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.)

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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.)

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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

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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.)

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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.)

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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

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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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The History of Love
Nicole Krauss, 2005
W.W. Norton & Company
272 pp.
ISBN-13: 9780393328622


Summary 
A long-lost book reappears, mysteriously connecting an old man searching for his son and a girl seeking a cure for her widowed mother's loneliness.

Leo Gursky is just about surviving, tapping his radiator each evening to let his upstairs neighbor know he's still alive. But life wasn't always like this: sixty years ago, in the Polish village where he was born, Leo fell in love and wrote a book. And though Leo doesn't know it, that book survived, inspiring fabulous circumstances, even love. Fourteen-year-old Alma was named after a character in that very book. And although she has her hands full—keeping track of her brother, Bird (who thinks he might be the Messiah), and taking copious notes on How to Survive in the Wild—she undertakes an adventure to find her namesake and save her family. With consummate, spellbinding skill, Nicole Krauss gradually draws together their stories.

This extraordinary book was inspired by the author's four grandparents and by a pantheon of authors whose work is haunted by loss—Bruno Schulz, Franz Kafka, Isaac Babel, and more. It is truly a history of love: a tale brimming with laughter, irony, passion, and soaring imaginative power. (From the publisher.)

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Author Bio 
• Birth—1974
• Reared —Old Westbury, Long Island, USA
• Education—Stanford University; Oxford University
• Awards—William Saroyan Int'l. Prize; Prix du Meilleur Livre 
   Etranger (France); Edward Lewis Wallant Award
• Currently—Brooklyn, New York

Nicole Krauss is an American author of several novels: Forest Dark (2017), Great House (2010), The History of Love (2005), and Man Walks into a Room (2002). Her work has achieved wide acclaim, with The New York Times referring to her as "one of America's most important authors."

Her fiction has been published in The New Yorker, Harper's, Esquire, and Granta's Best American Novelists Under 40, and has been collected in Best American Short Stories (2003 and 2008). Her novels have been translated into thirty-five languages.

Krauss was born in New York City to an English mother and an American father who grew up partly in Israel. Krauss's maternal grandparents were born in Germany and Ukraine and later emigrated to London. Her paternal grandparents were born in Hungary and Slonim, Belarus, met in Israel, and later emigrated to New York. Many of these places are central to Krauss's 2005 novel, The History of Love, and the book is dedicated to her grandparents.

At the age of 14 Krauss became serious about writing. Until she began her first novel in 2002, Krauss wrote and published mainly poetry.

Education
Krauss enrolled in Stanford University in 1992, and that fall she met Joseph Brodsky who worked closely with her on her poetry over the next three years. He also introduced her to such writers as Italo Calvino and Zbigniew Herbert, who would have a lasting influence.

In 1999, three years after Brodsky died, Krauss produced a documentary about his work for BBC Radio 3, traveling to St. Petersburg where she stood in the "room and a half" where he grew up, made famous by his essay of that title. Krauss majored in English and graduated with Honors, winning a number of undergraduate prizes for her poetry as well as the Dean's Award for academic achievement. She also curated a reading series (with Fiona Maazel) at the Russian Samovar, a NYC restaurant co-founded by Brodsky.

In 1996, she was awarded a Marshall Scholarship and enrolled in a Masters program at Oxford University where she wrote her thesis about the American artist Joseph Cornell. During the second year of her scholarship she attended the Courtauld Institute in London, where she received a Masters in Art History, specializing in seventeenth-century Dutch art, and writing a thesis on Rembrandt.

In 2004, Krauss married the novelist Jonathan Safran Foer. They live in Park Slope in Brooklyn, New York, and have two children. (From Wikipedia.)

