Midnight at the Dragon Cafe
Judy Fong Bates, 2005
Counterpoint
336 pp.
ISBN-13: 9781582431895
Summary
Set in the 1960s, Judy Fong Bates’s much-talked-about debut novel is the story of a young girl, the daughter of a small Ontario town’s solitary Chinese family, whose life is changed over the course of one summer when she learns the burden of secrets. Through Su-Jen’s eyes, the hard life behind the scenes at the Dragon Cafe unfolds.
As Su-Jen’s father works continually for a better future, her mother, a beautiful but embittered woman, settles uneasily into their new life. Su-Jen feels the weight of her mother’s unhappiness as Su-Jen’s life takes her outside the restaurant and far from the customs of the traditional past. When Su-Jen’s half-brother arrives, smouldering under the responsibilities he must bear as the dutiful Chinese son, he forms an alliance with Su-Jen’s mother, one that will have devastating consequences.
Written in spare, intimate prose, Midnight at the Dragon Cafe is a vivid portrait of a childhood divided by two cultures and touched by unfulfilled longings and unspoken secrets. (From the publisher.)
Author Bio
• Birth—1949
• Where—China
• Reared—Ontario, Canada
• Education—N/A
• Currently—lives in Toronto, Canada
Judy Fong Bates came to Canada from China as a young girl and grew up in several small Ontario towns. She is the author of a collection of short stories, China Dog, and a novel, Midnight at the Dragon Cafe. Her stories have been broadcast on CBC Radio and published in literary journals and anthologies.
Book Reviews
The sexual crime at the center of this story is almost Sophoclean, but Bates's unpretentious prose keeps the potential melodrama in check. By the end, when Su-Jen looks back at her parents and the small, painful world they created to give her a "lucky" childhood, she realizes how truly costly their efforts were. Everyone's life, she reminds us, is a story of immigration, a bracing journey to new perspectives that make home "a distant place."
Ron Charles - Washington Post
In this deeply affecting debut novel by the author of the short story collection China Dog, intrepid Su-Jen Chou, the only daughter of parents who flee Communist China in the 1950s to become proprietors of a Chinese restaurant in an isolated Ontario town, watches as her family unravels. In Irvine, it is "so quiet you can hear the dead," and Su-Jen's mother, Jing, beautiful and bitter, laments her imprisonment in an unfamiliar country. To Jing's chagrin, Su-Jen's father, Hing-Wun, much older than his wife, believes in the traditional method for obtaining wealth: endless hard work. When Su-Jen's handsome older half-brother, Lee-Kung, comes to live with the family and help out in the restaurant, Su-Jen is happy, but soon she notices her mother and Lee-Kung exchanging veiled glances and realizes they're keeping some dangerous secret. Increasingly, Su-Jen finds herself caught between her parents, who have "settled into an uneasy and distant relationship... their love, their tenderness, they give to their daughter." She seeks relief in books and in the Chinese tales her father loves to tell, but the trouble festering comes to a head when a mail-order bride arrives for her brother. Bates conveys with pathos and generosity the anger, disappointment, vulnerability and pride of people struggling to balance duty and passion.
Publishers Weekly
When Su-Jen and her mother, Lai-Jing, left Communist China in the 1950s for Canada, they spoke no English, and Su-Jen had never met her father. In Ontario, they are the only Chinese family, set apart but for the fact that Su-Jen's father owns the local Chinese restaurant, The Dragon Cafe. Su-Jen's elderly father and beautiful young mother live unhappily as strangers, not even sleeping in the same bed. Su-Jen's mother is miserable with their poverty in this new small town. The balance of this family shifts when Su-Jen's half brother, Lee-Kung, comes to live with them and work in the restaurant. Soon Lai-Jing no longer shares her daughter's bed, as she and her stepson begin a torrid affair to which Su-Jen is the only witness. As Su-Jen's family unravels before her eyes, she is rapidly adapting to life in Canada. She becomes fluent in English; she is given the school name of Annie; and she develops friendships among the Canadian girls. The best of these friends is Charlotte, a spirited girl who behaves in a way that is older than her years. Little does Annie realize that the fate a fortuneteller predicted for her would befall her best friend. Midnight at the Dragon Cafe is a quietly lyrical coming-of-age novel about a young girl who is adapting and thriving while watching her family struggle to maintain their cultural identity as they impotently fight against racism and poverty. The writing in this novel is beautifully simple and perfectly complements the out-of-context Chinese culture, which exists at the heart of the story. The style is accessible, and although the character of Su-Jen is young, the portrayal of her disenchantment with her family as well as her awkward assimilationof Canadian culture will ring true with the older teens to whom this book might appeal. Recommended for senior high school students, advanced students, and adults.
Heather Lisowiski - KLIATT
First-novelist Bates (stories: China Dog, 2002) explores the Chinese immigrant experience in Canada in a heartbreaking but muted love story. Su-Jen Chou is seven years old in 1957 when she and her mother come from China to join her father, who has bought into a small restaurant in a town near Toronto. Su-Jen, who becomes Annie when she begins school, narrates the story of her parents' lives and her own developing awareness with an eye for the telling detail, though her understanding evolves with appropriate slowness. Annie quickly assimilates, making friends and becoming a star student, but her still young and beautiful mother, who speaks no English, is deeply unhappy, missing China, where her family had wealth and prestige before the Communist takeover. She argues constantly with Annie's elderly father, who has lived on and off in Canada for many years. The two share no affection, sleeping with Annie in the bed between them until her father eventually moves into another room. After Annie's much older brother, Lee-Kung, who has been working elsewhere in Canada, comes to help run the restaurant, Annie learns that both parents had previous marriages and children who died, that Lee-Kung is only her half-brother, and that his mother may have committed suicide. Inevitably, Annie's mother and Lee-Kung are drawn toward each other. While Annie witnesses the affair with disgust, she's also caught up in the less interesting complexities of her own pubescent life, particularly her friendship with Charlotte, one of those golden children doomed in fiction to early death. Annie's mother becomes pregnant around the same time that Lee-Kung's bride arrives for the marriage arranged at his father's insistence. Annie sees looks exchanged, hears snatches of conversation. What in lesser hands could have become overwrought remains bittersweet and elegiac as the family struggles to maintain dignity and unity. Deeply satisfying: a lovely sensuality pervades in spite of the harshness of the world Bates portrays so eloquently.
Kirkus Reviews
Discussion Questions
1. With Midnight at the Dragon Cafe, Judy Fong Bates produces a work that is both quintessentially Canadian and yet powerfully conveys the Chinese immigrant perspective. What makes the novel feel as classically Canadian as anything by Margaret Laurence or Alice Munro? Consider setting (where the story unfolds) and character.
