The Cellist of Sarajevo 
Steven Galloway, 2008
Penguin Group USA
256 pp.
ISBN-13: 9781594483653

Summary  
This brilliant novel with universal resonance tells the story of three people trying to survive in a city rife with the extreme fear of desperate times, and of the sorrowing cellist who plays undaunted in their midst.

One day a shell lands in a bread line and kills twenty-two people as the cellist watches from a window in his flat. He vows to sit in the hollow where the mortar fell and play Albinoni’s Adagio once a day for each of the twenty-two victims. The Adagio had been re-created from a fragment after the only extant score was firebombed in the Dresden Music Library, but the fact that it had been rebuilt by a different composer into something new and worthwhile gives the cellist hope.

Meanwhile, Kenan steels himself for his weekly walk through the dangerous streets to collect water for his family on the other side of town, and Dragan, a man Kenan doesn’t know, tries to make his way towards the source of the free meal he knows is waiting. Both men are almost paralyzed with fear, uncertain when the next shot will land on the bridges or streets they must cross, unwilling to talk to their old friends of what life was once like before divisions were unleashed on their city. Then there is “Arrow,” the pseudonymous name of a gifted female sniper, who is asked to protect the cellist from a hidden shooter who is out to kill him as he plays his memorial to the victims.

In this beautiful and unforgettable novel, Steven Galloway has taken an extraordinary, imaginative leap to create a story that speaks powerfully to the dignity and generosity of the human spirit under extraordinary duress. (From the publisher.)

Author Bio 
• Birth—July, 1975
• Where—Vancouver, British Columbia, Canada
• Education—University of College of the Cariboo; University 
   of British Columbia
• Currently—New Westminster, Btitish Columbia


Steven Galloway, a Canadian author, was born in Vancouver and raised in Kamloops, both in British Columbia. He attended the University College of the Cariboo and the University of British Columbia. His debut novel, Finnie Walsh (2000), was nominated for the Amazon.ca/Books in Canada First Novel Award. His second novel, Ascension (2003), was nominated for the BC Book Prizes' Ethel Wilson Fiction Prize, and has been translated into numerous languages.

His third novel, The Cellist of Sarajevo (2008), was heralded as "the work of an expert" by the Guardian, and has become an international bestseller and sold in 20 countries. Galloway has taught creative writing at the University of British Columbia and taught and mentored creative writing in The Writer's Studio, at the writing and publishing program at Simon Fraser University. (From Wikipedia.)

Book Reviews 
In this elegiac novel inspired by an actual event during the siege of Sarajevo in 1992, Steven Galloway explores the brutality of war and the redemptive power of music. Crafted with unforgettable imagery and heartbreaking simplicity, his small book speaks forcefully to the triumph of the spirit in the face of overwhelming despair.
Washington Post


Canadian Galloway delivers a tense and haunting novel following four people trying to survive war-torn Sarajevo. After a mortar attack kills 22 people waiting in line to buy bread, an unnamed cellist vows to play at the point of impact for 22 days. Meanwhile, Arrow, a young woman sniper, picks off soldiers; Kenan makes a dangerous trek to get water for his family; and Dragan, who sent his wife and son out of the city at the start of the war, works at a bakery and trades bread in exchange for shelter. Arrow's assigned to protect the cellist, but when she's eventually ordered to commit a different kind of killing, she must decide who she is and why she kills. Dragan believes he can protect himself through isolation, but that changes when he runs into a friend of his wife's attempting to cross a street targeted by snipers. Kenan is repeatedly challenged by his fear and a cantankerous neighbor. All the while, the cellist continues to play. With wonderfully drawn characters and a stripped-down narrative, Galloway brings to life a distant conflict.
Publishers Weekly


A bread line in besieged Sarajevo. A mortar lobbed by Serb soldiers on the hill. Death for 22 people. A cellist sees it all and determines to honor the dead-and perhaps assuage his own pain-by playing Albinoni's Adagio on the spot for 22 days. And so Galloway opens his first novel, inspired by true events, weaving together four lives to tell the awful story of Sarajevo's devastation. Aside from the cellist, there's Kenan, who risks his life every few days to carry plastic canisters to the brewery and retrieve water for his family. Dragan, who got his family out before the bombs started falling, works at the bakery for, literally, his daily bread. Both must cower on street corners and watch those who risk crossing get shot or killed. Arrow, who uses an alias, is a sniper desperate to defend her city and just as desperate not to compromise her humanity by hating the men who rain death down on the city. In the end, each takes a stand, small or large, to assure that the "Sarajevo that [they want] to live is alive again." Galloway writes simply and affectingly, occasionally resorting to cliché and just as often hitting a sweet, clear note that makes the siege of Sarajevo very real.
Library Journal


Inspired by Vedran Smailovic, the cellist who, in 1992, played in a bombed-out Sarajevo square for 22 days in memory of the 22 people who were killed by a mortar attack, this is a novel about four people trying to maintain a semblance of their humanity in the besieged city.... [Galloway] effectively creates a fifth character in the city itself, capturing the details among the rubble and destruction that give added weight to his memorable novel. —Elliot Mandel
Booklist


