The Uncoupling
Meg Wolitzer, 2011
Penguin Group USA
288 pp.
ISBN-13: 9781594487880
Summary
When the elliptical new drama teacher at Stellar Plains High School chooses for the school play Lysistrata-the comedy by Aristophanes in which women stop having sex with men in order to end a war-a strange spell seems to be cast over the school. Or, at least, over the women.
One by one throughout the high school community, perfectly healthy, normal women and teenage girls turn away from their husbands and boyfriends in the bedroom, for reasons they don't really understand. As the women worry over their loss of passion, and the men become by turns unhappy, offended, and above all, confused, both sides are forced to look at their shared history, and at their sexual selves in a new light.
As she did to such acclaim with the New York Times bestseller The Ten-Year Nap, Wolitzer tackles an issue that has deep ramifications for women's lives, in a way that makes it funny, riveting, and totally fresh-allowing us to see our own lives through her insightful lens. (From the publisher.)
Author Bio
• Birth—May 28. 1959
• Where—Brooklyn, New York, USA
• Education—B.A., Brown University
• Awards—National Endowment for the Arts grant, 1994; Best
American Short Stories, 1999; Pushcart Prize; 1998
• Currently—New York, New York
Meg Wolitzer grew up around books. Her mother, Hilma Wolitzer, published two novels while Meg was still in school, and weekly trips to the library were a ritual the entire family looked forward to. Not surprisingly, Meg served as editor for her junior high and high school literary magazines. She graduated from Brown University in 1981. One year later, she published her debut novel, Sleepwalking, the story of three college girls bonded by an unhealthy fascination with suicidal women poets. It marked the beginning of a successful writing career that shows no sign of slacking.
Over the years, Wolitzer has proven herself a deft chronicler of intense, unconventional relationships, especially among women. She has explored with wit and sensitivity the dynamics of fractured families (This Is Your Life, The Position); the devastating effects of death (Surrender, Dorothy), the challenges of friendship (Friends for Life), and the prospective minefield of gender, identity, and dashed expectations (Hidden Pictures, The Wife, The Ten-Year Nap, The Interestings).
In addition to her bestselling novels, Wolitzer has written a number of screenplays. Her short fiction has appeared in The Best American Short Stories and The Pushcart Prize, and she has also taught writing at the University of Iowa Writers' Workshop and at Skidmore College.
Extras
From a Barnes & Noble interview:
• First of all, I am obsessed with playing Scrabble. It relaxes me between fits of writing, and I play online, in a bizarro world of anonymous, competitive players. It's my version of smoking or drinking—a guilty pleasure. The thing is, I love words, anagrams, wordplay, cryptic crossword puzzles, and anything to do with the language.
• I also love children's books, and feel a great deal of nostalgia for some of them from my own childhood (Harriet the Spy and The Phantom Tollbooth among others) as well as from my children's current lives. I have an idea for a kids' book that I might do someday, though right now my writing schedule is full up.
• Humor is very important to me in life and work. I take pleasure from laughing at movies, and crying at books, and sometimes vice versa. I also have recently learned that I like performing. I think that writers shouldn't get up at a reading and give a dull, chant-like reading from their book. They should perform; they should do what they need to do to keep readers really listening. I've lately had the opportunity to do some performing on public radio, as well as singing with a singer I admire, Suzzy Roche, formerly of the Roches, a great group that started in 1979. Being onstage provides a dose of gratification that most writers never get to experience.
• But mostly, writing a powerful novel—whether funny or serious, or of course both—is my primary goal. When I hear that readers have been affected by something I've written, it's a relief. I finally have come to no longer fear that I'm going to have to go to law school someday....
• When asked what book most influenced her career as a writer, here is her response:
Mrs. Bridge by Evan S. Connell—this is the perfect modern novel. Short, concise, moving, and about a character you come to care about, despite her limitations. It reminds me of life. It takes place over a span of time, and it's hilarious, tragic, and always stirring.
Book Reviews
Although The Uncoupling is enchanting from start to finish, that owes less to the spell than it does to the way Wolitzer liberally and inventively populates her storytelling. When writers turn to the supernatural, their characters often suffer, losing dimension and I.Q. points as their creators bat them around. But Wolitzer has too much respect for her craft to let this happen. Her characters would be engaging even without that cold, intrusive wind…Thoughtful and touching, The Uncoupling is also very funny.
Jincy Willett - New York Times
The drama teacher tells her students that Lysistrata is "a comedy, yes. But what it's about is something quite serious," and the same thing might be said about The Uncoupling. In the light patter of her novel, Wolitzer diagnoses the troubles that ruin so many marriages, break up so many families…Wolitzer is a tender, engaging narrator.
Ron Charles - Washington Post
Wolitzer is both playfully mocking and compassionate toward her characters, several of whom are named for beloved writers—Willa, Heller, Stegner. She's at once amusing, sympathetic and trenchant on the men's peevish reactions to sexual deprivation, overprotective parents and adolescents, "the generation that had information, but no context.