2. What details does Bates use to allow the reader to fully enter the particular point of view of a newly settled Chinese family? How does the mother, Lai-Jing, view her new surroundings? How does she feel about her neighbours, the lo fons (white people), of Irvine?
3. How does Su-Jen see her new community? The school, the river,the stores, her father's restaurant and her schoolmates? Are your feelings about small-town Canada modified in any way by experiencing it through the eyes of the Chou family?
4. What overt acts of racism does Su-Jen endure among her female peers? What are the more subtle forms? Consider the school play: Was it realistic or racist for Su-Jen's friends to dissuade her from auditioning for the lead role? Why? How do name-calling and racist assumptions affect Su-Jen?
5. In what ways is Su-Jen a child caught between two cultures? How does this affect her world view?
6. By what means do Su-Jen's father, Hing-Wun, mother, Lai-Jing, and Uncle Yat keep Chinese culture alive in Canada? Consider their beliefs, values, and daily activities.
7. What role do the arts—stories and music—play in the novel, particularly in the lives of Hing-Wun and Su-Jen?
8. Sacrifice is an important theme in the novel. How does each character's understanding of sacrifice affect the lives of Su-Jen's father, mother, and brother? How does Su-Jen's own understanding of sacrifice change over the course of the novel?
9. How are the events in the story influenced by the Chou family's isolation from the larger urban Chinese community?
10. Why do the Chinese characters in the novel seem so obsessed with money? Give some examples from the novel of the characters' absorption with money and status. Consider Aunt Hai-Lan and also the Chongs (the family interested in arranging a marriage for their daughter). What does this tell the reader about how the Chou family sees itself in their new home?
11. What are some of the ways in which the Chou family reveals their preoccupation with money? How do these concerns shape their lives? Are their fiscal and social concerns realistic? Is the Chou family more money conscious than their Canadian-born neighbours? To what extent are the residents of Irvine also conscious of money and status?
12. What qualities draw Su-Jen to Charlotte Heighington? What does this tell us about Su-Jen?
13. Su-Jen is attracted not only to Charlotte, but to the entire Heighington household, particularly Charlotte's mother. Why might the Heighingtons be considered odd by the rest of the town? In what ways does Mrs. Heighington differ from Su-Jen's mother? What qualities, if any, do the two women share?
14. A love affair between a married woman and her stepson would be shocking regardless of the circumstances. What makes it feel even more so in Midnight at the Dragon Café? How does the inclusion of Lai-Jing and Lee Kung's affair allow the novel to transcend the category of "immigrant story"?
15. Does the affair cause you to identify more with the family, or less? Do you sympathize with Lai-Jing's behavior? How do you feel about Lee-Kung? Is anyone to blame? Does Hing-Wun deserve a portion of the blame?
16. Did the affair cause you to question Lai-Jing's love for Su-Jen? Are these two separate but parallel kinds of love, or two competing ones? Is Lai-Jing really as trapped as she feels?
17. In what very specific ways do politics and history influence the Chou family? Consider World War I, World War II, Canada's immigration policies, and Japan's 1937 Invasion of China. Has coming to Canada freed the Chou family from its past? Is anyone ever free of the past?
(Questions issued by publisher.)
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The Shipping News
Annie Proulx, 1993
Simon & Schuster
352 pp.
ISBN-13: 9780671510053
Summary
Winner of the Pulitzer 1994 Prize and the National Book Award
Quoyle, a third-rate newspaper hack, with a "head shaped like a crenshaw, no neck, reddish hair...features as bunched as kissed fingertips," is wrenched violently out of his workaday life when his two-timing wife meets her just deserts.
An aunt convinces Quoyle and his two emotionally disturbed daughters to return with her to the starkly beautiful coastal landscape of their ancestral home in Newfoundland. Here, on desolate Quoyle's Point, in a house empty except for a few mementos of the family's unsavory past, the battered members of three generations try to cobble up new lives.
Newfoundland is a country of coast and cove where the mercury rarely rises above 70 degrees, the local culinary delicacy is cod cheeks, and it's easier to travel by boat and snowmobile than on anything with wheels.
In this harsh place of cruel storms, a collapsing fishery, and chronic unemployment, the aunt sets up as a yacht upholsterer in nearby Killick-Claw, and Quoyle finds a job reporting the shipping news for the local weekly, the Gammy Bird (a paper that specializes in sexual-abuse stories and grisly photos of car accidents).
As the long winter closes its jaws of ice, each of the Quoyles confronts private demons, reels from catastrophe to minor triumph—in the company of the obsequious Mavis Bangs; Diddy Shovel the strongman; drowned Herald Prowse; cane-twirling Beety; Nutbeem, who steals foreign news from the radio; a demented cousin the aunt refuses to recognize; the much-zippered Alvin Yark; silent Wavey; and old Billy Pretty, with his bag of secrets.
By the time of the spring storms Quoyle has learned how to gut cod, to escape from a pickle jar, and to tie a true lover's knot. (From the publisher.)
Author Bio
• Birth—August 22, 1935
• Where—Norwich, Connecticut, USA
• Education—B.A., University of Vermont; M.A., Sir George Williams University
• Awards—Pulitzer Prize and National Book Award, 1994; PEN/Faulkner, 1993
• Currently—lives in Seattle, Washington
Pulitzer Prize winner Annie Proulx did not set out to be a writer. She studied history in school, acquiring both her bachelor's and her master's degrees and abandoning her doctorate only in the face of a pessimistic job market. Something of a free spirit, she married and divorced three times and ended up raising three sons and a daughter single-handedly. She settled in rural Vermont, living in a succession of small towns where she worked as a freelance journalist and spent her free time in the great outdoors, hunting, fishing, and canoeing.
Although she wrote prolifically, most of Proulx's early work was nonfiction. She penned articles on weather, farming, and construction, and contracted for a series of rural "how tos" for magazines like Yankee and Organic Gardening. She also founded the Vershire Behind the Times, a monthly newspaper filled with colorful features and vignettes of small-town Vermont life. All this left little time for fiction, but she averaged a couple of stories a year, nearly all of which were accepted for publication.
Prominent credits in two editions of Best American Short Stories led to the publication in 1988 of Heart Songs and Other Stories, a first collection of Proulx's short fiction. Set in blue-collar New England, these "perfectly pitched stories of mysterious revenges and satisfactions" (the Guardian) received rapturous reviews.
With the encouragement of her publisher, Proulx released her first novel in 1992. The story of a fractured New England farm family, Postcards went on to win the PEN/Faulkner Award for fiction. She scored an even greater success the following year when her darkly comic Newfoundland set piece, The Shipping News, scooped both the National Book Award and the Pulitzer Prize. One year before her 60th birthday, Proulx had become an authentic literary celebrity.