Four people struggle to stay alive in war-torn Sarajevo, remembering the simple pleasures of their old routines as they settle into horrifying, desperate new ones. On a day during the brutal siege of Sarajevo—an occupation that ultimately lasted years and claimed tens of thousands of lives-a mortar attack kills 22 people waiting for bread as a once famous cellist watches from his window. In tribute, he decides to play his cello in the street for 22 days, which will likely get him killed, given the hordes of snipers waiting in the hills above the city. But Arrow, an angry young female sniper, is cryptically assigned to protect him. As she stalks his potential killers, she begins to confront her own rationale for murder. Meanwhile, two ordinary citizens try to survive another day in the hell that Sarajevo has become. Kenan, a young father, traverses the ravaged city in search of water for his family and, as a favor, for a neighbor. The only safe haven for clean drinking water is a brewery across town, and the trek is both difficult and dangerous. On the journey, Kenan passes the tragic remains of his old life, including the office building, now burnt down, where he used to work and the park, now unsafe, where he used to spend time with a friend. Meanwhile, Dragan, a middle-aged baker, runs into an old acquaintance as he goes searching for bread. The two literally dodge bullets as they make their way through the streets. As violence rages in a city whose vibrance now lives only in the memories of its dying residents, the cellist continues his beautiful act of defiance, playing on through the bullets. Indelible imagery and heartbreaking characters give authority to this chilling story and make human a crisis typically overlooked in literature.
Kirkus Reviews

Discussion Questions
1. What effect does the constant confrontation of war and occupation have on each narrator? Does suffering, violence and loss ever become normalized for them? What is it like to live in this kind of anarchy—especially when symbols of peace and power have been extinguished (the eternal flame from WWII, the Kosovo Olympic stadium now used as a burial ground)? And what does it mean to have the color, beauty, and vibrancy of music and flowers (left behind for the cellist) introduced?

2. How has life changed in the city since the arrival of the men on the hills? What resources, both physical and mental, are the four characters in the book using to help them survive? What is involved in day-to-day living? How would you fare under these same conditions—and what would be your greatest challenges?

3. Each chapter in the novel is told through the lens of one of the four main characters (including the cellist) in the story. How does this strategy color our reading? How might our experience be different if told in first person? If it were told in a more journalistic way?

4. How do each of the narrators (Arrow, Dragan, Kenan) view their fellow citizens? How do they each look upon their struggles, choices, and their attitudes? What makes them not give up on each other? Does Kenan’s classification of the “three types of people” (144) ring true to you?

5. Do you think the author intends for the reader to be sympathetic to Arrow’s life and career trajectory? What prevents (or encourages) us from fully engaging, trusting, relating to her? Do you think war forces everyone to compromise something in themselves—their attitude, their moral compass?

6. What are the goals of “the men on the hill”? What exactly is it they are trying to destroy? What do they come to represent for the main characters—and what separates them from Arrow?

7. In the beginning of the novel, Dragan is said to avoid his friends and coworkers because “the destruction of the living is too much for him,” Arrow assumes a new name to distance herself from her role as a sniper, and Kenan takes refuge in his new ritual of obtaining water for his family. How have the three used rituals as ways to cope with their fear of what is happening in the city? At the end of the book, do you feel that their experiences of the cellist’s performances have changed how they deal with the danger around them? In what way?

8. What force does music have upon the war torn state—and what powers does it have over the lives of the characters? (For Kenan, Arrow, and Dragan? For the cellist himself?) Do you find yourself relating to the power of the cellist’s performances? Are there parallel moments in your life where you also experienced such sudden awakening, or realization?

9. “Sarajevo was a great city for walking.” How does the mapping of the landscape—the physical and psychic layout of the city—affect the narrative? How does our intimacy with this map affect our experience of the story?

10. In one of his early chapters, Kenan is particularly disturbed by the interruption and shelled state of the tram’s service (“The war will not be over until the trams run again”) and the destruction of the National Library (“the most visible manifestation of a society he was proud of”)—representing for him basic civilization. What signs, services, and signals do you consider pillars of civilization?

11. Why do you think the sniper avoids taking his shot at the cellist—especially when he has such ample opportunity?

12. Why does Dragan take such drastic measures to prevent the dead man’s body from being filmed by the journalist? What does the author suggest through this as a lesson for the living? What are we to do to prevent the horror of war from becoming commonplace, something to tune our televisions out from?

13. Were you surprised by Arrow’s final act of protest? Do you think she was ultimately able to reclaim herself, her identity? Do you think she succeeded?
(Questions issued by publisher.)

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The Honey Thief
Elizabeth Graver, 1999
Houghton Mifflin Harcourt
272 pp.
ISBN-13: 9780156013901

In Brief  
Elizabeth Graver's first novel, Unravelling, was hailed on publication as "exceptional" (New York Times Book Review), "a pleasure" (New Yorker), and "exquisitely poignant and sensual" (Boston Globe). Now, in her second novel, she proves herself to be a major voice in American fiction. The summer that eleven-year-old Eva is caught shoplifting (for the fourth time), her mother, Miriam, decides the only solution is to move out of the city to a quiet town in upstate New York. There, she hopes, they can have the normal life she longs for.

