over-heels for it. I did it as a little kid, but took about a thirty year hiatus before starting adult classes. I do it as many times a week as I can, but if I could, I'd do it every day! In my next life, I'm definitely going to be a ballerina.
• I'm terrible with plants, outdoor plants, indoor plants, annuals, perennials. I kill them off in record time. I adore fresh flowers and keep them all over my house all year round because they're beautiful and already dead, but you won't find a single potted plant in my house. So many nice people in the world and in books are growers and gardeners, but the sad truth is that I'll never be one of them.
• I'm an awful sleeper, and the thing that helps me fall asleep or fall back to sleep is reading books from my childhood. Elizabeth Enright's Melendy series and her two Gone Away Lake books, all of the Anne of Green Gables books, Little Women, The Secret Garden, the Narnia books, and a bunch of others. I have probably read some of these books twenty, maybe thirty times. I read them to pieces, literally, and then have to buy new ones.
• I am crazy-scared of sharks and almost never swim in the ocean. Yes, I know it's silly, I know my chances of getting bitten by a shark are about the same as my chances of becoming president of the United States, but I can't help it.
• My favorite way to spend an evening is eating a meal with good friends. The cheese plate, the red wine, the clink of forks, a passel of kids dancing to The Jonas Brothers and laughing their heads off in the next room, food that either I or someone else has cooked with care and love, and warm, lively conversation-give me all this and I'm happy as a clam.
• I adore black and white movies, particularly romantic comedies from the thirties and forties. I love them for the dialogue and for the whip smart, fascinating, fast-talking, funny women.
• When asked what book that most influenced her career as a writer, here is her response:
I read To Kill a Mockingbird when I was ten, I can't count how many times I've read it since, and every single time, I am utterly pulled in. I don't read it; I live it. I'm with Scout on Boo Radley's porch and in the colored courtroom balcony, and my heart breaks with hers at Tom Robinson's fate. Over and over, the book lifts me up and sets me down into her shoes. I remember the wonder I felt the first time it happened, the sudden, jarring illumination: every person is the center of his or her life the way I am the center of mine. It changed everything. I know that sounds dramatic, but it's true. That empathy is the greatest gift fiction gives us, and it's the biggest reason I write. (Author bio and interview adapted from Barnes & Noble.)
Book Reviews
A stimulating if baggy story of friendship, de los Santos's latest (after Belong to Me) tracks what happens to a trio of former friends brought together under unusual circumstances at their college reunion. Cat Ocampo's decision to marry Jason, her longtime boyfriend that her friends Will and Pen can't stand, drives a wedge into the friendship, and soon, with Cat out of the picture, Will and Pen drift apart. Six years later, Pen is a single mom and smarting from the loss of her father when, as the college reunion approaches, Cat e-mails her and Will, telling them she needs to see them at the reunion, but when Will and Pen show up, there's a big, unwelcome surprise waiting for them. De los Santos's fluid prose powers what turns into a nifty mystery, and though the plot flags later on, as if being drawn out for the sake of being drawn out, the mix of perfectly realized personalities and genuine emotion make this a winner.
Publishers Weekly
Pen, Will, and Cat become friends in college but have that inevitable falling out. Not so long after graduation, single-mom Pen gets a frantic email plea from Will, begging her to come to a class reunion. There, the three friends meet, greet, and go on a life-changing journey. Okay, you've heard the plot before, but books by de los Santos are big best sellers, and Belong to Mewon the American Library Association Reading List Award for Women's Fiction.
Library Journal
Falling Together explores the ways our familial relationships and friendships affect who we are and who we’re becoming…the appeal of de los Santos’ books remains the intimacy with which the reader gets to know each character.
BookPage
Brimming with the author’s trademark wit, vivid prose and captivating characterizations, Falling Together brilliantly explores our deepest human connections and confirms Marisa de los Santos as one of America’s most exciting contemporary novelists.
Bookreporter.com
[A] good, solid read that succeeds in being both funny and heartbreaking. De los Santos has a knack for best-friend banter and stays true to the emotions involved in letting go of treasured relationships..
Booklist
Discussion Questions
1. Describe Pen, Will, and Cat. What were they like as students and how has time changed who they are? All three of them have serious issues involving their fathers. Talk about how their relationships shaped their lives and their outlooks. How did each cope with their emotional wounds? Did you like any one character more than another? Why?
2. What drew Pen, Will, and Calt together, and what was it about each of them that created their magical bond? Why did they lose touch? Would they have come together eventually? What is it like when they are finally united? Would you go across the world to find an old friend?
3. What makes friendships work between people? Why is it often difficult to sustain friendships as we get older? How can we sustain them? Is it sometimes better to let a friendship die? Why? Have you ever enjoyed a friendship as special as that of the trio in the book? How did it begin? How did it impact your life? Can a person live without close friends?
4. Why do Pen and Will decide to go to the reunion after they receive Cat’s email? What are they hoping for in attending? Can we turn back time and reunite in a fulfilling way or are the people we are today just too far removed from our past selves? How do they react to each other when they finally meet up?
5. When they meet at the reunion, Pen suggests they sum up the missing years in four sentences. Think about an old friend you haven’t been in contact with for a while. What would you say in four sentences to describe your life in the time that has passed? Try it with members of your reading group. Think about what has happened since your last meeting and express it in a few sentences.
6. Talk about Jason. What are your impressions of him? What about Pen? Will? Cat? Why did Cat marry him? Did your feelings about him change as you learned more about who he was and what happened to him? What do Pen and Will learn from being with him? What does he learn from them?
7. Pen tells Will about her mother’s homecoming after her father’s death, and her surprise at how happy her mother seems. “’She was in India and Tibet, right?’ he said. ‘Maybe she had some kind of spiritual awakening. Or maybe she’s just glad to be home.’ Will could see how a spiritual awakening and coming home to Pen and Augusta could amount to the same thing.” What do you think this means?
8. Pen has some interesting notions about love. She sees it as an “imperative.” How does this view color how she sees love in her own life and in the lives of those around her—Will, Cat, Jason, Patrick, her mom? Would you say she’s afraid of love?
9. Marisa de los Santos uses the image of falling in several ways throughout the novel. “There were people who could live on their own and be happy, and then there were people like Pen and Margaret who needed the falling together, the daily work of giving and taking and talk and touch.” Discuss this example of falling. Identify others in the novel and explore how they relate to the characters.
10. Love, friendship, family, commitment, parenthood, loss, grief are many of the themes the novel touches upon. Choose one or two and trace how they are explored and resolved through the course of the story in an individual character’s life.
11. When Pen, Will, and Jason meet Cat’s extended family in the Philippines, Pen is enchanted. “You like it here,” Will tells her. “It’s a Pen kind of place.” Why was Pen so taken by Cat’s family?
12. While looking for Cat, Pen has her “jack-fish epiphany.” Explain what insights she gleans, or as her colleague, Amelie describes it, “All is One and All is Different.” Have you ever had a similar kind of “knowing moment” and when did it happen?
13. What finally gives Pen and Will the courage to share their feelings? Why does it take so long? Do you think they will stay in touch with Jason? Will Pen and Will last?
(Questions issued by publisher.)
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