Since then, the author has alternated between short and long fiction, garnering numerous accolades and honors along the way. Giving the lie to the literary adage "write what you know," her curiosity has led her into interesting, unfamiliar territory: Before writing The Shipping News, she made more than seven extended trips to Newfoundland, immersing herself in the culture and speech of its inhabitants; similarly, she weaved staggering amounts of musical arcana into her 1996 novel Accordion Crimes. She is known for her keen powers of observation—passed on, she says, from her mother, an artist and avid naturalist—and for her painstaking research, a holdover from her student days.
In 1994, Proulx left Vermont for the wide open spaces of Wyoming—a move that inspired several memorable short stories, including the O. Henry Award winner "Brokeback Mountain." First published in The New Yorker and included in the 1999 collection Close Range: Wyoming Stories, this tale of a doomed love affair between two Wyoming cowboys captured the public imagination when it was turned into an Oscar-winning 2005 film by director Ang Lee.
Lionized by most critics, Proulx is, nevertheless, not without her detractors. Indeed, her terse prose, eccentric characters, startling descriptions, and stylistic idiosyncrasies (run-on sentences followed by sentence fragments) are not the literary purist's cup of tea. But few writers can match her brilliance at manipulating language, evoking place and landscape, or weaving together an utterly mesmerizing story with style and grace.
Extras
• Proulx was the first woman to win the prestigious Pen/Faulkner Award. (From Barnes & Noble.)
Book Reviews
The Shipping News is alive in every sinse of the word...Proulx has George Eliot's gift of loving observation — her vision is wise and generous.
Douglas Glover - The Boston Globe
It is a testament to Proulx's unique storytelling skills that this tale of a miserable family opting to start a new life in a miserable Newfoundland fishing village has an enchanted, fairy-tale quality, despite its harrowing details of various abuses. It is also very funny.... Proulx creates an amazing world in Killick-Claw, Newfoundland...populated by a fascinating variety of big-hearted, unlikely heroes who are revealed to have all manner of special talents.
Booklist
Proulx has followed Postcards, her story of a family and their farm, with an extraordinary second novel of another family and the sea. The fulcrum is Quoyle, a patient, self-deprecating, oversized hack writer who, following the deaths of nasty parents and a succubus of a wife, moves with his two daughters and straight-thinking aunt back to the ancestral manse in Killick-Claw, a Newfoundland harbor town of no great distinction. There, Quoyle finds a job writing about car crashes and the shipping news for The Gammy Bird , a local paper kept afloat largely by reports of sexual abuse cases and comical typographical errors. Killick-Claw may not be perfect, but it is a stable enough community for Quoyle and Co. to recover from the terrors of their past lives. But the novel is much more than Quoyle's story: it is a moving evocation of a place and people buffeted by nature and change. Proulx routinely does without nouns and conjunctions — "Quoyle, grinning. Expected to hear they were having a kid. Already picked himself for godfather'' — but her terse prose seems perfectly at home on the rocky Newfoundland coast. She is in her element both when creating haunting images (such as Quoyle's inbred, mad and mean forbears pulling their house across the ice after being ostracized by more God-fearing folk) and when lyrically rendering a routine of gray, cold days filled with cold cheeks, squidburgers, fried bologna and the sea.
Publishers Weekly
Off the beaten track of contemporary American fiction in both style and setting, this remarkable second novel by the author of Postcards should capture the attention of readers and critics. Huge, homely Quoyle works off and on for a newspaper. His cheating wife Petal is killed in a car crash while abandoning him and their two preschool daughters. Wallowing in grief, Quoyle agrees to accompany his elderly aunt and resettle in a remote Newfoundland fishing village. Memorable characters — gay aunt Agnis, difficult daughter Bunny, new love interest Wavey, many colorful locals in their new hometown — combine with dark stories of the Quoyle family's past and the staccato, often subjectless or verbless sentences (bound to make English teachers cringe) to create a powerful whole.
Library Journal
Discussion Questions
1. Proulx describes Quoyle as "a great damp loaf of a body." What kind of man is Quoyle? How does Proulx's sublime, comic style make you feel about him?
2. When Quoyle writes for the Mockingburg Record he never seems to understand the dynamics of journalism, yet in writing "The Shipping News" he transforms The Gammy Bird and eventually becomes managing editor of the paper. Discuss some of the other changes Quoyle experiences from the beginning of the novel to the end.
3. As Quoyle arrives in Newfoundland, he hears much of his family's past. In fact, there is an old relative, "some kind of fork kin," still alive in Newfoundland. Why does Quoyle avoid Nolan — seem angry at the old man from the start? Is the reason as simple as Quoyle denying where he came from, especially after learning the details of his father's relationship with the aunt?
4. Proulx tells us the aunt is a lesbian, yet never makes a specific issue out of the aunt's sexual orientation. Does this fact add dimension to the story for you? Does it add to the aunt's character? We, as readers, assume that characters are heterosexual without needing to hear specifically about their sexual life. Does the matter-of-course way Proulx treats the aunt's sexuality help make the reader a less judgmental critic?
5. Discuss Quoyle's relationship with Petal Bear. Can you justify his feelings for her? Even after her death, she continues to have a strong hold on him, and her memory threatens to squelch the potential of his feeling for Wavey Prowse. Is this because Quoyle doesn't understand love without pain? Both Quoyle and Wavey have experienced abusive relationships previously. How do they treat each other?
6.Newfoundland is more than the setting for this story, it is a dreary yet engaging character onto itself. Does the cold weather and the rough life add to your enjoyment of the book?
7. Do you think the chapter headings from The Ashley Book of Knots, The Mariner's Dictionary, and Quipus and Witches' Knots add to the atmosphere of the book? Did their humor illustrate some of Proulx's points, or did they simplify some of her issues? Notice especially the headings for chapters 2, 4, 28, 32, 33, and 34.
(Questions issued by publisher.)
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The Mermaid Chair
Sue Monk Kidd, 2005
Penguin Group USA
368 pp.
ISBN-13: 9780143036692
Summary
In her remarkable follow-up to the widely acclaimed The Secret Life of Bees, Sue Monk Kidd tells a beautiful and haunting story centered around forty-two-year-old Jessie Sullivan, a woman in quiet crisis whose return home to the island of a mermaid saint becomes a pilgrimage to self-awakening. In this powerful exploration of mid-life marriage and the intersection of the spiritual and the erotic in the feminine soul, Kidd illustrates the sacredness of belonging to oneself and the healing mercy of love and forgiveness.
Jessie's journey begins in the winter of 1988 when she receives an early-morning call from her mother Nelle's close friend Kat. Nelle has inexplicably and deliberately severed her own finger and Kat is calling to ask Jessie to return home to Egret Island, South Carolina, to care for her.