But Miriam is bound by a past she is trying to forget, and tensions escalate. It is only when Eva meets a reclusive beekeeper that she—and her mother—can find their way back to each other, and can begin life with renewed promise. A haunting novel of memory and desire, The Honey Thief reveals the healing power of friendship and the ineradicable bonds of mother and child. (From the publisher.)

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About the Author 

• Birth—July 2, 1964
• Where—Los Angeles, California, USA
• Education—B.A., Wesleyan University; M.F.A., Washington
   University (St. Louis); doctoral study, Cornell University
• Awards—see below
• Currently—teaches at Boston College

Elizabeth Graver is the author Awake, The Honey Thief, and Unravelling. Her short story collection, Have You Seen Me?, won the 1991 Drue Heinz Literature Prize.

Her work has been anthologized in Best American Short Stories (1991, 2001); Prize Stories: The O. Henry Awards (1994, 1996, 2001), The Pushcart Prize Anthology (2001), and Best American Essays (1998). Her story “The Mourning Door” was award the Cohen Prize from Ploughshares Magazine. The mother of two young daughters, she teaches English and Creative Writing at Boston College (From the author's website.)

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Critics Say . . . 
Traditional though not quaint, filled with elegant and straightforward language, it tells a completely contemporary story about a young girl on the verge of adolescence, even as it manages to sidestep the clichés of the genre.
Katharine Weber - York Times Book Review

That is what Graver evokes constantly here, with no pat ending or easy answers but admirable talent and truth: the sense that in raising a child we get the chance to improve upon ourself.
Andy Solomon - Boston Globe

Elizabeth Graver is rapidly proving herself one of our finest writers on the grand drama of simply growing up.... [Her] vision is magnificiently detailed and precise, offering readers a memorable and sustained glimpse at the mysterious machinations of life itself.
John Gregory Brown - Chicago Tribune

As delicately as bees build honey-combs, Graver constructs an affecting story about the costs of starting over, of hoping for better after being stung by life. "A life...could go either way, climb steadily toward its better possibilities or sprial down," Miriam says at the beginning of this sad, wise novel. By the end, the balance has tipped toward possibilities rather than disappointment. But as Graver shows, like farm-fresh honey, happiness takes time and has its risks.
John Freeman - TimeOut New York

A mother and daughter trying to overcome trauma, loneliness and an uncertain future are not a new combination in literary fiction. But in her wise and accomplished novel, Graver navigates the crossroads in her characters' lives with compassion and skill, and tells a story that touches the heart without succumbing to sentimentality or easy answers. After 11-year-old Eva Baruch is caught shoplifting for the third time, her desperate widowed mother, Miriam, decides they must move from their apartment in lower Manhattan to a place where they can start new lives. She finds a job as a paralegal in the Finger Lakes region of New York State, and they move to a farmhouse a distance from the nearest town. Miriam seems competent and self-contained, but she has been frightened since the first year of her marriage to Francis DiLeone, and the facts about her husband's fatal heart attack when Eva was six are revealed only gradually through flashbacks. Miriam is Jewish, while Francis was the son of a fanatically Catholic mother who talks to saints; the specter of inherited mental illness haunts Miriam even as she struggles to support herself and Eva and strives to keep her daughter safe and healthy. Meanwhile, a resentful Eva, suddenly transplanted to a place where she has no friends or resources, visits Burl, a shy, middle-aged loner who has quit his career as a Philadelphia lawyer to retreat to his grandparents' farm, where he raises bees. Burl's kindness and patience in teaching Eva the intricacies of bee-keeping and honey gathering help her to quell the panic attacks that presage her kleptomania, an irresistible impulse to acquire talismans against imagined disasters. When events come to crisis, Graver wisely refrains from resolving them in a neat or romantic closure. Her touch is both subtle and honest, grounded in reality but acknowledging the essence of human striving for companionship and happiness. Her ability to create nuanced, fallible characters who doggedly strive to go on with imperfect lives adds emotional resonance to this touching tale. Readers who enjoyed Amy and Isabelle will welcome the similar sensibility they find here.
Publishers Weekly

(Young Adult) Eva DiLeone, 11, has been arrested several times for shoplifting. Her mother Miriam moves them from Manhattan to a small community near Ithaca, NY, hoping for a better environment for her daughter. She has a secret that Eva knows nothing about: the girl's father, who supposedly died of a heart attack when she was six, actually committed suicide in the throes of mental illness. Miriam fears that Eva has inherited her father's imbalance. Meanwhile, it's summer, and the girl is lonely. Down the road lives a beekeeper, and Eva is drawn to the jars of honey he puts out for sale at the end of his driveway. She takes one and, a few days later, takes another. Burl, of course, knows perfectly well who has stolen his honey, but encourages Eva's interest in beekeeping and lets her help him. One day a package labeled "Live Queen Bees" arrives when Burl isn't home and Eva decides to put the new queen inside the hive. When she is badly stung and hospitalized, Miriam is furious with Burl and, confronting him, blurts out her fears. In doing so, she realizes that she must tell Eva the truth about her father and try to establish a more honest relationship with her. YAs will appreciate this realistic portrayal of a relationship between mother and daughter, and the rocky friendship of a lonely girl and a shy man with problems of his own. — Molly Connally, Kings Park Library, Fairfax County, VA.
Library Journal