Heller McAlpin - San Francisco Chronicle
The latest from Wolitzer (The Ten Year Nap) is a plodding story with a killer hook: will the women of Stellar Plains, N.J., ever have sex again? After new high school drama teacher Fran Heller begins rehearsals for Lysistrata (in which the women of Greece refuse to have sex until the men end the Peloponnesian War), every girl and woman in the community is overcome by a "spell" that causes them to lose all desire for sex. No one is immune, not Dory Lang and her husband, Robby, the most popular English teachers at Eleanor Roosevelt High School; not Leanne Bannerjee, the beautiful school psychologist; or the overweight college counselor Bev Cutler, shackled to a callous hedge-fund manager husband. The Langs' teenaged daughter, Willa, who eventually lands the lead in the play, is also afflicted, wreaking havoc on her relationship with Fran's son, Eli. Despite the great premise and Wolitzer's confident prose, the story never really picks up any momentum, and the questions posed—about parenthood, sacrifice, expectations, and the viability of long-term relationships in the age of Twitter—are intriguing but lack wallop.
Publishers Weekly
Wolitzer's new novel, after The Ten-Year Nap and The Position, is another well-written and engrossing tale. And this one is definitely more of a tale than a story. In the town of Stellar Plains, NJ, a new, bohemian drama teacher arrives at the local high school. She selects as the school play Lysistrata, Aristophanes' comedy in which the women decide to stop having sex with their men to convince them to stop fighting in a war. As the actors rehearse, a cool wind of a spell passes through the women of Stellar Plains. It touches other teachers and students alike. The chill makes the women want to abstain from sex. So what happens when an entire town of women start to push away their men for no apparent reason? Otherwise happy couples break up. The novel flits from English teacher to gym teacher to the lead actress in the play and on and on. It reads and infects like a dreamy fairy tale with beautifully expressive and strangely enticing writing. Verdict: Wolitzer again tackles a complicated and provocative subject, female sexuality, with creativity and insight. Her fans and readers of women's fiction that's smart and snappy will want this. —Beth Gibbs, Davidson, NC
Library Journal
Not previously known for whimsy, Wolitzer (The Ten-Year Nap, 2008, etc.) uses a magical premise to launch her sharp-eyed assessment of sexual desire in its permutations across generations and genders.... A risky strategy pays off for a smart author whose work both amuses and hits home
Kirkus Reviews
Discussion Questions
1. Think about the women in the novel. Each of them reacts to the loss of desire in a different way. How does each woman's reaction reflect the stage of life she is in? Which woman do you think is the most changed at the end of the novel?
2. Willa and Miles both participate in an online world and communicate with each other electronically. How do you think electronic communication changes how relationships are built? Can it be a helpful tool? Can it be problematic?
3. Dory and Robby seem to be the perfect couple at the start of the book. How does the author signal that there might be problems beneath the surface? Think about other books you've read that feature married couples who start off happily married. How are those marriages similar to Dory and Robby's? How are they different?
4. Think about the character of Fran. Do you think she's a force in the book for good? Do you think she's fully aware of the consequences of what she's doing? What price does she pay for her actions?
5. The play Lysistrata figures prominently in the book. What do you know about the play Lysistrata? How does the action of the play relate to the events of the book? Why do you think the author chose this play to be central to her novel? How does Lysistrata relate to the modern world?
6. Think about the spell. How is each woman affected by the spell? What is the significance of the moment each woman comes under the power of the spell? What is the spell a metaphor for? What do you think the author's intention is?
7. While the spell affects the relationship between men and women, The Uncoupling also deals with the relationship between mothers and their children. How is Dory and Willa's relationship affected by the spell? What other mother and child relationships are in the book? How are those relationships changed by the end?
8. Neither Marissa nor Leanne is a committed relationship at the start of the book. How does the spell change their view of their own sexuality? How is it different from how the married women are changed?
9. The spell of course is fantasy, but think about real-life parallels. Are there examples in your life where you can see a similar "spell" at work? What are the causes? What are the solutions?
10. How does Wolitzer compare the effects of the spell of Lysistrata to the spell of falling in love—or out of love? Are there other experiences in life that make you feel as if you're falling under enchantment? The spell of a good book, for instance, of the spell of a play?
(Questions issused by publisher.)
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The Memory Keeper's Daughter
Kim Edwards, 2005
Penguin Group USA
432 pp.
ISBN-13: 9780143037149
Summary
On a winter night in 1964, Dr. David Henry is forced by a blizzard to deliver his own twins. His son, born first, is perfectly healthy. Yet when his daughter is born, he sees immediately that she has Down's Syndrome. Rationalizing it as a need to protect Norah, his wife, he makes a split-second decision that will alter all of their lives forever. He asks his nurse to take the baby away to an institution and never to reveal the secret.
But Caroline, the nurse, cannot leave the infant. Instead, she disappears into another city to raise the child herself. So begins this beautifully told story that unfolds over a quarter of a century in which these two families, ignorant of each other, are yet bound by the fateful decision made that long-ago winter night.
A brilliantly crafted, stunning debut, The Memory Keeper's Daughter explores the way life takes unexpected turns, and how the mysterious ties that hold a family together help us survive the heartache that occurs when long-buried secrets burst into the open. (From the publisher.)
Author Bio
• Reared—Skaneateles, New York, USA
• Education—B.A., Colgate University; M.F.A., Iowa Writers'
Workshop; M.A., University of Iowa
• Awards—Nelson Algren Award, 1990; Pushcart Prize, 1995;
Whiting Writers' Award, 2002
• Currently—lives in Lexington, Kentucky
Kim Edwards is the author of the short story collection The Secrets of a Fire King, which was an alternate for the 1998 PEN/Hemingway Award, and she has won both the Whiting Award and the Nelson Algren Award. A graduate of the Iowa Writer's Workshop, she currently teaches writing at the University of Kentucky. (From the Hardcover edition.)