Though Jessie has been somewhat estranged from her mother for the last five years, she departs immediately—realizing that despite the disturbing circumstances awaiting her, she feels relief in leaving and having some time away from her husband, Hugh, a psychiatrist. Jessie loves Hugh, but twenty years into their picture-perfect marriage, with their only child away at college, she has begun to feel a groundswell of restlessness or, as she puts it, “the feeling of time passing, of being postponed, pent up.” Understanding herself primarily through her relationship to her husband and to her daughter, she is baffled by her discontent, by her sudden resistance to creating her small “art boxes” that have been her only tenuous link to the passion she once had to be an artist. She has lost “the little river of sparks” that runs through life, but mostly she has lost her deep connection to herself.
Once on Egret Island, Jessie finds herself ill equipped to handle her mother's continuing erratic behavior, much less to comprehend what lies behind her enigmatic act of self-violence. She senses that it's related to her father's death-a death that is still surrounded by unanswered questions thirty years later. As she tries to piece together Nelle's tormented past, Jessie reconnects with the two women who, along with her mother, once formed an inseparable female trio, bound together by rituals and secrets only they shared. When Jessie finally discovers the truth about Nelle and her father's death, it unlocks a dark, painful secret. Its revelation, however, will begin to heal the relationships in both women's lives.
Near Nelle's home is a Benedictine monastery that houses a mysterious and beautiful chair carved with mermaids and dedicated to Saint Senara, who, legend says, was a mermaid before her conversion. The abbey and the chair have always been special to Jessie. There, she meets Whit, a junior monk who sought refuge at the monastery after suffering a devastating loss. Only months away from taking his final vows, he isn't completely certain whether he has come to the abbey in search of God or in search of immunity from life.
Jessie's powerful attraction to Whit awakens an immense sexual and spiritual longing inside her, as well as a pulsing new sense of aliveness. Amid the seductive salt marshes and tidal creeks of the island, she abandons herself to the long-buried passions of her body and the yearnings of her creative spirit and embarks upon a descent into her own uncharted and shadowy depths in search of a place inside herself that is truly her own. Torn between the force of her desire and her enduring marriage, Jessie grapples with excruciating choices, ultimately creating a “marriage” with herself.
In this novel Kidd takes on the darker, more complex elements of the psyche and human relationships-spiritual emptiness, infidelity, death, mental illness and euthanasia—with a steady gaze and compassion not often found in modern fiction. Above all, The Mermaid Chair is a book that embraces the sensual pull of the mermaid and the divine pull of the saint, the commitment to oneself and the commitment to a relationship—and their ability to thrive simultaneously in every woman's soul. Kidd's candid and redemptive portrayal of a woman lost in the “smallest spaces” of her life ultimately becomes both an affirmation of ordinary married love and the sacredness of always saving a part of your soul for yourself. (From the publisher.)
About the Author Bio
• Birth—August 12, 1948
• Where—Sylvester, Georgia, USA
• Education—B.S., Texas Christian University
• Awards—Poets and Writers Award; Katherine Anne Porter
Award
• Currently—lives in Charleston, South Carolina
Sue Monk Kidd's first novel, The Secret Life of Bees, spent more than one hundred weeks on the New York Times bestseller list, has sold more than four million copies, and was chosen as the 2004 Book Sense Paperback Book of the Year and Good Morning America's "Read This!" Book Club pick. She is also the author of several acclaimed memoirs and the recipient of numerous awards, including a Poets & Writers award. She lives near Charleston, South Carolina.
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Sue Monk Kidd first made her mark on the literary circuit with a pair of highly acclaimed, well-loved memoirs detailing her personal spiritual development. However, it was a work of fiction, The Secret Life of Bees, that truly solidified her place among contemporary writers. Although Kidd is no longer writing memoirs, her fiction is still playing an important role in her on-going journey of spiritual self-discovery.
Despite the fact that Kidd's first published books were nonfiction works, her infatuation with writing grew out of old-fashioned, Southern-yarn spinning. As a little girl in the little town of Sylvester, Georgia, Kidd thrilled to listen to her father tell stories about "mules who went through cafeteria lines and a petulant boy named Chewing Gum Bum," as she says on her web site. Inspired by her dad's tall tales, Kidd began keeping a journal that chronicled her everyday experiences.
Such self-scrutiny surely gave her the tools she needed to pen such keenly insightful memoirs as When the Hearts Waits and The Dance of the Dissident Daughter, both tracking her development as both a Christian and a woman. "I think when you have an impulse to write memoir you are having an opportunity to create meaning of your life," she told Barnes & Noble.com, "to articulate your experience; to understand it in deeper ways... And after a while, it does free you from yourself, of having to write about yourself, which it eventually did for me."
Once Kidd had worked the need to write about herself out of her system, she decided to get back to the kind of storytelling that inspired her to become a writer in the first place. Her debut novel The Secret Life of Bees showed just how powerfully the gift of storytelling charges through Kidd's veins. The novel has sold more than 4.5 million copies, been published in over twenty languages, and spent over two years on the New York Times bestseller list.
Even as Kidd has shifted her focus from autobiography to fiction, she still uses her writing as a means of self-discovery. This is especially evident in her latest novel The Mermaid Chair, which tells the story of a woman named Jessie who lives a rather ordinary life with her husband Hugh until she meets a man about to take his final vows at a Benedictine monastery. Her budding infatuation with Brother Thomas leads Jessie to take stock of her life and resolve an increasingly intense personal tug-of-war between marital fidelity and desire.
Kidd feels that through telling Jessie's story, she is also continuing her own journey of self-discovery, which she began when writing her first books. "I think there is some part of that journey towards one's self that I did experience. I told that particular story in my book The Dance of the Dissident Daughter and it is the story of a woman's very-fierce longing for herself. The character in The Mermaid Chair Jessie has this need to come home to herself in a much deeper way," Kidd said, "to define herself, and I certainly know that longing."
Extras
Kidd lives beside a salt marsh near Charleston, South Carolina, with her husband, Sandy, a marriage and individual counselor in private practice. (From Barnes & Noble.)
Book Reviews
Jessie Sullivan, the protagonist of this rewarding second novel by the author of the bestselling The Secret Life of Bees, is awakened by a shrilling phone late one night to horrifying news: her mother, who has never recovered from her husband Joe's death 33 years earlier, has chopped off her own finger with a cleaver. Frantic with worry, and apprehensive at the thought of returning to the small island where she grew up in the shadow of her beloved father's death and her mother's fanatical Catholicism, 42-year-old Jessie gets on the next plane, leaving behind her psychiatrist husband, Hugh, and college-age daughter, Dee. On tiny Egret Island, off the coast of South Carolina, Jessie tries to care for her mother, Nelle, who is not particularly eager to be taken care of. Jessie gets help from Nelle's best friends, feisty shopkeeper Kat and Hepzibah, a dignified chronicler of slave history. To complicate matters, Jessie finds herself strangely relieved to be free of a husband she loves—and wildly attracted to Brother Thomas, a junior monk at the island's secluded Benedictine monastery. Confusing as the present may be, the past is rearing its head, and Jessie, who has never understood why her mother is still distraught by Joe's death, begins to suspect that she's keeping a terrible secret. Writing from the perspective of conflicted, discontented Jessie, Kidd achieves a bold intensity and complexity that wasn't possible in The Secret Life of Bees, narrated by teenage Lily. Jessie's efforts to cope with marital stagnation; Whit's crisis of faith; and Nelle's tormented reckoning with the past will resonate with many readers. This emotionally rich novel, full of sultry, magical descriptions of life in the South, is sure to be another hit for Kidd.