An agreeably unruly second novel, about a preadolescent girl's gradual indoctrination into adult imperfection and discomfort, from Graver (Unravelling, 1997, etc.). The protagonist is 11-year-old Eva Baruch, a New Yorker transplanted by her widowed mother Miriam to a rural upstate town, after Evas been caught repeatedly shoplifting. Miriam (whose viewpoint is one of four among that Graver shifts adroitly) is determined ``to weed her daughter's brain, to take out the choked, unhappy parts and let the good parts grow''for they have together suffered the loss of Eva's father Francis, following an illness far more perplexing and harrowing than Eva knows. While Miriam adjusts to a new home and job, Eva wanders the neighborhood, forming an unlikely friendship with Burl, a 40ish near-recluse who supports himself and his avocation of beekeeping as an author of miscellaneous how-to books. Though the subplot involving Burl's loveless and lonely existence deflects attention from the novel's rightful concentration on Miriam and Eva, Graver makes ingenious connections between her two protagonists' individual and familial "worlds'' and the beehive's "world under siege in ways invisible to the human eye'' (the books been expertly researched). The flashback chapters describing Miriam's hopeful marriage to the charismatic, seductively eccentric Francis, his protective love for his infant daughter, and the delusional paranoia (eventually diagnosed as bipolar disorder) that destroys him are impressively, suspensefully dramatic. Only in the thickly plotted closing pages, when all its several strands are pulled together tightly, do we feel the weight of an author's over-managing hand. And even then, the storys never less than absorbing and emotionally satisfying. It's a measure of how firmly it grips us that we wishas do its characters that everything about themselves and their lives could be perfect.
Kirkus Reviews

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Book Club Discussion Questions 

1. From the first chapter on, Eva's desire to steal forms a central strand in the novel. Why do you think she has this impulse? How is it related to the events of her early childhood? To her present circumstances? What is it allowing her to work out or stave off? What do you make of the fact that Miriam also stole when she was younger, as we see in her memory of her trip to Mexico (page 23)?

2. The Honey Thief takes place both in Manhattan and in a rural town in upstate New York. How is this dual setting important? At one point, as Miriam considers moving to the country, she remembers Francis scoffing at what he called "the Geographic Cure" (page 22). Was Francis correct in thinking that changing location is no solution to life's troubles? What effects does the move eventually have on Miriam's and Eva's relationship? On their individual development?

3. What is Burl's role in the book? What does beekeeping mean to him? To Eva? To their growing friendship? What compels Eva to open up the hive toward the end of the book? The world of the bees and the social world of people in the novel intersect in many ways. How would you describe those connections?

4. "She asked her mother questions," we read of Eva, "and her mother answered, and the answers both soothed and itched, so Eva asked again and yet again" (page 200). Why is Eva so interested in hearing stories about the past? What happens to those stories (for example, the one about how Miriam and Francis met, in Chapter Five) as they are told or remembered over time? What is the function of stories or memories about the past for the different characters in the book?

5. There are many instances, in The HoneyThief, of people lying, skirting around the truth, or omitting key details. Eva neglects to tell her mother about Burl; Burl covers up for Eva when Miriam asks him if she ever stole honey; Francis withholds information from Miriam about his illness. Most important, Miriam misrepresents the past to Eva. How do you understand the motivations behind these various dodgings of the truth? Should Miriam have been more straightforward with her daughter? What made her behave the way she did? What are the obligations, in a family or friendship, to reveal or withhold the truth?

6. Author Elizabeth Berg wrote that "in The Honey Thief, Elizabeth Graver captures the mixed pain and pleasure in the mother/daughter relationship [and] illuminates the sharp-edged longings of adolescence." A number of recent novels explore relations between mothers and daughters, among them, Jamaica Kincaid's Annie John, Elizabeth Strout's Amy and Isabelle, and Kaye Gibbons's Sights Unseen. What links do you see between The Honey Thief and these books or other recent novels about mothers and daughters?

7. Mental illness is a specter throughout the novel, most directly for Francis, but also for Miriam as she watches Eva grow up and worries that the child may have inherited her father's disorder. How does the novel explore what it's like to live under such a shadow? How does Francis's illness bring out or suppress parts of him? Of Miriam and Eva? Why is Miriam so worried that Eva might end up like her father? What is your evaluation of Eva's mental health?

8. Why do you think Elizabeth Graver chose to tell this story from three perspectives, instead of, say, sticking to Eva's perspective? How do the fears, hopes, and longings of Eva, Burl, and Miriam echo with or contradict each other? Why are we never given direct access to Francis's point of view? The book ends with Burl's perspective, as he watches Eva and Miriam at the observation hive. What has shifted by the end of The Honey Thief for each of these three people? How have these changes come about?
(Questions written by author.)

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Of Love and Dust 
Ernest J. Gaines, 1967
Knopf Doubleday
288 pp.
ISBN-13: 9780679752486

Summary
Of Love and Dust has power and fascination. It zeros in on an explosion in the making between two men, one black and one white, trapped in the vise of Southern back country prejudice.

