The Choice 
Nicholas Sparks, 2007
Grand Central Publishing
288 pp.
ISBN-13: 9780446618311


Summary  
Travis Parker has everything a man could want: a good job, loyal friends, even a waterfront home in small-town North Carolina. In full pursuit of the good life—boating, swimming, and regular barbecues with his good-natured buddies—he holds the vague conviction that a serious relationship with a woman would only cramp his style.

That is, until Gabby Holland moves in next door. Despite his attempts to be neighborly, the appealing redhead seems to have a chip on her shoulder about him...and the presence of her longtime boyfriend doesn't help. Despite himself, Travis can't stop trying to ingratiate himself with his new neighbor, and his persistent efforts lead them both to the doorstep of a journey that neither could have foreseen.

Spanning the eventful years of young love, marriage and family, The Choice ultimately confronts us with the most heart wrenching question of all: how far would you go to keep the hope of love alive? (From the publisher.)

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Author Bio
• Birth—December 31. 1965
• Where—Omaha, Nebraska, USA
• Education—B.A., University of Notre Dame
• Currently—lives in New Bern, North Carolina


Nicholas Charles Sparks is an American novelist, screenwriter and producer. He has published some 20 novels, plus one non-fiction. Ten have been adapted to films, including Message in a Bottle, A Walk to Remember, The Notebook, Nights in Rodanthe, Dear John, The Last Song, The Lucky One, and most recently The Longest Ride.

Background
Sparks was born to Patrick Michael Sparks, a professor of business, and Jill Emma Marie Sparks (nee Thoene), a homemaker and an optometrist's assistant. He was the middle of three children, with an older brother and a younger sister, "Dana", who died at the age of 33 from a brain tumor. Sparks said that she is the inspiration for the main character in his novel A Walk to Remember.

His father was pursuing graduate studies at University of Minnesota and University of Southern California, and the family moved a great deal, so by the time Sparks was eight, he had lived in Watertown, Minnesota, Inglewood, California, Playa del Rey, California, and Grand Island, Nebraska, which was his mother's hometown during his parents' one year separation.

In 1974 his father became a professor of business at California State University, Sacramento teaching behavioral theory and management. His family settled in Fair Oaks, California, and remained there through Nicholas's high school days. He graduated in 1984 as valedictorian from Bella Vista High School, then enrolled at the University of Notre Dame under a full track and field scholarship. In his freshman year, his team set a record for the 4 x 800 relay.

Sparks majored in business finance and graduated from Notre Dame with honors in 1988. He also met his future wife that year, Cathy Cote from New Hampshire, while they were both on spring break. They married in 1989 and moved to New Bern, North Carolina.

Writing career
While still in school in 1985, Sparks penned his first (never published) novel, The Passing, while home for the summer between freshman and sophomore years at Notre Dame. He wrote another novel in 1989, also unpublished, The Royal Murders.

After college, Sparks sought work with publishers or to attend law school, but was rejected in both attempts. He then spent the next three years trying other careers, including real estate appraisal, waiting tables, selling dental products by phone and starting his own manufacturing business.

In 1990, Sparks co-wrote with Billy Mills Wokini: A Lakota Journey to Happiness and Self-Understanding. The book was published by Random House sold 50,000 copies in its first year.

In 1992, Sparks began selling pharmaceuticals and in 1993 was transferred to Washington, DC. It was there that he wrote another novel in his spare time, The Notebook. Two years later, he was discovered by literary agent Theresa Park, who picked The Notebook out of her agency's slush pile, liked it, and offered to represent him. In October 1995, Park secured a $1 million advance for The Notebook from Time Warner Book Group. The novel was published in 1996 and made the New York Times best-seller list in its first week of release.

With the success of his first novel, he and Cathy moved to New Bern, NC. After his first publishing success, he began writing his string of international bestsellers.

Personal life and philanthropy
Sparks continues to reside in North Carolina with his wife Cathy, their three sons, and twin daughters. A Roman Catholic since birth, he and his wife are raising their children in the Catholic faith.

In 2008, Entertainment Weekly reported that Sparks and his wife had donated "close to $10 million" to start a private Christian college-prep school, The Epiphany School of Global Studies, which emphasizes travel and lifelong learning.

Sparks also donated $900,000 for a new all-weather tartan track to New Bern High School. He also donates his time to help coach the New Bern High School track team and a local club track team as a volunteer head coach.