Publishers Weekly
According to Kidd's follow-up to The Secret Life of Bees, there's nothing like a little soulful adultery to get an anemic marriage back on track. Atlanta housewife and part-time artist Jessie Sullivan has been in a mild funk since her daughter Dee started college. Then she and her sensitive but controlling husband, Hugh, receive news that her obsessively devout mother, Nelle, has purposely cut off a finger—whether out of misplaced piety or mental illness isn't known. With trepidation, Jessie returns to the South Carolina barrier island where she was raised to care for Nelle. She still carries guilt that a spark from the pipe she had given her father supposedly caused the boating accident that killed him when she was nine. Since then, Nelle has cooked for the neighboring monks, whose patron saint, Saint Senare, was an Irish mermaid before she found God. Jessie meets and is immediately attracted to the newest addition to the monastery, Father Thomas. A former lawyer whose wife and unborn child died in a freak accident, Father Thomas, who has yet to take his final vows, is in charge of the rookery, so he spends his days paddling alone down various creeks. Soon, Jessie is paddling with him while delving into her own sensuality and selfhood. No pure lust, but a spiritual coupling has taken place as evidenced, at least, by the pictures she creates of a mermaid diving deep toward the ocean floor, while there's much talk of being "damned and saved both." Jesse learns she isn't to blame for her father's death, but her relief is short-lived, since Nelle cuts off another finger. Loyal Hugh shows up to help and discovers Jessie's affair. Once the truth of Jessie's father's death is revealed, Nelle begins a real recovery, while a wiser, stronger Jessie returns to the ever-patient Hugh, who vows to be a better husband. Bestselling Kidd (The Secret Life of Bees, 2002) has a gift for language, but the saccharine aftertaste won't go away.
Kirkus Reviews
Discussion Questions
1. How does a woman like Jessie become “molded to the smallest space possible”? What signs might appear in her life? What did Jessie mean when she said part of the problem was her chronic inability to astonish herself?
2. Jessie comes to believe that an essential problem in her marriage is not that she and Hugh have grown apart, but that they have grown “too much together.” What do you think she means by that? How important is it for Jessie to find her “solitude of being”? How does a woman balance apartness and togetherness in a relationship?
3. How would you describe Nelle before and after her husband's death? What is your interpretation of the mysterious factors that led her to cut off her finger? What do her fingers symbolize? How does the myth of Sedna—the Inuit mermaid whose severed fingers became the first sea creatures—shed light on Nelle's state of mind?
4. Jessie feels that she has found a soul mate in Whit. Do you find this word inviting or repellent? When we speak of looking for a soul mate, what do we mean? Is there really such a thing?
5. Why do you think Whit came to the monastery? Would you describe him as having a crisis of faith? In what ways does he vacillate between falling into life and transcending it? What do you think of his decision at the end about whether to leave or to stay?
6. Islands are often places of personal trial and distillation of self—such as Shakespeare's The Tempest or Golding's Lord of the Flies. What are the emotional islands upon which each character is stranded? What is the significance of the Egret Island setting? How does each character finally escape the island of his or her making? What does the trial on the enchanted island reveal about each character?
7. St. Senara only becomes a saint once an abbot hides her fish tail and prohibits her from returning to the sea. On one hand, she has lost her wild nature and freedom to swim away, but on the other hand, she has gained sainthood among the humans she has grown to love. What is the significance of this tale in Jessie's life? When she leaves her husband to return to Egret Island, is she the wild mermaid or the stranded saint? How does the duality of the mermaid and the saint play out in women's lives? Can a woman contain both? Why do you think mystics and poets have drawn comparisons between sensual delight and godly delight?
8. The mermaid chair is a central image in the novel. What does it symbolize? What role does it play in the novel? In Jessie's life? In her father's? How does it become a place of dying and rebirth for both of them, literally and figuratively?
9. How would you describe Jessie's relationship with her father? How did having an absent father affect her? How did it affect her relationship to Hugh? What do you think Kidd was suggesting by the image of the whirley girl?
10. Jessie breaks away from creating her tiny art boxes and begins to paint, finding her true gift. Why is she unable to take up her authentic creative life before this? What role do her paintings play in her metamorphosis? How does Jessie's series of paintings of diving women reflect her own experience? What role does the motif of diving play in the novel?
11. The novel celebrates the hallowed bonds of women and suggests how a true community of women can become a maternal circle that nurtures a woman toward self-realization and helps her to give birth to a new life. How do Kat, Hepzibah, and even Benne play a role in Jessie's transformation? What has been the importance of female communities in your own life?
12. In perhaps the most moving and cathartic moment in the novel, Jessie goes to Bone Yard beach and speaks vows of commitment to herself—“'Jessie. I take you, Jessie...for better or worse...to love and to cherish.'” What does it mean to make a “marriage” to your self? Paradoxically, Jessie discovered that belonging to herself allowed her to belong more truly to Hugh. Does an inviolate commitment to oneself enhance one's commitment to a relationship?
13. In your mind, was Jessie's father's death a sin? Jessie isn't sure if choosing to end one's life in order to spare oneself and one's family extreme suffering was horning in on God's territory and usurping “the terrifying power to say when,” or whether it was usurping God's deep heart by laying down one's life as a sacrifice. What do you think?
14. The Mermaid Chair suggests that a love affair may be a common response to a marriage that has lost its way, but that in the end it is not a solution. In what way do you think the novel is a cautionary tale? Why do you think Jessie is unable to heed the warnings from Kat and Hepzibah? How could Jessie have found awakening without betraying her marriage?
15. Upon her return home, Jessie says, “There would be no grand absolution, only forgiveness meted out in these precious sips. It would well up from Hugh's heart in spoonfuls and he would feed it to me. And it would be enough.” Why does Jessie return to Hugh? Why is Hugh able to accept her back into his life? How has their relationship changed since she left for Egret Island? How has Jessie changed?
(Questions issued by publisher.)
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A Simple Plan
Scott Smith, 1993
Knopf Doubleday
416 pp.
ISBN-13: 9780307278272
Summary
When two brothers and a friend find four million dollars in the cockpit of a downed plane buried in the snow, their plan seems so simple.