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Book Reviews 
There are also two kinds of writers given to the verbal tangents and cartwheels and curlicues that adorn Ms. Krauss's vertiginously exciting second novel: those whose pyrotechnics lead somewhere and those who are merely showing off. While there are times when Ms. Krauss's gamesmanship risks overpowering her larger purpose, her book's resolution pulls everything that precedes it into sharp focus. It has been headed for this moment of truth all along.
Janet Maslin - New York Times

Even in moments of startling peculiarity, [Krauss] touches the most common elements of the heart. For Leo, obsessed with his death but struggling to be noticed, and for Alma, ready to grow up but arrested by her mother's grief, the persistence of love drives them to an astonishing connection. In the final pages, the fractured stories of The History of Love fall together like a desperate embrace.
Ron Charles - Washington Post

The last words of this haunting novel resonate like a pealing bell. "He fell in love. It was his life." This is the unofficial obituary of octogenarian Leo Gursky, a character whose mordant wit, gallows humor and searching heart create an unforgettable portrait. Born in Poland and a WWII refugee in New York, Leo has become invisible to the world. When he leaves his tiny apartment, he deliberately draws attention to himself to be sure he exists. What's really missing in his life is the woman he has always loved, the son who doesn't know that Leo is his father, and his lost novel, called The History of Love, which, unbeknownst to Leo, was published years ago in Chile under a different man's name. Another family in New York has also been truncated by loss. Teenager Alma Singer, who was named after the heroine of The History of Love, is trying to ease the loneliness of her widowed mother, Charlotte. When a stranger asks Charlotte to translate The History of Love from Spanish for an exorbitant sum, the mysteries deepen. Krauss (Man Walks into a Room) ties these and other plot strands together with surprising twists and turns, chronicling the survival of the human spirit against all odds. Writing with tenderness about eccentric characters, she uses earthy humor to mask pain and to question the universe. Her distinctive voice is both plangent and wry, and her imagination encompasses many worlds.
Publishers Weekly

A boy in Poland falls in love and writes a book when World War II arrives, and both the love and the book are lost. Leo Gursky, now in his eighties and living in New York City, struggles to be noticed each day so that people will know he has not yet died. Meanwhile, 14-year-old Alma Singer wants her brother to be normal and her mother to be happy again after the death of Alma's father. In a quest for the story behind her name, Alma and Leo find each other, and Leo learns that the book he wrote so long ago has not been lost. Krauss (Man Walks into a Room) develops the story beautifully, incrementally revealing details to expose more and more of the mystery behind Leo's book, The History of Love. At the end, some uncertainty remains about a few of the characters, but it does not matter because the important connections between them are made. Recommended for literary fiction collections. —Sarah Conrad Weisman, Elmira Coll. Lib., NY
Library Journal

The histories of several unresolved, inchoate and remembered loves. The first of the stories here is that of New York City octogenarian Leo Gursky, a Polish war refugee who came to America seeking Alma, the girl he had loved, who had emigrated before him. Following a bleakly funny opening sequence that sharply dramatizes Leo's undiminishable vitality, and also reveals teasing details about Alma's American life, second-novelist Krauss (Man Walks into a Room, 2002) shifts the focus to adolescent Alma Singer, who's edging cautiously toward womanhood while dealing with her unstable younger brother Emanuel (aka "Bird") and widowed mother Charlotte (a literary translator). Alma's memories of her late father, a cancer victim, take the forms of a fixation on survival techniques and an obsession with an autobiographical book (which Charlotte translates): a homage to another Alma, and the work of Holocaust survivor Zvi Litvinoff, whose resemblances to and connections with Leo Gursky lie at the heart of this novel's unfolding mysteries. Suffice it to say that each of Krauss's searching and sentient characters is both exactly who he or she seems to be and another person entirely, and that that paradox is expertly worked out as Krauss gradually reveals the provenance of the eponymous History; the relationship that embraces Litvinoff, Gursky and the latter's mysterious upstairs neighbor Bruno; and the woman or women they "all" loved and lost. These enigmas are deepened and underscored by the chaotic "diary" in which Bird records the apocalyptic fantasies that are at heart his own history of love and loss, another son's search for another father, and an affirmation of the compensation for loss through exercise of the imagination that this brilliant novel itself so memorably incarnates. A most unusual and original piece of fiction—and not to be missed.
Kirkus Reviews

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Discussion Questions 
1. Leo Gursky and Alma Singer make an unlikely pair, but what they share in common ultimately brings them together. What are the similarities between these two characters?