In addition to track, he funds scholarships, internships and annual fellowship to the Creative Writing Program (MFA) at the University of Notre Dame. (Adapted from Wikipedia.)

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Book Reviews
In his 13th book, bestselling Sparks limns the far-reaching implications of several seemingly ordinary choices made by Beaufort, N.C. veterinarian Travis Parker and his next-door neighbor Gabrielle Holland, a physician's assistant and recent arrival. After an inauspicious first meeting where Gabby accuses Travis's boxer of impregnating her purebred collie, the two fall hard for each other. Already dating someone else seriously, Gabby is faced with a dilemma: whether to stick with longtime boyfriend Kevin, or get involved with Travis. The first part of the tale paints a vivid picture of her decision-making process and its effects on Travis and Gabby's lives. That sets up Part II, which takes place 11 years later when Travis faces a life and death decision following a car accident. A tender and moving love story and a quick read, Sparks's latest does not disappoint.
Publishers Weekly

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Discussion Questions
1. When the novel opens, Travis is feeling guilty about an argument he had with his wife. His friends assure him, however, that guilt is “the cornerstone of a good marriage.” What do they mean by this and do you agree?

2. Travis says that his father knew he would marry his mother the minute he touched her hand. How do you know when you’ve met “the right one”? Do you believe in love at first sight?

3. Do you think it is right for Gabby to get intimately involved with Travis while she insists she loves someone else? Is it possible to be “in love” with two different men at the same time?

4. Gabby is in a committed relationship with Kevin, but he doesn’t offer to marry her. Travis does. What are the differences between a committed relationship and a marriage? Do you think marriage is always a better option?

5 Travis says “There’s no such thing as being friends, not with single men and women our age.” Do you agree? Is it possible for men and women to be friends?

6. The small town of Beaufort has a significant presence in the book. What are the advantages and disadvantages of small town life? Why do you think Nicholas Sparks sets so many of his books in small towns?

7. Travis is a veterinarian and both Gabby and Travis own dogs. What does their relationship with animals reveal about their characters?

8. During the course of the novel, Travis decides having close friends isn’t enough for him and he needs Gabby in his life. How important are friends in having a happy, fulfilled life? Can they be more important than a spouse? More important than family?

9. Did you believe that Travis was responsible for the car accident? Why or why not?

10. The free-spirited Travis adapts readily to married life and his role as a father. Do you think it’s common for men who shy away from commitment to change dramatically when the right woman comes along?

11. Does anything positive result from the terrible accident that Gabby has?

12. What is the “choice” Travis must make? What do you make of his choice and what would you have done if you were in his position?

13. Gabby and Travis discuss the fate of Kenneth and Eleanor Baker frequently, yet view what happened to this couple somewhat differently. Whose view do you share, Gabby’s or Travis’s? What do you think accounts for the difference in the way Kenneth and Travis deal with their tragedies?

14. Travis asks, “How far should a person go in the name of love?” How far is Travis willing to go? What is the most difficult choice you’ve made in the name of love?

15. What do you make of the novel’s ending? Were you surprised by the story’s conclusion?
(Questions from author's website.)

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The House of the Spirits
Isabel Allende, 1985
Random House
433 pp.
ISBN-13: 9780553273915


Summary
Chilean writer Isabel Allende's classic novel is both a symbolic family saga and the story of an unnamed Latin American country's turbulent history. Allende constructs a spirit-ridden world and fills it with colorful and all-too-human inhabitants. The Trueba family's passions, struggles, and secrets span three generations and a century of violent change, culminating in a crisis that brings the proud and tyrannical patriarch and his beloved granddaughter to opposite sides of the barricades. Against a backdrop of revolution and counterrevolution, Allende brings to life a family whose private bonds of love and hatred are more complex and enduring than the political allegiances that set them at odds. (From the publisher.)

More
The House of the Spirits is the magnificent epic of the Trueba family—their loves, their ambitions, their spiritual quests, their relations with one another, and their participation in the history of their times, a history that becomes a destiny and overtakes them all.

We begin—at the turn of the century, in an unnamed South American country—in the childhood home of the woman who will be the mother and grandmother of the clan, Clara Del Valle. A warm-hearted, hypersensitive girl, Clara has distinguished herself from an early age with her telepathic abilities—she can read fortunes, make objects move as if they had lives of their own, and predict the future. Following the mysterious death of her sister, the fabled Rosa the Beautiful, Clara has been mute for nine years. When she breaks her silence, it is to announce that she will be married soon.