But from the moment it is set into motion, Hank Mitchell's well-ordered life spins out of control, sending him on a downward spiral of deceit, treachery, and blackmail. (From the publisher.)
Author Bio
• Birth—1965
• Where—Summit, New Jersey, USA
• Education—B.A., Columbia University
• Currently—lives in New York, New York
Scott Smith is an American author and screenwriter and is a graduate of Columbia University. He has published two suspense novels, A Simple Plan and The Ruins. His 1998 screen adaptation of A Simple Plan earned him an Academy Award nomination.
Scott Smith was born in Summit, New Jersey in 1965 and now lives in New York City. After studying at Dartmouth College and Columbia University in New York, he took up writing full time. He wrote the screenplay for his book A Simple Plan starring Bill Paxton, Billy Bob Thornton, and Bridget Fonda. This film was nominated for numerous awards, including two Academy Awards, one for Best Adapted Screenplay. The screenplay won numerous awards, such as a Broadcast Film Critics Association Award and a National Board of Review Award. Billy Bob Thornton also won numerous awards for best supporting actor for this film.
Smith's long awaited second novel, The Ruins, was published in 2006. Stephen King claims it as "The best horror novel of the new century." The movie was adapted to film in 2008. (From Wikipedia.)
Book Reviews
A Simple Plan, Scott Smith's beautifully controlled and disturbing first novel, delivers a total of nine deaths, harrowing murders all, but it is surely a morality tale, with not a whiff of the whodunit about it. Instead its trail of blood raises a good many rudimentary philosophical questions and does so starkly. What is necessary? What is inevitable? What is justifiable? If Mr. Smith fails to examine them as attentively as he sets them in place, still he tells a thoroughly absorbing story of choices made, both well and badly, and consequences stalled, evaded, suffered and escaped
Rosellen Brown - New York Times Book Review
A better title for A Simple Plan, Scott Smith's much ballyhooed first novel, might be "A Stupid Plan." From the instant he embarks on a path of crime and destruction, Mr. Smith's narrator, Hank Mitchell, exhibits an extraordinary degree of carelessness, thickheadedness and self-delusion, not to mention greed, selfishness and cruelty. The only reason he is not immediately caught or dissuaded from his plan is the equal stupidity of people around him, including his wife, his brother, the local sheriff and the F.B.I.
Michiko Kakutani - New York Times
Like watching a train wreck. There is nothing to be done, but it is impossible to turn away.
Chicago Times
Once one accepts the bizarre premise of Smith's astonishingly adept, ingeniously plotted debut thriller, the book fulfills every expectation of a novel of suspense, leading the reader on a wild exploration of the banality of evil. Indeed, it is difficult to believe that a tyro writer could have produced so controlled and assured a narrative. When Hank Mitchell, his obese, feckless brother Jacob and Jacob's smarmy friend Lou accidentally find a wrecked small plane and its dead pilot in the woods near their small Ohio town, they decide not to tell the authorities about the $4.4 million stuffed into a duffel bag. Instead, they agree to hide the money and later divide it among themselves. The "simple plan'' sets in motion a spiral of blackmail, betrayal and multiple murder which Smith manipulates with consummate skill, increasing the tension exponentially with plot twists that are inevitable and unpredictable at the same time. In choosing to make his protagonist an ordinary middle-class man—Hank is an accountant in a feed and grain store— Smith demonstrates the eerie ease with which the mundane can descend to the unthinkable. Hank commits the first murder to protect his brother and their secret; he eerily rationalizes the ensuing coldblooded deeds while remaining outwardly normal, hardly an obvious psychopath. Smith's imagination never palls; the writing peaks in a gory liquor store scene that's worthy of comparison to Stephen King at his best.
Publishers Weekly
In the opening pages of this riveting first novel, Hank Mitchell is heading down a snowy road with his brother Jacob and a friend, intent on visiting his parents' grave. After chasing Jacob's huge dog through the woods, the three men stumble upon a tiny plane whose pilot is dead. The plane holds another surprise—a bag containing $4 million. Upright Hank resists taking the money but finally thinks up a "simple plan'' that will protect them if anyone suspects them of stealing. Once Hank veers from the straight and narrow, however, nothing is simple. Unnerved by his somewhat slow-witted brother's panic, distrustful of thief-in-arms Lou, Hank commits a murder—and is launched upon a bloody downward spiral that carries the reader quickly to the end of the book. Buttoned-downed Hank ultimately proves to be made of poorer stuff than his scruffier compatriots, and his carefully reasoned descent into crime is shocking. Occasionally, it seems a bit too pat—the reader is left wondering whether anyone could commit so many crimes without moral upset—but ultimately this should prove popular reading.
Library Journal
A fairy-tale windfall blasts the lives of two brothers, determined to do whatever it takes to hold onto the money, in Scott's electrifying first novel. On their way to visit their parents' graves in rural Ohio, Hank Mitchell and his brother Jacob, together with Jacob's no-account pal Lou, find a downed plane, a dead pilot, and four million dollars. After briefly considering turning the money over to the authorities, they decide to let Hank keep it for six months to see whether anybody comes looking for it--believing in their innocence that if nobody does, they'll be safe in spending it. But the very next day, when Hank and Jacob are back at the plane to make sure they haven't left any traces of their presence, they're forced to kill a witness to their discovery. When Lou finds out and begins to blackmail Hank for advances on his share of the loot, Hank's surprisingly resourceful wife Sarah comes up with a scheme to shut his mouth—a scheme that ends, inevitably, in more violence, as Hank keeps killing to protect his family's stake in the American dream, the secrets of his earlier murders, and his sense of himself as normal "despite everything I've done that might make it seem otherwise." By the time the horrific plot has wound down, nine people have died, with more deaths (the Mitchell parents, seven victims in a Detroit kidnapping) hanging heavily over the story. Yet Smith infuses each new twist of violence with shocks of unexpected pity, as Hank, devastated by the killing, keeps drifting back to the rationale he and Sarah share: He had to do it, it wasn't his fault. An eerily flat confessional whose horror is only deepened by its flashes of tenderness. Think of a backwater James M. Cain, or a contemporary midwestern Unforgiven—and don't think about getting any sleep tonight.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for A Simple Plan:
1. Hank Mitchell, the center of the story, is an ordinary man who proves capable of tremendous evil. At one point, he says, "I'm just normal... like everyone else"—a statement that brings to mind Hannah Arendt's remark about Adolf Eichmann, the Nazi war criminal. On seeing Eichmann in the court room, Arendt was struck by "the banality of evil." Do (most-all-some?) ordinary people contain the seeds of evil?
2. Hank confesses "I did one bad thing...and it led to a worse thing." Is he attempting to absolve himself of guilt?
3. How does the fact that Hank represents the story's point of view affect your judgment? Do you find Hank convincing? Do you identify with him, are you sympathetic to him, do you accept his justifications? Is there a point in which, as a reader, you become complicit?