More
In the late ‘90s, Edwards was making a major splash on the literary scene. Her recently published short story collection would soon be pegged for a Whiting Award and the Nelson Algren Award, and would also be an alternate for the PEN/Hemingway Award. Around this charmed time, Edwards heard a story that would ultimately propel her toward a career as a bestselling novelist.
"A few months after my story collection, The Secrets of a Fire King, was published, one of the pastors of the Presbyterian church I'd recently joined said she had a story to give me," she explained in an interview on the Penguin Group USA web site. "It was just a few sentences, about a man who'd discovered late in life that his brother had been born with Down syndrome, placed in an institution at birth, and kept a secret from his family, even from his own mother, all his life. He'd died in that institution, unknown. I remember being struck by the story even as she told it, and thinking right away that it really would make a good novel. It was the secret at the center of the family that intrigued me. Still, in the very next heartbeat, I thought: Of course, I'll never write that book."
Despite Edwards's quick dismissal of the idea, it would not unhand her. She let several years slip by without going to work on the story, but she never forgot it. When she was invited to run a writing workshop for mentally disabled adults, the experience affected Edwards so profoundly that she started mulling over the pastor's story more seriously. It would be another year before Edwards actually began working on The Memory Keeper's Daughter, but once she did, she found that it came quickly and surprisingly well-developed.
In The Memory Keeper's Daughter, a man named David discovers that his newly born son is in fine health, but the child's twin sister is stricken with Down Syndrome. So, the distraught father, who harbors painful memories of his own sister's chronic illness, makes a quick but incredibly difficult decision: he asks the attending nurse to take his daughter to an institution where she might receive better care. Although he tells his wife that the child was stillborn, David's decision goes on to affect the lives of himself and his wife for the following 25 years.
Haunting, dramatic, and moving, The Memory Keeper's Daughter went on to become a big seller and a critical favorite. The Library Journal hailed it as "an enthralling page-turner" and Kirkus Reviews declared that Edwards "excels at celebrating a quiet wholesomeness..."
Now that Edwards has broken into novel-writing in a big way, she is hard at work on her follow up to her smash debut. "I have begun a new novel, called The Dream Master," she says. "It's set in the Finger Lakes area of upstate New York where I grew up, which is stunningly beautiful, and which remains in some real sense the landscape of my imagination. Like The Memory Keeper's Daughter, this new novel turns on the idea of a secret—that seems to be my preoccupation as a writer—though in this case the event occurred in the past and is a secret from the reader as well as from the characters, so structurally, and in its thematic concerns, the next book is an entirely new discovery." (From Barnes and Noble.)
Extras
From a 2007 Barnes & Noble interview:
• Although Edwards had been interested in writing ever since she was a little girl, she didn't actually write her first story "Cords" until she was in a fiction workshop while attending Colgate University.
• Among the many fans that Edwards has won with The Memory Keeper's Daughter is beloved novelist Sue Monk Kidd (The Secret Life of Bees), who said of Edwards's first novel, "I loved this riveting story with its intricate characters and beautiful language."
Her own words:
• My first job was in a nursing home—a terrible place in retrospect. It was in an old house, and the residents were so lonely. People rarely visited them. I only stayed there a couple of months, but it made a strong impression on me. Just before I left I went to get one woman for dinner, and discovered that she had died—a powerful experience when you're 17.
• Though my stories aren't autobiographical, I do sometimes use things from my life. ‘The Way It Felt to be Falling,' a story from my collection The Secrets of a Fire King, uses sky-diving as a metaphor. Like my character, I did jump out of the first plane I ever flew in. It was an amazing experience, but I've never had the urge to do it again.
• One of my greatest times of inspiration is when I'm traveling or living in a new country-there's a tremendous freedom that comes from being unfettered by your own, familiar culture, and by seeing the world from a different point of view.
• I love to swim, and I love being near water.
• When asked what book most influenced her life as a writer, here is what she said:
Well, there are so many. It's hard to choose. But I think I'd have to go with a very early influence, which was Louisa May Alcott's Little Women. I read this book several times when I was quite young, and I was particularly drawn to the character of Jo, who of course was the writer, the story-teller. I'm sure it also was important to me, though perhaps not consciously so, that the novel was written by a woman. (Author bio and interview from Barnes & Noble.)
Book Reviews
Dark secrets that lie deep in the heart always find their way to the surface. That's the premise of The Memory Keeper's Daughter, a painful but beautiful book about how lies corrode the human soul.
A LitLovers LitPick (Nov. '06)
Edwards's assured but schematic debut novel (after her collection, The Secrets of a Fire King) hinges on the birth of fraternal twins, a healthy boy and a girl with Down syndrome, resulting in the father's disavowal of his newborn daughter. A snowstorm immobilizes Lexington, Ky., in 1964, and when young Norah Henry goes into labor, her husband, orthopedic surgeon Dr. David Henry, must deliver their babies himself, aided only by a nurse. Seeing his daughter's handicap, he instructs the nurse, Caroline Gill, to take her to a home and later tells Norah, who was drugged during labor, that their son Paul's twin died at birth. Instead of institutionalizing Phoebe, Caroline absconds with her to Pittsburgh. David's deception becomes the defining moment of the main characters' lives, and Phoebe's absence corrodes her birth family's core over the course of the next 25 years. David's undetected lie warps his marriage; he grapples with guilt; Norah mourns her lost child; and Paul not only deals with his parents' icy relationship but with his own yearnings for his sister as well. Though the impact of Phoebe's loss makes sense, Edwards's redundant handling of the trope robs it of credibility. This neatly structured story is a little too moist with compassion.