When young Marcus is bonded out of jail, he is sent to the Hebert Plantation to work in the fields. He treats Sidney Bonbon, the Cajun overseer, with contempt and Bonbon retaliates by working him nearly to death. Marcus decides to take his revenge. (From the publisher.)

Author Bio
• Birth—January 15, 1933
• Where—Pointe Coupee, Louisiana, USA
• Education—B.A., San Francisco State University; fellowiship
   to Stanford University
• Awards—Wallace Stegner Fellow, 1957; National Endowment
   for the Arts grant, 1967; Dos Passos Prize, 1993; MacArthur
   Foundation fellow, 1993; National Book Critics Award, 1993;
   National Humanities Medal, 2000; he American Academy of
   Arts and Letters, 2000; Chevalier, Order of Arts and Letters 
   (France), 2000.
• Currently—lives in San Francisco and Oscar, Louisiana


Ernest Gaines was born on a plantation in Pointe Coupee Parish near New Roads, Louisiana, which is the Bayonne of all his fictional works. He is writer-in-residence emeritus at the University of Louisiana at Lafayette. In 1993 Gaines received the John D. and Catherine T. MacArthur Foundation Fellowship for his lifetime achievements.

In addition to The Autobiography of Miss Jane Pittman, Mr. Gaines is also the author of A Lesson Before Dying, A Gathering of Old Men, Bloodline, and Of Love and Dust.

In 1996 he was named a Chevalier de l’Ordre des Arts et des Lettres, one of France’s highest decorations. He and his wife, Dianne, live in Oscar, Louisiana. (From Wikipedia.)

Book Reviews
(Books prior to the Internet have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful reviews.)

Ernest J. Gaines has set out to tell us a familar story and told it well—the tragedy of Mracus, a young Louisian Negro rebel brave and desperate enough to pit his life againsst the Olympus of the Southern power structure.... [I]n general, the false notes are few. Aside from occasional technical awkwardness, the writing is clean, and Mr. Gaines paints some vivid scenes and fine portraits.... Yet despite these qualities, Mr. Gaines's second novel is still an "undergraduate" work, in which the author trusts craft formula too much, himself too little. Perhaps he will dig the same ground a little deeper next time and turn up a little more of himself—and me.
Robert Granat - New York Times (1967)

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 Of Love and Dust:

1. Describe the character of Marcus. What do you find admirable in him...as well as troubling? Does he ever show remorse for his actions? Does he gain in stature as the story progresses...or the opposite?

2. What are conditions like on the Herbert plantation? How do you explain BonBon, the overseer's treatment of Marcus? In what way is Marcus's presence there a threat?

3. Discuss BonBon's statement: "Me and you—what is we? We little people.... They make us do what they want us to do, and they don't tell us nothing. We don't have nothing to say 'bout it, do we?" How does Marcus respond to that sense of powerlessness?

4. Why might Gaines have chosen Jim to narrate the story? What do you think of him?

5. Was the ending of this book inevitable—a working out of fate as in Greek tragedy? Is Marcus a tragic hero, punished by the gods of Olympus because of his hubris, his insistence on challenging the powers that be?

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

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Skeletons at the Feast
Chris Bohjalian, 2008
Crown Publishing
400 pp.
ISBN-13: 9780307394965

Summary
A masterful love story set against a backdrop of epic history and unforgettable courage.

In the waning months of World War II, a small group of people begin the longest journey of their lives.

At the center is eighteen-year-old Anna, the daughter of Prussian aristocrats, and her first love, a twenty-year-old Scottish prisoner of war named Callum. With his boyish good looks and his dedication to her family, he has captured Anna’s heart.

But he is the enemy, and their love must remain a closely guarded secret. Only Manfred, a twenty-six-year-old Wehrmacht corporal, knows the truth. And Manfred, who is not what he seems to be, is reluctantly taken with Anna, just as she finds herself drawn uncomfortably to him.

As these unlikely allies work their way west, their flight will test both Anna’s and Callum’s love, as well as their friendship with Manfred—and will forever bind the young trio together. (From the publisher.)

Author Bio
• Birth—1960
• Where—White Plains, New York, USA
• Education—Amherst College
• Awards—Anahid Literary Award, 2000; New England Book Award, 2002
• Currently—lives in Lincoln, Vermont

Christopher Aram Bohjalian, who goes by the pen name Chris Bohjalian, is an American novelist. Bohjalian is the author of 15 novels, including New York Times bestsellers Midwives, Secrets of Eden, The Law of Similars, Before You Know Kindness, The Double Bind, Skeletons at the Feast, and The Night Strangers.

Bohjalian is the son of Aram Bohjalian, who was a senior vice president of the New York advertising agency Romann & Tannenholz. Chris Bohjalian graduated summa cum laude from Amherst College, where he was a member of the Phi Beta Kappa Society. In the mid-1980s, he worked as an account representative for J. Walter Thompson advertising agency in New York.

He and his wife lived in a co-op in Brooklyn until March 1986, when the two were riding in a taxicab in which the driver refused to let them out of the car for 45 minutes, ignoring all traffic lights and stop signs. Around midnight, the driver dropped them off at a near-deserted street in front of a crack house, where the police were conducting a raid and Bohjalian and his wife were forced to drop to the ground for their protection. The incident prompted the couple to move from Brooklyn; Bohjalian said, "After it was all over, we just thought, "Why do we live here?" A few days later, the couple read an ad in The New York Times referencing the "People's Republic of Vermont," and in 1987 the couple moved to Lincoln, Vermont.