4. You might also talk about the Cain and Abel parallels with Hank and Jacob. How, as one critic puts it, could this work be viewed as a morality tale? What do you make of the radio preacher in the background as Hank finishes off his last two victims?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution.)
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Zorro
Isabel Allende, 2005
HarperCollins
416 pp.
ISBN-13: 9780060779009
Summary
Swashbuckling adventure story that reveals for the first time how Diego de la Vega became the masked man we all know so well.
Born in southern California late in the 18th century, he is a child of two worlds. Diego de la Vega's father is an aristocratic Spanish military man turned landowner; his mother, a Shoshone warrior. Diego learns from his maternal grandmother the ways of her tribe while receiving from his father lessons in the art of fencing. It is here, during Diego's childhood, that he witnesses the brutal injustices dealt Native Americans and first feels the inner conflict of his heritage.
Sent to Barcelona for a European education, Diego joins "La Justicia," a secret underground resistance movement devoted to helping the powerless and the poor.
Between California and Barcelona, the persona of Zorro is formed, a great hero is born and the legend begins. After many adventures, Diego de la Vega, a.k.a. Zorro, returns to America to reclaim the hacienda on which he was raised and to seek justice for all who cannot fight for it themselves. (From the publisher.)
Author Bio
• Birth—August 2, 1942
• Where—Lima, Peru
• Education—private schools in Bolivia and Lebanon
• Awards—Dorothy and Lillian Gish Prize, 1998; Sara Lee Foundation Award, 1998; WILLA
Literary Award, 2000
• Currently—lives in San Rafael, California, USA
Isabel Allende is a Chilean writer whose works sometimes contain aspects of the "magic realist" tradition. Author of more than 20 books—essay collections, memoirs, and novels, she is perhaps best known for her novels The House of the Spirits (1982), Daughter of Fortune (1999), and Ines of My Soul (2006). She has been called "the world's most widely read Spanish-language author." All told her novels have been translated from Spanish into over 30 languages and have sold more than 55 million copies.
Her novels are often based upon her personal experience and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many American colleges to teach literature. Fluent in English as a second language, Allende was granted American citizenship in 2003, having lived in California with her American husband since 1989.
Early background
Allende was born Isabel Allende Llona in Lima, Peru, the daughter of Francisca Llona Barros and Tomas Allende, who was at the time the Chilean ambassador to Peru. Her father was a first cousin of Salvador Allende, President of Chile from 1970 to 1973, making Salvador her first cousin once removed (not her uncle as he is sometimes referred to).
In 1945, after her father had disappeared, Isabel's mother relocated with her three children to Santiago, Chile, where they lived until 1953. Allende's mother married diplomat Ramon Huidobro, and from 1953-1958 the family moved often, including to Bolivia and Beirut. In Bolivia, Allende attended a North American private school; in Beirut, she attended an English private school. The family returned to Chile in 1958, where Allende was briefly home-schooled. In her youth, she read widely, particularly the works of William Shakespeare.
From 1959 to 1965, while living in Chile, Allende finished her secondary studies. She married Miguel Frias in 1962; the couple's daughter Paula was born in 1963 and their son Nicholas in 1966. During that time Allende worked with the United Nations Food and Agriculture Organization in Santiago, Chile, then in Brussels, Belgium, and elsewhere in Europe.
Returning to Chile in 1996, Allende translated romance novels (including those of Barbara Cartland) from English to Spanish but was fired for making unauthorized changes to the dialogue in order to make the heriones sound more intelligent. She also altered the Cinderella endings, letting the heroines find more independence.
In 1967 Allende joined the editorial staff for Paula magazine and in 1969 the children's magazine Mampato, where she later became editor. She published two children's stories, Grandmother Panchita and Lauchas y Lauchones, as well as a collection of articles, Civilice a Su Troglodita.
She also worked in Chilean television from 1970-1974. As a journalist, she interviewed famed Chilean poet Pablo Neruda. Neruda told Allende that she had too much imagination to be a journalist and that she should become a novelist. He also advised her to compile her satirical columns in book form—which she did and which became her first published book. In 1973, Allende's play El Embajador played in Santiago, a few months before she was forced to flee the country due to the coup.
The military coup in September 1973 brought Augusto Pinochet to power and changed everything for Allende. Her mother and diplotmat stepfather narrowly escaped assassination, and she herself began receiving death threats. In 1973 Allende fled to Venezuela.
Life after Chile
Allende remained in exile in Venezuela for 13 years, working as a columnist for El Nacional, a major newspaper. On a 1988 visit to California, she met her second husband, attorney Willie Gordon, with whom she now lives in San Rafael, California. Her son Nicolas and his children live nearby.
In 1992 Allende's daughter Paula died at the age of 28, the result of an error in medication while hospitalized for porphyria (a rarely fatal metabolic disease). To honor her daughter, Allenda started the Isabel Allende Foundation in 1996. The foundation is "dedicated to supporting programs that promote and preserve the fundamental rights of women and children to be empowered and protected."
In 1994, Allende was awarded the Gabriela Mistral Order of Merit—the first woman to receive this honor.
She was granted U.S. citizenship in 2003 and inducted into the American Academy of Arts and Letters in 2004. She was one of the eight flag bearers at the Opening Ceremony of the 2006 Winter Olympics in Turin, Italy.
In 2008 Allende received an honorary Doctor of Humane Letters from San Francisco State University for her "distinguished contributions as a literary artist and humanitarian." In 2010 she received Chile's National Literature Prize.
Writing
In 1981, during her exile, Allende received a phone call that her 99-year-old grandfather was near death. She sat down to write him a letter wishing to "keep him alive, at least in spirit." Her letter evolved into The House of the Spirits—the intent of which was to exorcise the ghosts of the Pinochet dictatorship. Although rejected by numerous Latin American publishers, the novel was finally published in Spain, running more than two dozen editions in Spanish and a score of translations. It was an immense success.
Allende has since become known for her vivid storytelling. As a writer, she holds to a methodical literary routine, working Monday through Saturday, 9:00 A.M. to 7:00 P.M. "I always start on 8 January,"Allende once said, a tradition that began with the letter to her dying grandfather.
Her 1995 book Paula recalls Allende's own childhood in Santiago, Chile, and the following years she spent in exile. It is written as an anguished letter to her daughter. The memoir is as much a celebration of Allende's turbulent life as it is the chronicle of Paula's death.
Her 2008 memoir The Sum of Our Days centers on her recent life with her immediate family—her son, second husband, and grandchildren. The Island Beneath the Sea, set in New Orleans, was published in 2010. Maya's Notebook, a novel alternating between Berkeley, California, and Chiloe, an island in Chile, was published in 2011 (2013 in the U.S.). Three movies have been based on her novels—Aphrodite, Eva Luna, and Gift for a Sweetheart. (Adapted from Wikipedia. Retrieved 5/23/2013.)