Publishers Weekly
This is a haunting, tragic, and distressing family tale, an enthralling page-turner primarily because it centers on an abysmal act by one individual that affects everyone for whom he cares. David Henry leads the perfect life; he's an orthopedic surgeon married to a wonderful, beautiful woman. It is 1964, and there's a terrible snowstorm in Lexington, KY, when his wife goes into labor. The bad weather keeps Norah's ob/gyn from making it to the hospital, so her husband, along with his nurse, Caroline Gill, decides to deliver the baby in his clinic. Under sedation, Norah gives birth to a healthy boy. As David is thrilled by the birth of his son, Norah starts to have more contractions. He quickly sedates her again, and she gives birth to a girl with Down syndrome. Wanting to protect Norah and feeling she would not be able to cope with a mentally challenged child, David gives the baby to Caroline and asks her to place her in an institution and never reveal their secret. The novel, read by Martha Plimpton, is told through different characters' points of view, moving from one person's thoughts to another, always keeping the secret at the center of the story. The Memory Keeper's Daughter, while ultimately hopeful, tells much of the dark side of human understanding and relationships. Recommended. —Carol Stern, Glen Cove P.L., NY
Library Journal
One well-intentioned lie causes deep fissures in a family. David Henry had a hard childhood in West Virginia. His family was dirt poor and his sister June, always sickly, died of a heart defect at 12. Vowing to do good, David left home to become an orthopedic surgeon in Lexington, Ky. He's 33 when he meets Norah Asher in a department store. The year is 1964, and it's love at first sight. David delivers his and Norah's own twins-a boy (Paul) who's fine, and a girl (Phoebe) who is damaged with Down's syndrome. Hoping to spare her the pain he underwent with his sister, David tells Norah that the girl is stillborn and instructs his nurse, Caroline, to deliver the infant to an institution. Secretly in love with David, Caroline, who is shocked by his subterfuge and shocked again by the grim shelter, decides to move away and raise Phoebe on her own. Over the next 25 years, parallel stories unfold. In Lexington, the loss of the supposedly dead baby corrodes David and Norah's marriage. Neither they nor son Paul can be warmed by life together, each keeping busy with pet projects. In Pittsburgh, meanwhile, Caroline lands on her feet, securing a good job and a good man, and raising Phoebe with a fierce devotion. Unfortunately, after its fast and sure-footed start, the story sags: Edwards insists heavy-handedly on the consequences of David's lie but fails to deliver any true catharsis, and when David does confess, it's not to Norah. Visiting his childhood home, he is surprised by a squatter, a pregnant runaway of 16 who ties him up—and his story tumbles out. It's a bold scene, rekindling the excitement of the start yet remaining a solitary flash in a humdrum progression. When the family finally learns the truth, the impact is minimal. First-novelist Edwards (stories: The Secrets of a Fire King, 1997) excels at celebrating a quiet wholesomeness but stumbles over her storyline.
Kirkus Reviews
Discussion Questions
1. When David hands his baby girl over to Caroline and tells Norah that she has died, what was your immediate emotional reaction? At this early point, did you understand David’s motivations? Did your understanding grow as the novel progressed?
2. David describes feeling like “an aberration” within his own family (p. 7) and describes himself as feeling like “an imposter” in his professional life as a doctor (p. 8). Discuss David’s psyche, his history, and what led him to make that fateful decision on the night of his children’s birth.
3. When David instructs Caroline to take Phoebe to the institution, Caroline could have flatly refused or she could have gone to the authorities. Why doesn’t she? Was she right to do what she did and raise Phoebe as her own? Was Caroline morally obligated to tell Norah the truth right from the beginning? Or was her moral obligation simply to take care of Phoebe at whatever cost? Why does she come to Norah after David’s death?
4. Though David wanted no part of her, Phoebe goes on to lead a full life, bringing much joy to Caroline and Al. Her story calls into question how we determine what kind of life is worth living. How would you define such a life? In contrast to Phoebe’s, how would you describe the quality of Paul’s life as he grew up?
5. Throughout the novel, the characters often describe themselves as feeling as if they are watching their own lives from the outside. For instance, David describes the moment when his wife is going into labor and says “he felt strangely as if he himself were suspended in the room...watching them both from above” (p. 10). What do you think Edwards is trying to convey here? Have you ever experienced similar feelings in your own life?
6. There is an obvious connection between David and Caroline, most aptly captured by a particular moment described through David’s point of view: “Their eyes met, and it seemed to the doctor that he knew her—that they knew each other—in some profound and certain way” (p. 12). What is the significance of this moment for each of them? How would you describe the connection between them? Why do you think David married Norah and not Caroline?
7. After Norah has successfully destroyed the wasps’ nest, Edwards writes that there was something happening in Norah’s life, “an explosion, some way in which life could never be the same” (p. 139). What does she mean, and what is the significance of Norah’s “fight” with these wasps?