2. Leo fears becoming invisible. How does fiction writing prove a balm for his anxiety?

3. Explore the theme of authenticity throughout the narrative. Who's real and who's a fraud?

4. Despite his preoccupation with his approaching death, Leo has a spirit that is indefatigably comic. Describe the interplay of tragedy and comedy in The History of Love.

5. What distinguishes parental love from romantic love in the novel?

6. Why is it so important to Alma that Bird act normal? How normal is Alma?

7. When Alma meets Leo, she calls him the "oldest man in the world." Does his voice sound so ancient?

8. Uncle Julian tells Alma, "Wittgenstein once wrote that when the eye sees something beautiful, the hand wants to draw it." How does this philosophical take on the artistic process relate to the impulse to write in The History of Love?

9. Many different narrators contribute to the story of The History of Love. What makes each of their voices unique? How does Krauss seam them together to make a coherent novel?

10. Survival requires different tactics in different environments. Aside from Alma's wilderness guidelines, what measures do the characters in the novel adopt to carry on?

11. Most all of the characters in the novel are writers—from Isaac Moritz to Bird Singer. Alma's mother is somewhat exceptional, as she works as a translator. Yet she is not the only character to transform others' words for her creative practice. What are the similarities and differences between an author and a translator?

12. What are the benefits of friendship in the novel? Why might Alma feel more comfortable remaining Misha's friend rather than becoming his girlfriend?

13. The fame and adulation Isaac Moritz earns for his novels represent the rewards many writers hope for, while Leo, an unwitting ghostwriter, remains unrecognized for his work. What role does validation play in the many acts of writing in The History of Love?

14. Leo decides to model nude for an art class in order to leave an imprint of his existence. He writes to preserve the memories of his love for Alma Mereminski. Yet drawings and novels are never faithful renditions of the truth. Do you recognize a process of erasure in the stories he tells us?

15. Why might Krauss have given her novel the title The History of Love, the same as that of the fictional book around which her narrative centers?
(Questions issued by publisher.)

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Middlesex
Jeffrey Eugenides, 2002
Picador
544 pp.
ISBN-13: 9780312427733 


Summary 
Winner, 2003 Pulitizer Prize

In the spring of 1974, Calliope Stephanides, a student at a girls' school in Grosse Pointe, finds herself drawn to a chain-smoking, strawberry blond clasmate with a gift for acting. The passion that furtively develops between them along with Callie's failure to develop leads Callie to suspect that she is not like other girls. In fact, she is not really a girl at all.

The explanation for this shocking state of affairs takes us out of suburbia—back before the Detroit race riots of 1967, before the rise of the Motor City and Prohibition, to 1922, when the Turks sacked Smyrna and Callie's grandparents fled for their lives. Back to a tiny village in Asia Minor where two lovers, and one rare genetic mutation, set in motion the metamorphosis that will turn Callie into a being both mythical and perfectly real: a hermaphrodite.

Spanning eight decades and one unusually awkward adolescence, Jeffrey Eugenides's long-awaited second novel is a grand, utterly original fable of crossed bloodlines, the intricacies of gender, and the deep, untidy promptings of desire. It marks the fulfillment of a huge talent, named one of America's best young novelists by both Granta and The New Yorker. (From the publisher.)

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Author Bio 

• Birth—March 8, 1960
• Where—Detroit, Michigan, USA
• Education—B.A., Brown University; M.A., Stanford
University
• Awards—Whiting Writer's Award; Guggenheim
Fellowship; Pulitzer Prize
• Currently—lives in Princeton, New Jersey

Jeffrey Kent Eugenides is an American Pulitzer Prize-winning novelist and short story writer. Eugenides is most known for his three acclaimed novels, The Virgin Suicides (1993), Middlesex (2002), and The Marriage Plot (2011).

Eugenides was born in Detroit, Michigan, of Greek and Irish descent. He attended Grosse Pointe's private University Liggett School. He took his undergraduate degree at Brown University, graduating in 1983. He later earned an M.A. in Creative Writing from Stanford University.