Early career
After buying their house, Bohjalian began writing weekly columns for local newspaper and magazine about living in the small town, which had a population of about 975 residents. The Concord Monitor said of Bohjalian during this period, "his immersion in community life and family, Vermont-style, has allowed him to develop into a novelist with an ear and empathy for the common man." Bohjalian continued the column for about 12 years, writing about such topics as his own daily life, fatherhood and the transformation of America. The column has run in the Burlington Free Press since 1992. Bohjalian has also written for such magazines as Cosmopolitan, Reader's Digest and the Boston Globe Sunday Magazine.

Bohjalian's first novel, A Killing in the Real World, was released in 1988. Almost two decades after it was released, Bohjalian said of the book, "It was a train wreck. I hadn't figured things out yet." His third novel, Past the Bleachers, was released in 1992 and adapted as a Hallmark Channel television movie in 1995.

In 1998, Bohjalian wrote his fifth book, Midwives, a novel focusing on rural Vermont midwife Sibyl Danforth, who becomes embroiled in a legal battle after one of her patients died following an emergency Caesarean section. The novel was critically acclaimed and was selected by Oprah Winfrey as the October 1998 selection of her Oprah's Book Club, which helped push the book to great financial success. It became a New York Times and USA Today bestseller. Victoria Blewer has often described her husband as having "a crush" on the Sybil Danforth character. In 2001, the novel was adapted into a Lifetime Movie Network television film starring Sissy Spacek in the lead role. Spacek said the Danforth character appealed to her because "the heart of the story is my character's inner struggle with self-doubt, the solo road you travel when you have a secret."

Later career
Bohjalian followed Midwives with the 1999 novel The Law of Similars, about a widower attorney suffering from nameless anxieties who starts dating a woman who practices alternative medicine. The novel was inspired by Bohjalian's real-life visit to a homeopath in an attempt to cure frequent colds he was catching from his daughter's day care center. Bohjalian said of the visit, "I don't think I imagined there was a novel in homeopathy, however, until I met the homeopath and she explained to me the protocols of healing. There was a poetry to the language that a patient doesn't hear when visiting a conventional doctor." The protagonist, a father, is based in part on Bohjalian himself, and his four-year-old daughter is based largely on Bohjalian's daughter, who was three when he was writing the book., Liz Rosenberg of The New York Times said the novel shared many similarities with Midwives but that it paled in comparison; Rosenberg said, "Unlike its predecessor, it fails to take advantage of Bohjalian's great gift for creating thoughtful fiction featuring characters in whom the reader sustains a lively interest." Megan Harlan of The Boston Phoenix described it as "formulaic fiction" and said Bohjalian focused too much on creating a complex plot and not enough of complex characterizations. The Law of Similars, like Midwives, made the New York Times bestsellers list.

He won the New England Book Award in 2002, and in 2007 released "The Double Bind," a novel based on Fitzgerald's The Great Gatsby.

In 2008, Bohjalian released Skeletons at the Feast, a love story set in the last six months of World War II in Poland and Germany. The novel was inspired by an unpublished diary written by German citizen Eva Henatsch from 1920 to 1945. The diary was given to Bohjalian in 1998 by Henatsch's grandson Gerd Krahn, a friend of Bohjalian, who had a daughter in the same kindergarten class as Bohjalian's daughter. Bohjalian was particularly fascinated by Henatsch's account of her family's trek west ahead of the Soviet Army, but he was not inspired to write a novel from it until 2006, when he read Armageddon: The Battle for Germany, Max Hastings' history of the final years of World War II. Bohjalian was struck not only by how often Henatsch's story mirrored real-life experiences, but also the common "moments of idiosyncratic human connection" found in both. Skeletons of the Feast was considered a departure for Bohjalian because it was not only set outside of Vermont, but set in a particular historical moment.

His 2010 novel, Secrets of Eden, was also a critical success, receiving starred reviews from three of the four trade journals (Booklist, Library Journal, and Publishers Weekly), as well as many newspapers and magazines. It debuted at # 6 on The New York Times bestseller list.

His next novel, The Night Strangers, published in 2011, represents yet another departure for Bohjalian. The is both a gothic ghost story and a taut psychological thriller.

He has written a weekly column for Gannett's Burlington Free Press since February 1992 called "Idyll Banter." His 1,000th column appeared in May 2011.

Personal comments
In a 2003 Barnes & Noble interview, Bohjalian offered up these personal comments:

I was the heaviest child, by far, in my second-grade class. My mother had to buy my pants for me at a store called the "Husky Boys Shop," and still she had to hem the cuffs up around my knees. I hope this experience, traumatizing as it was, made me at least marginally more sensitive to people around me.