8. When David meets Rosemary (p. 267) it turns out to be a cathartic experience for him. What is it about her that enables David to finally speak the truth? Why does he feel compelled to take care of her?
9. The secret that David keeps is enormous and ultimately terribly destructive to himself and his family. Can you imagine a circumstance when it might be the right choice to shield those closest to you from the truth?
10. What do you think Norah’s reaction would have been if David had been honest with her from the beginning? How might Norah have responded to the news that she had a daughter with Down syndrome? How might each of their lives have been different if David had not handed Phoebe to Caroline that fateful day?
(Questions issued by publisher.)
The Shadow of the Wind (Cemetery of Lost Books series 1)
Carlos Ruiz Zafron, Lucia Graves (trans.), 2001
Penguin Group USA
496 pp.
ISBN-13: 9780143034902
Summary
Barcelona, 1945
A great world city lies shrouded in secrets after the war, and a boy mourning the loss of his mother finds solace in his love for an extraordinary book called The Shadow of the Wind, by an author named Julian Carax.
When the boy searches for Carax's other books, it begins to dawn on him, to his horror, that someone has been systematically destroying every copy of every book the man has ever written.
Soon the boy realizes that The Shadow of the Wind is as dangerous to own as it is impossible to forget, for the mystery of its author's identity holds the key to an epic story of murder, madness, and doomed love that someone will go to any lengths to keep secret. (From the publisher.)
Author Bio
• Birth—September 25, 1964
• Where—Barcelona, Spain
• Awards—Edebe Children's Literary Award, Best Novel, 1993
• Currently—lives in Barcelona and Los Angeles, California, USA
Carlos Ruiz Zafon is a Spanish novelist. His first novel, El Príncipe de la Niebla (The Prince of Mist, 1993), earned the Edebe literary prize for young adult fiction. He is also the author of three more young adult novels, El Palacio de la Medianoche (1994), Las Luces de Septiembre (1995) and Marina (1999). The English version of El Príncipe de la Niebla was published in 2010.
In 2001 he published the novel La Sombra del Viento (The Shadow of the Wind), his first "adult" novel, which has sold millions of copies worldwide. Since its publication, La Sombra del Viento has garnered critical acclaim around the world and has won many international awards. His next novel, El Juego del Angel, was published in April 2008. The English edition, The Angel's Game, is translated by Lucia Graves, daughter of the poet Robert Graves. It is a prequel to The Shadow of the Wind, also set in Barcelona, but during the 1920s and 1930s. It follows (and is narrated by) David Martin, a young writer who is approached by a mysterious figure to write a book. Ruiz Zafon intends it to be included in a four book series along with The Shadow of the Wind. The Third book in the cycle, El Prisionero del Cielo, appeared in 2011, and was published in English in 2012 as The Prisoner of Heaven.
Ruiz Zafon's works have been published in 45 countries and have been translated into more than 50 different languages. According to these figures, Ruiz Zafon is the most successful contemporary Spanish writer (along with Javier Sierra and Juan Gomez-Jurado). Influences on Ruiz Zafon's work have included 19th century classics, crime fiction, noir authors and contemporary writers.
Apart from books, another large influence comes in the form of films and screenwriting. He says in interviews that he finds it easier to visualize scenes in his books in a cinematic way, which lends itself to the lush worlds and curious characters he creates. (From Wikipedia.)
Extras
From a 2005 Barnes & Noble interview:
• In my tender youth I worked as a musician (composer, arranger and keyboard player/synthesizer programmer, record producer, etc.) and I've also labored for seven long years in the advertising jungle as a cynical mercenary, first as a copywriter, then a creative director (whatever that means) and also producing/directing TV commercials and polluting the world with artifacts glorifying Visa, Audi, Sony, Volkswagen, American Express, and many other evil entities. In 1992, when the lease on my soul was about to expire, I quit to become what I always wanted to do, be a full-time writer. Since then, I've published five novels and also have worked occasionally as a screenwriter.
• I am a curious creature and put my finger in as many cakes as I can: history, film, technology, etc. I'm also a freak for urban history, particularly Barcelona, Paris and New York. I know more weird stuff about 19th-century Manhattan than is probably healthy.
• There are two things that I cannot live without: music and books. Caffeine isn't dignified enough to qualify.
• When asked what authors most influenced his career as a writer, here is his response:
Charles Dickens and all of the 19th-century giants. (From Barnes & Noble.)
Book Reviews
The melodrama and complications of Shadow, expertly translated by Lucia Graves, can approach excess, though it's a pleasurable and exceedingly well-managed excess. We are taken on a wild ride—for a ride, we may occasionally feel—that executes its hairpin bends with breathtaking lurches.
Richard Eder - The New York Times
Anyone who enjoys novels that are scary, erotic, touching, tragic and thrilling should rush right out to the nearest bookstore and pick up The Shadow of the Wind. Really, you should.
Michael Dirda - The Washington Post
A thriller, a historical novel and a comedy of manners, but above all, the story of a tragic love...with great narrative skill, the author interweaves his plots and enigmas, like a set of Russian dolls in an unforgettable story about the secrets of the heart and the enchantment of books, maintaining the suspense right to the very last page.