Book Reviews
It is not possible to sum up the surprises, rescues from prisons, flirtations (between Zorro's true love and, for example, a pirate), but the book has plenty of what Hollywood would call non-stop action, and this is told with a pleasure so keen on the author's part it's difficult not to be swept up in it.
Washington Post
Allende’s discreetly subversive talent really shows.... You turn the pages, cheering on the masked man.
Los Angeles Times
Equal parts adventure, historical novel and family saga, Zorro is a moving portrait of a hero who is heartbreakingly human.
People
(Starred review.) Allende's lively retelling of the Zorro legend reads as effortlessly as the hero himself might slice his trademark "Z" on the wall with a flash of his sword. Born Diego de la Vega in 1795 to the valiant hidalgo, Alejandro, and the beautiful Regina, the daughter of a Spanish deserter and an Indian shaman, our hero grows up in California before traveling to Spain. Raised alongside his wet nurse's son, Bernardo, Diego becomes friends for life with his "milk brother," despite the boys' class differences. Though born into privilege, Diego has deep ties to California's exploited natives—both through blood and friendship—that account for his abiding sense of justice and identification with the underdog. In Catalonia, these instincts as well as Diego's swordsmanship intrigue Manuel Escalante, a member of the secret society La Justicia. Escalante recruits Diego into the society, which is dedicated to fighting all forms of oppression, and thus begins Diego's construction of his dashing, secret alter ego, Zorro. With loyal Bernardo at his side, Zorro hones his fantastic skills, evolves into a noble hero and returns to California to reclaim his family's estate in a breathtaking duel. All the while, he encounters numerous historical figures, who anchor this incredible tale in a reality that enriches and contextualizes the Zorro myth. Allende's latest page-turner explodes with vivid characterization and high-speed storytelling.
Publishers Weekly
Allende's retelling of Zorro displays her essential belief that the fabric of the story—the making of the man—is as important as the actions. Born to an aristocratic Spanish father and a tamed Shoshone warrior in 18th-century California, Diego de la Vega learns the lessons of injustice early. His mother's Indian blood and the violence perpetrated against the Native Americans by European settlers ignite a slow-burning fire in Diego. When Diego is sent to Barcelona with his "milk" brother Bernardo to be educated in the ways of his forebears, he studies with a fencing master and joins an underground resistance group, where Zorro the romantic revolutionary is truly forged. Allende's Zorro is not quite the violent, swashbuckling rogue that Johnston McCulley created in his serial potboilers, but this Zorro doesn't have to be for his character to be compelling. One does long for a little more swordplay, but Diego's crisis of identity, his relationship with Bernardo, and his love for a woman he cannot have make for enthralling reading. Allende is a beguiling storyteller, and Zorro provides a rich palate for her customary embellish-ments. Recommended for all public libraries. —Misha Stone, Seattle
Library Journal
Allende's mesmerizing narrative voice never loses timbre or flags in either tension or entertainment value. To describe her as a clever novelist is to signify that she is both inventive and intelligent. —Brad Hooper
Booklist
Critics agree that while Zorro is light and entertaining, it is also a serious piece of literature...[and] most agree that Zorro is a captivating, modern version of the famed legend.
Bookmarks Magazine
A graceful imagining of the saber-wielding, justice-dispensing freedom fighter of yore. Children of the '50s may happily remember Guy Williams's TV portrayal of the legendary Zorro, who carved his signature initial into his enemies' flesh with the point of his sword and kept the entire Spanish army in Alta California busily searching for him. Latter-day Californian Allende provides a backstory that brims with modern concerns: In her hands, Zorro is an ever-so-slightly tormented revolutionary whose sense of justice comes from the accident of his birth. The child of a Spanish officer and a Shoshone Indian woman, Diego de la Vega grows up with a profound knowledge of the injustices wrought by Europeans on California's native peoples. He takes his vulpine identity— zorro is Spanish for "fox"—early on, after a fox delivers him from danger; says his grandmother, helpfully, "That zorro is your totemic animal, your spiritual guide.... You must cultivate its skill, its cleverness, its intelligence." He does, reaching adolescence "with no great vices or virtues, except for a disproportionate love of justice, though whether that is a vice or a virtue, I am not sure." A Rousseauian child of nature, de la Vega travels to Spain to acquire a continental education. Becoming radicalized in the bargain, he defies the country's Napoleonic rulers and joins an underground alliance to battle them, then takes the fight back to America. But first de la Vega must endure being shanghaied by pirates, who, neatly enough, haul him before the legendary uber-pirate Jean Lafitte for a parlay. He acquires yet more education in the bayous, then makes for California once more to visit mayhem on corrupt officialdom on behalf of truth, justice and the Spanish way of life. Allende's tale risks but resists descending into melodrama at every turn. The up-to-date, even postmodern ending makes for a nice touch, too, and will gladden the heart of anyone ready in his or her heart to carve a few Zs into the bad guys.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Zorro:
1. Allende reshapes the legend of Zorro, creating a back story to explain his action-hero life. Talk about the ways in which Zorro's history—family lineage and upbringing—lead to his strong sense of justice. Who and/or what played the most important role in his development?
2. Do a little research into the various incarnations of Zorro— from the original story by Johnston McCulley in the early 20th century to the film and tv versions played by Douglas Fairbanks, Guy Williams, Anthony Hopkins, and most recently Antonio Banderas. How is Allende's version different from—or similar to—the earlier Zorros?
3. In what way is Zorro an archetype of a romantic champion for the oppressed? What other figures in history, literature and film, religion, or mythology does Zorro resemble? What makes this such an enduring character in our culture and psyche?
4. How do you see Allende's creation of Zorro? Is her Zorro a one dimensional, swashbuckling hero? Or is he more complex, containing the human contradictions of passion vs. rationality, darkness vs. light?
5. What role does Bernardo play in this novel? Is he a typical sidekick...or something more important? How would you describe him?
6. What about the two sisters, Julia and Isabel? In what ways are they different from one another. Who was your favorite/ least favorite?
7. How does Allende represent women in this work? In what way does she insert 21st-century feminism into an a narrative set in the late 18th century?
8. Talk about the injustices, as portrayed by Allende, in 18th-century California—particularly the treatment of native Americans at the hands of the European settlers.
9. Were you surprised by the narrator's identity at the end...or had you figured it out? How trustworthy is the narrator as a teller of truth? Why might Allende have chosen this particular character to tell Zorro's story?
10. As the Bookmarks review (see above) suggests: some critics see this book as both an entertaining adventure/action story and serious literature. Other reviewers have dismissed this work as an over-the-top melodrama—even the narrator wryly observes at one point that a story like this needs a formidable villain like Rafael Moncada. What's your opinion?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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