I have a friend with Down syndrome, a teenage boy who is capable of remembering the librettos from entire musicals the first or second time he hears them. The two of us belt them out together whenever we're driving anywhere in a car.I am a pretty avid bicyclist. The other day I was biking alone on a thin path in the woods near Franconia Notch, New Hampshire, and suddenly before me I saw three bears. At first I saw only two, and initially I thought they were cats. Then I thought they were dogs. Finally, just as I was approaching them and they started to scurry off the path and into the thick brush, I understood they were bears. Bear cubs, to be precise. Which is exactly when their mother, no more than five or six feet to my left, reared up on her hind legs, her very furry paws and very sharp claws raised above her head in a gesture that an optimist might consider a wave and guy on a bike might consider something a tad more threatening. Because she was standing on a slight incline, I was eye level with her stomach—an eventual destination that seemed frighteningly plausible. I have never biked so fast in my life in the woods. I may never have biked so fast in my life on a paved road.

I do have hobbies—I garden and bike, for example—but there's nothing in the world that gives me even a fraction of the pleasure that I derive from hanging around with my wife and daughter.

He lives with his wife and daughter in Lincoln, Vermont, where he is active in the local church and the Vermont theater community—always off-stage, never on.

Writing style
Bohjalian novels often focus on a specific issue, such as homelessness, animal rights and environmentalism, and tend to be character-driven, revolving around complex and flawed protagonists and secondary characters. Bohjalian uses characteristics from his real life in his writings; in particular, many of his novels take place in fictional Vermont towns, and the names of real New Hampshire towns are often used throughout his stories. Bohjalian said, "Writers can talk with agonizing hubris about finding their voices, but for me, it was in Vermont that I discovered issues, things that matter to me." His novels also tend to center around ordinary people facing extraordinarily difficult situations resulting from unforeseen circumstances, often triggered by other parties. (From Wikipedia.)

Book Reviews
Bohjalian's sense of character and place, his skillful plotting and his clear grasp of this confusing period of history make for a deeply satisfying novel, one that asks readers to consider, and reconsider, how they would rise to the challenge of terrible deprivation and agonizing moral choices.
Margot Livesey - Washington Post

A poignant account of the conflict's last year.... Harrowing.... In creating the Emmerichs and their relationship to Uri, Bohjalian has given us something new and disturbing. He has also created a wonderful character in the protected child, Theo, whose gradual understanding of what is happening to them is moving and real.... Bohjalian has given us an important addition to the story of World War II, and, not at all incidentally, may expand the vision of those who may have avoided "Holocaust literature" in the past.
Roberta Silman - The Boston Globe

Harrowing...ingenious...compelling.... Judging who's right or wrong is difficult in Skeletons at the Feast, and one senses that's just the way Bohjalian wants it.... A tightly woven, moving story for anyone who thinks there's nothing left to learn, or feel, about the Second World War. That Bohjalian can extract greater truths about faith, hope and compassion from something as mundane as a diary is testament not only to his skill as a writer but also to the enduring ability of well-written war fiction to stir our deepest emotions.
Paula L. Woods - Los Angeles Times

Reading Bohjalian's descriptions of terror and tragedy on the road has just as much impact as seeing newsreels from the end of World War II.... While creating suspense, Bohjalian agilely balances the moral ambiguities of war.... Right and wrong shift depending on the situation. Ignorance is tolerated and murder is justified. But Bohjalian does posit that one absolute exists: No one wins at war.
Dennis Moore - USA Today

In his 12th novel, Bohjalian (The Double Bind) paints the brutal landscape of Nazi Germany as German refugees struggle westward ahead of the advancing Russian army. Inspired by the unpublished diary of a Prussian woman who fled west in 1945, the novel exhumes the ruin of spirit, flesh and faith that accompanied thousands of such desperate journeys. Prussian aristocrat Rolf Emmerich and his two elder sons are sent into battle, while his wife flees with their other children and a Scottish POW who has been working on their estate. Before long, they meet up with Uri Singer, a Jewish escapee from an Auschwitz-bound train, who becomes the group's protector. In a parallel story line, hundreds of Jewish women shuffle west on a gruesome death march from a concentration camp. Bohjalian presents the difficulties confronting both sets of travelers with carefully researched detail and an unflinching eye, but he blinks when creating the Emmerichs, painting them as untainted by either their privileged status, their indoctrination by the Nazi Party or their adoration of Hitler. Although most of the characters lack complexity, Bohjalian's well-chosen descriptions capture the anguish of a tragic era and the dehumanizing desolation wrought by war.
Publishers Weekly

Bohjalian (The Double Bind) leaves his traditional Vermont milieu for this wellcrafted, deeply moving historical novel in which he traces the last months of World War II Germany through various lives, masterfully describing landscape and struggle.... Bohjalian fans will applaud; highly recommended.
Joyce Kessel - Library Journal