La Vanguardia
As magnetic as The Dumas Club, as unsettling as The Mystery of the Haunted Crypt and with a plot as complex and well rounded as The Name of The Rose — to be recommended one hundred percent.
La Razon
I was enthralled by Zafon's book and it gave me many hours of great delight. Not only because the story is set in a book shop, not only because it is about the search and the hunt for books and there is a library of forgotten books to be discovered, but because The Shadow of the Wind is suspenseful like a thriller, poetic like a love story, sometimes mysterious like its title, and because it describes the characters and the storyline so wonderfully that the reader wants to be a part of it. A paean to reading and to the love of books.
Westdeutscher Rundfunk
Ruiz Zafon strives for a literary tone, and no scene goes by without its complement of florid, cute and inexact similes and metaphors…. [T]he colorful cast of characters, the gothic turns and the straining for effect only give the book the feel of… the Hollywood version of a great 19th-century novel.
Publishers Weekly
[C]omplex, Byzantine, at times longwinded work…. Recommended primarily for public libraries and especially for readers who lead double lives as bibliophiles. —Lawrence Olszewski, OCLC Lib., Dublin, OH
Library Journal
The histories of a mysterious book and its enigmatic author are painstakingly disentangled in this yeasty Dickensian romance…. The Shadow of the Wind will keep you up nights—and it'll be time well spent. Absolutely marvelous.
Kirkus Reviews
Discussion Questions
1. Julián Carax's and Daniel's lives follow very similar trajectories. Yet one ends in tragedy, the other in happiness. What similarities are there between the paths they take? What are the differences that allow Daniel to avoid tragedy?
2. Nuria Monfort tells Daniel, "Julián once wrote that coincidences are the scars of fate. There are no coincidences, Daniel. We are the puppets of our unconscious." What does that mean? What does she refer to in her own experience and in Julián's life?
3. Nuria Monfort's dying words, meant for Julián, are, "There are worse prisons than words." What does she mean by this? What is she referring to?
4. There are many devil figures in the story-Carax's Laín Coubert, Jacinta's Zacarias, Fermín's Fumero. How does evil manifest itself in each devil figure? What are the characteristics of the villains/devils?
5. Discuss the title of the novel. What is "The Shadow of the Wind"? Where does Zafón refer to it and what does he use the image to illustrate?
6. Zafón's female characters are often enigmatic, otherworldly angels full of power and mystery. Clara the blind white goddess ultimately becomes a fallen angel; Carax credits sweet Bea with saving his and Daniel's lives; Daniel's mother is actually an angel whose death renders her so ephemeral that Daniel can't even remember her face. Do you think Zafón paints his female characters differently than his male characters? What do the women represent in Daniel's life? What might the Freud loving Miquel Moliner say about Daniel's relationships with women?
7. Daniel says of The Shadow of the Wind, "As it unfolded, the structure of the story began to remind me of one of those Russian dolls that contain innumerable ever-smaller dolls within" (p. 7). Zafón's The Shadow of the Wind unfolds much the same way, with many characters contributing fragments of their own stories in the first person point of view. What does Zafón illustrate with this method of storytelling? What do the individual mini-autobiographies contribute to the tale?
8. The evil Fumero is the only son of a ridiculed father and a superficial, status-seeking mother. The troubled Julián is the bastard son of a love-starved musical mother and an amorous, amoral businessman, though he was raised by a cuckolded hatmaker. Do you think their personalities are products of nature or nurture? How are the sins of the fathers and mothers visited upon each of the characters?
(Questions from the publisher.)
Wuthering Heights
Emily Bronte, 1847
~400 pp. (varies by publisher)
Summary
In early nineteenth-century Yorkshire, the passionate attachment between a headstrong young girl and a foundling boy brought up by her father causes disaster for them and many others, even in the next generation.
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Considered lurid and shocking by mid-19th-century standards, Wuthering Heights was initially thought to be such a publishing risk that its author, Emily Bronte, was asked to pay some of the publication costs. A somber tale of consuming passions and vengeance played out against the lonely moors of northern England, the book proved to be one of the most enduring classics of English literature.
The turbulent and tempestuous love story of Cathy and Heathcliff spans two generations—from the time Heathcliff, a strange, course young boy, is brought to live on the Earnshaw's windswept estate, through Cathy's marriage to Edgar Linton and Heathcliff's plans for revenge, to Cathy's death years later and the eventual union of the surviving Earnshaw and Linton heirs.
A masterpiece of imaginative fiction, Wuthering Heights remains as poignant and compelling today as it was when first published in 1847. (From Barnes and Noble.)
Author Bio
• Birth—July 30, 1818
• Where—Thornton, Yorkshire, UK
• Death—December 19, 1848
• Where—Haworth, Yorkshire
• Education—Clergy Daughters' School at Cowan Bridge in
Lancashire; Miss Wooler's School at Roe Head; Pensionnat
Heger (Belgium, to study French and German)
Emily Bronte was born on July 30, 1818, in Thornton, Yorkshire, in the north of England, the third child of the Reverend Patrick Bronte and Maria Branwell Bronte. In 1820 the family moved to neighboring Haworth, where Reverend Brontë was offered a lifetime curacy. The following year Mrs. Brontë died of cancer, and her sister, Elizabeth Branwell, moved in to help raise the six children.