In 1986 he received the Academy of Motion Picture Arts and Sciences Nicholl Fellowship for his story "Here Comes Winston, Full of the Holy Spirit." His 1993 novel, The Virgin Suicides, gained mainstream interest with the 1999 film adaptation directed by Sofia Coppola. The novel was reissued in 2009.

Eugenides is reluctant to disclose details about his private life, except through Michigan-area book signings in which he details the influence of Detroit and his high-school experiences on his writings. He has said that he has "a perverse love" of his birthplace. "I think most of the major elements of American history are exemplified in Detroit, from the triumph of the automobile and the assembly line to the blight of racism, not to mention the music, Motown, the MC5, house, techno." He also says he has been haunted by the decline of Detroit.

He lives in Princeton, New Jersey, with his wife, Karen Yamauchi, and their daughter, Georgia. In the fall of 2007, Eugenides joined the faculty of Princeton University's Program in Creative Writing.

His 2002 novel, Middlesex, won the Pulitzer Prize for fiction and the Ambassador Book Award. Part of it was set in Berlin, Germany, where Eugenides lived from 1999 to 2004, but it was chiefly concerned with the Greek-American immigrant experience in the United States, against the rise and fall of Detroit. It explores the experience of the intersexed in the USA. Eugenides has also published short stories, primarily in The New Yorker. His 1996 "Baster" became the basis for the 2010 romantic comedy The Switch (with Jennifer Aniston and Jason Bateman).

His third novel, The Marriage Plot (2011), has been called by Carlin Romano in the Chronicle of Higher Education" the most entertaining campus novel since Wolfe's I Am Charlotte Simmons. The plot is based on graduation day at Brown University in 1982.

Eugenides is the editor of the collection of short stories titled My Mistress's Sparrow is Dead. The proceeds of the collection go to the writing center 826 Chicago, established to encourage young people's writing. (From Wikipedia.)

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Book Reviews 
An uproarious epic, at once funny and sad, about misplaced identities and family secrets.... Mr. Eugenides has a keen sociological eye for 20th-century American life.... But it's his emotional wisdom, his nuanced insight into his characters' inner lives, that lends this book its cumulative power.
Michiko Kakutani - The New York Times

Eugenides is one of those rare writers who can manage sympathy and detachment simultaneously-and work small wonders with words while he's at it. As The Virgin Suicides puts its heroines through hell, its readers, weirdly enough, will be delighted.
David Gates - Newsweek

Beautifully written.... The most wonderful thing about this book is Eugenides's ability to feel his way into the girl, Callie, and the man, Cal. It's difficult to imagine any serious male writer of earlier eras so effortlessly transcending the stereotypes of gender."
Publishers Weekly

(Audio version.) Without a doubt, this audio edition of Eugenides's long-awaited second novel (after The Virgin Suicides) represents an acme of the audiobook genre: the whole equals much more than the sum of its parts. This is simultaneously the tale of a gene passed down through three generations and the story of Calliope Stephanides, the recipient of that gene. Never quite feeling at home in her body, Callie discovered at the age of 14 that she is, in fact, genetically, if not completely anatomically, a boy. From this point on she becomes Cal, and it is Cal, the 41-year-old man, who narrates the story, dipping all the way back in history to the time of his grandparents' incestuous relationship in war-torn Turkey. Tabori's performance of the text is phenomenal. His somewhat high-register, wavering voice, reminiscent of a young Burgess Meredith, is completely convincing as both the young female Callie and the older male Cal. Not only are his interpretations of the characters astonishingly credible, but his internalization of the narrative is nothing short of amazing. Listeners will feel this exhilarating story is being told personally to them for the very first time. Additionally, the intro music at the beginning of each of the 28 sides is different, with each snippet offering a different style of music, reflecting the current timeline and mood of the story. This adds a subtle but wonderful effect.
Publishers Weekly