Love in a time of war, 1945-1948. Though occasionally groaning under the weight of its mighty themes—man's-inhumanity-to-man, the-horror-the-horror, hope-rising-from-rubble—sheer storytelling here ultimately wins out, trumping the novel's self-consciously mythic ambitions. It features a desperate trio: Anna Emmerich, Prussian aristocrat with "[h]air the color of corn silk," her strapping lover, Callum Finnella, Scottish POW, and the mysterious Manfred, Wehrmacht corporal. Bohjalian (The Double Bind, 2007, etc.) brings them together for an epic romance based on a true-life World War II diary. Callum and Anna, her family in tow, are fleeing Russian invaders, crossing the iced-over Vistula as the Reich nears its bitter end. In their death throes, the Nazis have erupted into spasmodic violence—"live babies held by their ankles and swung like scythes into stone walls while their mothers were forced to watch...." Turns out Manfred's not an actual fascist but the underground alias of Uri Singer, a Jewish refugee masquerading, exchanging his yellow Star of David for a "Nuremberg eagle made of bronze." Outwitting the SA, who'd crammed him and his kin onto an Auschwitz-bound train, Uri had made a run for it, leaping from the boxcar. So, too, had Callum arrived dramatically into Anna's life, jumping from an airplane machine-gunned behind enemy lines, then being captured, and finally farmed out to the Emmerichs as a forced laborer. The three lives intersect as the tale winds through savaged cities. Bohjalian is especially good at conveying the surreal "beauty," the misshapen lyricism, of the war-torn landscape: "Even the stone church had collapsed upon itself...the once imposing pipes of the organ reshaped by heat and flame into giant copper-colored mushrooms." From harrowing to inspiring.
Kirkus Reviews

Discussion Questions
1. Do you know–or are you yourself–a veteran of World War II? Discuss what you know of the war and any reminiscences that veterans may have shared.

2. Both of Anna’s parents are members of the Nazi Party–though it is clear that they are not die-hard believers. Living on their farm in rural Prussia, they are largely sheltered from the atrocities perpetrated against the Jews. As Germans, do you think they share responsibility for the Nazis’ actions even if they didn’t know the full extent of what was happening? Why did they join the party? Did they have a choice? Consider Helmut’s teacher who questions the boy about his father’s loyalty to Hitler and the consequences of resisting. If failure to join meant death for you, what would you have done?

3. A group of POWs is brought to the Emmerich family’s farm to help with the harvest, including a Scot named Callum Finella. He and Anna fall in love. What brings them together? Does the kindness of the Emmerich family, and Callum’s love for their only daughter, change his view of the German people as a whole?

4. We meet Uri on the train to Auschwitz. What kind of man is he? How does he behave on the train? Imagine yourself in those deplorable conditions. Do you think you would seize the opportunity for freedom and jump as Uri did, leaving behind your family to an uncertain future?

5. While arguing with Anna about what is really happening to Jews, Callum says, “Suppose my government in England just decided to ‘resettle’ the Catholics–to take away their homes, their animals, their possessions, and just send them away?” What if this was happening where you live? What actions would you be willing to take to protect your friends and neighbors? At what point would the risks have been too great?

6. To survive, Uri impersonates a German soldier, stealing papers and uniforms from soldiers he either kills or finds dead. Discuss the events that lead up to his first killing of a Nazi. Discuss his reaction to what he has done (page 59). Do you believe his actions were warranted?

7. Although the world is essentially collapsing around them, Anna and Callum fall in love, Theo cries over leaving his beloved horse behind, and Mutti carefully drapes the furniture in sheets to protect it before they flee their home ahead of the Russians. What do these simple, ordinary actions reveal about them as people? About the human capacity for hope?

8. Theo is only a child but he feels lacking in comparison to his older brothers Werner and Helmut, both off fighting in the war. What kind of child is he? Does he fit in with his peers? Why doesn’t Theo tell his mother about his foot? What does this reveal about him? Does Theo change over the course of the novel?

9. Describe Cecile. What kind of woman is she? What keeps her going in spite of the cruelty and degradation she suffers every day? How is she different from her friend Jeanne? Do you think you would act more like Cecile or Jeanne in the same circumstances?

10. In Chapter Eight, Helmut and his father, Rolf, try to convince Uncle Karl to leave his home along with the Emmerichs. He refuses, keeping his daughter, daughter-in-law, and grandson with him in spite of the danger. Why won’t he evacuate? Why won’t he let the women and the child leave? On page 118 he refers to them and their way of life as “skeletons at the feast.” What does he mean by this?

11. Describe the circumstances that bring Uri and the Emmerichs together. Why does he choose to stay with them after running alone for so long? How does he feel about them initially? How do his feelings for them change?

12. On page 178, Callum is thinking about bringing Anna home with him to Scotland after the war. How does he think she will be received? Why is he troubled?

13. During their long march from the prison camp to the factory, Jeanne and another prisoner find soldiers’ rations and eat them. They do not wake Cecile to share them with her. Why? In the same circumstances, what would you have done?

14. Given the odds of success, would you have been brave enough to attempt to escape with Cecile and her friends?

15. Describe Mutti. What was she like at the beginning of the war? At the end? What does she view as her primary responsibility? On pages 291—293, she remembers burying the young German pilot whose plane crashed in her park. Why was burying him—and the enemy Russian soldiers—important to her?

16. How does Anna change as the novel progresses? Why does she feel the need for personal forgiveness at the end? Is she right to feel guilty?

17. Discuss the importance of hope in survival. Which character is the most hopeful? Which character is the most defeated? What moments at the end of the novel symbolize hope most poignantly?

18. Discuss the legacy that Mutti’s generation left for Anna’s. As a nation, what kind of legacy are we leaving for our children?
(Questions issued by publisher.)

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