The four eldest sisters—Charlotte, Emily, Maria, and Elizabeth—attended Cowan Bridge School, until Maria and Elizabeth contracted what was probably tuberculosis and died within months of each other, at which point Charlotte and Emily returned home. The four remaining siblings—Charlotte, Branwell, Emily, and Anne—entertained themselves by reading Shakespeare, Milton, Virgil and the Bible. They played on the Yorkshire moors and dreamed up fanciful, fabled worlds, creating a constant stream of tales, such as the Young Men plays (1826) and Our Fellows (1827). It was at this time that young Emily began to write stories and poetry.
Emily spent a few years as governess at Law Hill Hall in West Yorkshire and later, with Charlotte and Anne, attended the Pensionnat Heger in Belgium Brussels to study French and German. Her studies were interrupted by the death of their Aunt Branwell, and Emily alone returned to Haworth, remaining with her father, where she continued writing and editing her poems.
When Charlotte and Anne returned home, the three published their poetry in 1846 under the psuedonyms Currer, Ellis, and Acton Bell. A year later, in 1847, Emily published Wuthering Heights to (at first) mixed reviews. The novel, however, was soon hailed as an inventive and original work. Their brother Branwell died in 1848; at his funeral Emily caught cold and died soon after, on December 18, 1848. (Adapted from Penguin Classics edition of Jane Eyre.)
Book Reviews
(Older works have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
Discussion Questions
1. To what extent do you think the setting of the novel contributes to, or informs, what takes place? Do you think the moors are a character in their own right? How do you interpret Bronte's view of nature and the landscape?
2. Discuss Emily Bronte's careful attention to a rigid timeline and the role of the novel as a sober historical document. How is this significant, particularly in light of the turbulent action within? What other contrasts within the novel strike you, and why? How are these contrasts important, and how do they play out in the novel?
3. Do you think the novel is a tale of redemption, despair, or both? Discuss the novel's meaning to you. Do you think the novel's moral content dictates one choice over the other?
4. Do you think Bronte succeeds in creating three-dimensional figures in
Heathcliff and Cathy, particularly given their larger-than-life metaphysical passion? Why or why not?
5. Discuss Bronte's use of twos: Wuthering Heights and Thrushcross Grange; two families, each with two children; two couples (Catherine and Edgar, and Heathcliff and Isabella); two narrators; the doubling-up of names. What is Bronte's intention here? Discuss.
6. How do Mr. Lockwood and Nelly Dean influence the story as narrators? Do you think they are completely reliable observers? What does Bronte want us to believe?
7. Discuss the role of women in Wuthering Heights. Is their depiction typical of Bronte's time, or not? Do you think Bronte's characterizations of women mark her as a pioneer ahead of her time or not?
8. Who or what does Heathcliff represent in the novel? Is he a force of evil or a victim of it? How important is the role of class in the novel, particularly as it relates to Heathcliff and his life?
(Questions issued by Penguin Classics edition—cover image, top right.)
The Fates Will Find Their Way
Hannah Pittard, 2011
HarperCollins
243 pp.
ISBN-13: 9780061996054
Summary
Sixteen-year-old Nora Lindell is missing. And the neighborhood boys she's left behind are caught forever in the heady current of her absence.
As the days and years pile up, the mystery of her disappearance grows kaleidoscopically. A collection of rumors, divergent suspicions, and tantalizing what-ifs, Nora Lindell's story is a shadowy projection of teenage lust, friendship, reverence, and regret, captured magically in the disembodied plural voice of the boys who still long for her.
Told in haunting, percussive prose, Hannah Pittard's beautifully crafted novel tracks the emotional progress of the sister Nora left behind, the other families in their leafy suburban enclave, and the individual fates of the boys in her thrall. Far more eager to imagine Nora's fate than to scrutinize their own, the boys sleepwalk into an adulthood of jobs, marriages, families, homes, and daughters of their own, all the while pining for a girl–and a life–that no longer exists, except in the imagination.
A masterful literary debut that shines a light into the dream-filled space between childhood and all that follows, The Fates Will Find Their Way is a story about the stories we tell ourselves–of who we once were and may someday become. (From the publisher.)
Author Bio
Hannah Pittard's fiction has appeared in McSweeney's, Oxford American, Mississippi Review, BOMB, Nimrod, and StoryQuarterly, and was included in 2008 Best American Short Stories' 100 Distinguished Stories. She is the recipient of the 2006 Amanda Davis Highwire Fiction Award and a graduate of the University of Virginia's MFA program. She divides her time between Charlottesville and Chicago, where she currently teaches fiction at DePaul University. (From the publisher.)
Book Reviews
Though on the surface this seems to be a novel about a girl's disappearance, at its core it's about how children become adults. "We cannot help but shudder at the things adults are capable of," Pittard writes, as the now-grown narrators watch their own daughters. That shift, from what teen agers can do to one another to what adults can do to children, is crucial. But what this novel is really examining is the moment when such a reckoning occurs.
Jennifer Gilmore - New York Times Book Review
The Fates Will Find Their Way is chilling and touching. Pittard can be harrowingly wise about the melancholy process of growing up, of moving from the horny days of high school to the burden of protecting our own children. We realize what's been lost, what's been done to us and what we've done to each other before we're mature enough to calculate the true cost. In Pittard's absorbing treatment, the tragedy of Nora's disappearance is eventually subsumed into the tragedies we all endure.