Eugenides's second novel (after The Virgin Suicides) opens "I was born twice: first, as a baby girl...in January of 1960; and then again, as a teenage boy...in August of 1974." Thus starts the epic tale of how Calliope Stephanides is transformed into Cal. Spanning three generations and two continents, the story winds from the small Greek village of Smyrna to the smoggy, crime-riddled streets of Detroit, past historical events, and through family secrets. The author's eloquent writing captures the essence of Cal, a hermaphrodite, who sets out to discover himself by tracing the story of his family back to his grandparents. From the beginning, the reader is brought into a world rich in culture and history, as Eugenides extends his plot into forbidden territories with unique grace. His confidence in the story, combined with his sure prose, helps readers overcome their initial surprise and focus on the emotional revelation of the characters and beyond. Once again, Eugenides proves that he is not only a unique voice in modern literature but also well versed in the nature of the human heart. Highly recommended.
Library Journal 

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Discussion Questions 
1. Describing his own conception, Cal writes: "The timing of the thing had to be just so in order for me to become the person I am. Delay the act by an hour and you change the gene selection" (p. 11). Is Cal's condition a result of chance or of fate? Which of these forces governs the world as Cal sees it?

2. Middlesex begins just before Cal's birth in 1960, then moves backward in time to 1922. Cal is born at the beginning of Part 3, about halfway through the novel. Why did the author choose to structure the story in this way? How does this movement backward and forward in time reflect the larger themes of the work?

3. When Tessie and Milton decide to try to influence the sex of their baby, Desdemona disapproves. "God decides what baby is," she says. "Not you" (p. 13). What happens when characters in the novel challenge fate?

4. "To be honest, the amusement grounds should be closed at this hour, but, for my own purposes, tonight Electric Park is open all night, and the fog suddenly lifts, all so that my grandfather can look out the window and see a roller coaster streaking down the track. A moment of cheap symbolism only, and then I have to bow to the strict rules of realism, which is to say: they can't see a thing" (pp. 110-11). Occasionally, Cal interrupts his own narrative, calling attention to himself and the artifice inherent in his story. What purpose do these interruptions serve? Is Cal a reliable narrator?

5. "I've never had the right words to describe my life, and now that I've entered my story, I need them more than ever," Cal writes (p. 217). How does Cal narrate the events that take place before his birth? Does his perspective as a narrator change when he is recounting events that take place after he is born?

6. "All I know is this: despite my androgenized brain, there's an innate feminine circularity in the story I have to tell" (p. 20). What does Cal mean by this? Is his manner of telling his story connected to the question of his gender? How?

7. How are Cal's early sexual experiences similar to those of any adolescent? How are they different? Are the differences more significant than the similarities?

8. Why does Cal decide to live as a man rather than as a woman?

9. How does Cal's experience reflect on the "nature vs. nurture" debate about gender identity?

10. Who is Jimmy Zizmo? How does he influence the course of events in the novel?

11. What is Dr. Luce's role in the novel? Would you describe him as a villain?

12. Calliope is the name of the classical Greek muse of eloquence and epic poetry. What elements of Greek mythology figure in Cal's story? Is this novel meant to be a new "myth"?

13. How is Cal's experience living within two genders similar to the immigrant experience of living within two cultures? How is it different?

14. Middlesex is set against the backdrop of several historical events: the war between Greece and Turkey, the rise of the Nation of Islam, World War II, and the Detroit riots. How does history shape the lives of the characters in the novel?

15. What does America represent for Desdemona? For Milton? For Cal? To what extent do you think these characters' different visions of America correspond to their status as first-, second-, and third-generation Greek Americans?

16. What role does race play in the novel? How do the Detroit riots of 1967 affect the Stephanides family and Cal, specifically?

17. Describe Middlesex. Does the house have a symbolic function in the novel?

18. "Everything about Middlesex spoke of forgetting and everything about Desdemona made plain the inescapability of remembering," Cal writes (p. 273). How and when do Desdemona's Old World values conflict with the ethos of America and, specifically, of Middlesex?

19. The final sentence of the novel reads: "I lost track after a while, happy to be home, weeping for my father, and thinking about what was next" (p. 529). What is next for Cal? Does the author give us reason to believe that Cal's relationship with Julie will be successful?

20. "Watching from the cab, Milton came face-to-face with the essence of tragedy, which is something determined before you're born, something you can't escape or do anything about, no matter how hard you try" (p. 426). According to this definition, is Cal's story a tragedy?
(Questions issued by publisher.)

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