Ron Charles - Washington Post
The Fates Will Find Their Way is concerned with searching questions rather than the relief of resolution. What might have been a frustrating approach in a lesser novel proves compelling in this one.
Boston Globe
The narrator is a collective “we”... gathering the received anti-wisdom of a group of neighborhood boys in a suburban town. But the way the story plays out, covering conjecture with the sheen of fact and writing myth into stone, Pittard ropes the reader in as well.
Time Out Chicago
A stunning novel about making up stories as we go along…[a] mesmerizing debut…with every carefully chosen word—and in this short, intense novel, each one counts—Pittard brilliantly draws us into the maturing consciousness of a group of neighborhood boys.
O, the Oprah Magazine
Pittard leads the reader into a slew of possibilities spinning out from a 16-year-old girl's disappearance, in her intriguing, beguiling debut. After Nora Lindell goes missing on Halloween, stories about her disappearance multiply: she got into a car with an unknown man, she was seen at the airport, she simply walked away, she was abducted. Pittard dips into the points-of-view of various classmates to explore these possibilities and more. Perhaps Nora was murdered. One theory sends her to Arizona, where she raises twin daughters with a lover named Mundo, and another path leads her to a near-death experience in a cafe bombing in India. The story also outlines effects of the disappearance on Nora's family and classmates, who, even as they graduate, marry, and have children, never quite let go of Nora—possibly to avoid their own lives. Though the truth about Nora remains tantalizingly elusive—the reader is never quite sure what happened—the many possibilities are so captivating, and Pittard's prose so eloquent, that there's a far richer experience to be had in the chain of maybes and what-ifs than in nailing down the truth.
Publishers Weekly
Nora Lindell, a 16-year-old private schoolgirl in a suburban town, disappears one Halloween night. The boys in the town collectively narrate this haunted tale of Nora's imagined fate and their own lives, from their teens until they are adults with families. Nora lives on in their imagination—there are sightings and multiple theories about where she ended up, the boys fantasize about and date her younger sister, and they continue to think of her when they are with their own wives and children. Much of what they describe is mundane, yet Nora is always there in the background. The tension builds throughout the book, keeping the reader eager to find out what happened to Nora and to the boys and, later, to the men who were so profoundly affected by her disappearance. Verdict: This debut from McSweeney's award winner Pittard is smart, eerie, and suspenseful and will appeal to fans of novels combining those elements. —Sarah Conrad Weisman, Corning Community Coll., NY
Library Journal
Lauded short story author Pittard’s carefully plotted first novel, centered on the aftermath of a 16-year-old girl’s disappearance, is interestingly told from the first-person plural point of view of the boys she left behind.... [H]er disappearance continues to reverberate in the hearts and minds of those teenage boys she left behind, and that losing her and everything she represented placed a sad coda on every thought they’ve had since. —Annie Bostrom
Booklist
The sudden disappearance of a teenage girl has far-reaching implications for the psyches of the boys from her suburban town. That 16-year-old Nora Lindell goes missing on Halloween is beyond dispute, but what happens to her afterward is anyone's guess, and in fact becomes something of an obsession for her male schoolmates. Did she, clad in her school uniform, get into a strange man's car to face a grisly fate? Or maybe she was pregnant with twins and ran away to Arizona, where she married a sweet-natured Mexican cook decades her senior. Or, least plausible of all, did she end up in India, take a female lover and barely survive the 2006 Mumbai hotel bombings? Circumstantial evidence exists for all these scenarios, but what emerges from Pittard's debut novel, told in the collective first person plural, is how the boys as a group experience the loss of Nora. For almost 30 years, she becomes a symbol of possibility, while their lives become increasingly smaller and limited. There are dramas, of course. Trey Stephens, the only boy who claimed to have slept with Nora, goes to prison in his 30s for having sex with the 13-year-old daughter of a friend. Another one's wife leaves him after a series of miscarriages, while a third guy has an extramarital affair that is exposed at a funeral. And the most awkward of the bunch, sensitive Danny Hatchet, carries a longtime torch for Nora's younger sister Sissy, who is subject to almost as many rumors as Nora. Gracefully written by the winner of the 2008 Amanda Davis Highwire Fiction Award, this elegiac portrait of an upscale community offers an interesting take on modern manhood. And while the hive mentality comes across as a bit claustrophobic, that just might be the whole point. A melancholy coming-of-age debut novel in the spirit of The Virgin Suicides.
Kirkus Reviews
Discussion Questions
1. Why do you think the author chose to have a group of boys narrate the story rather than one boy or an omniscient narrator?
2. Why won't (or can't) the boys give up their fantasies about Nora Lindell?
3. At what point do you think that the boys' fantasies about Nora go from plausible to impossible? Were they ever plausible? Are they all possible?
4. Are Nora and Sissy Lindell truly separate characters? Or do they blur together sometimes? Why?
6. Do the narrators of the novel ever become adults? Or do they remain, in some way, boys—if so, how? Why?
7. What is the boys' reaction to the journalist, Gail Cummings?
8. Why do you think it is Danny Hatchet who ends up with Sissy? What about Danny's character makes their union possible? What is the significance of the coming together of these two characters?
9. What do you think the title means? How does it represent or apply to each of the main characters?
10. What do you think happened to Nora Lindell?
(Questions issued by publisher.)