Her husband-to-be is Esteban Trueba, a stern, willful man, given to fits of rage and haunted by a profound loneliness. At the age of 35, he has returned to the capital from his country estate to visit his dying mother and to find a wife. (He was Rosa's fiance, and her death has marked him as deeply as it has Clara.) This is the man Clara has foreseen—has summoned—to be her husband; Esteban, in turn, will conceive a passion for Clara that will last the rest of his long and rancorous life.

We go with this couple as they move into the extravagant house he builds for her, a structure that everyone calls "the big house on the corner," which is soon populated with Clara's spiritualist friends, the artists she sponsors, the charity cases she takes an interest in, with Esteban's political cronies, and, above all, with the Trueba children...their daughter, Blanca, a practical self-effacing girl who will, to the fury of her father, form a lifelong liaison with the son of his foreman...the twins, Jaime and Nicolas, the former a solitary, taciturn boy who becomes a doctor to the poor and unfortunate; the latter a playboy, a dabbler in Eastern religions and mystical disciplines...and, in the third generation, the child Alba, Blanca's daughter, who is fondled and indulged and instructed by them all.

For all their good fortunate, their natural (and supernatural) talents, and their powerful attachments to one another, the inhabitants of the "big house on the corner" are not immune to the larger forces of the world. And as the 20th century beats on...as Esteban becomes more strident in his opposition to Communism...as Jaime becomes the friend and confidant of the Socialist leader known as the Candidate...as Alba falls in love with a student radical...the Truebas become actors—and victims—in a series of events that gives The House of the Spirits a deeper resonance and meaning. (From the first edition.)

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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
I'd forgotten how much I like this book—having just re-read it after 18 years. The three generations of women who populate the story and the eponymous house of spirits make fascinating and compelling characters. It's very much a feminist work as we watch three women.... read more.
A LitLovers LitPick (Feb 08)

Extraordinary...powerful...sharply observant, witty and eloquent.
Christopher Lehmann-Haupt - New York Times

The only cause The House of the Spirits embraces is that of humanity, and it does so with such passion, humor, and wisdom that in the end it transends politics....The result is a novel of force and charm, spaciousness and vigor.
Jonathan Yardley - Washington Post

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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 The House of the Spirits: 

1. Rosa dies early in the book. Her green hair and unearthly beauty engender comparisons to mermaids. What symbolic meaning does she carry—and why, at the end, is her body still intact? Figure that one out!

2. The names of the other three women, Clara, Blanca, and Alba refer to white, or the lack of color—while Rosa's name refers to red. Any ideas?

3. You might explore the dichotomy between Esteban and Clara: one a hard materialist, the other a spiritualist (not unlike what E.M Forster does in Howards End). Is Allende perhaps commenting on the dual aspects of human life...the need to incorporate both approaches in our lives?

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

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One Hundred Years of Solitude
Gabriel Garcia Marquez, 1967
HarperCollins
417 pp.
ISBN-13: 9780060883287


Summary
A New York Times Book of the Century

One of the 20th century's enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world, and the ultimate achievement in a Nobel Prize–winning career.

The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. It is a rich and brilliant chronicle of life and death, and the tragicomedy of humankind. In the noble, ridiculous, beautiful, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America.

Love and lust, war and revolution, riches and poverty, youth and senility — the variety of life, the endlessness of death, the search for peace and truth — these universal themes dominate the novel. Whether he is describing an affair of passion or the voracity of capitalism and the corruption of government, Gabriel García Márquez always writes with the simplicity, ease, and purity that are the mark of a master.

Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an accounting of the history of the human race. (From the publisher.)

More
The mythic village of Macondo lies in northern Colombia, somewhere in the great swamps between the mountains and the coast. Founded by Jose Arcadio Buendia, his wife Ursula, and nineteen other families, "It was a truly happy village where no one was over thirty years of age and where no one had died."

At least initially. One Hundred Years of Solitude chronicles, through the course of a century, life in Macondo and the lives of six Buendia generations — from Jose Arcadio and Ursula, through their son, Colonel Aureliano Buendia (who commands numerous revolutions and fathers eighteen additional Aurelianos), through three additional Jose Arcadios, through Remedios the Beauty and Renata Remedios, to the final Aureliano, child of an incestuous union.

As babies are born and the world's "great inventions" are introduced into Macondo, the village grows and becomes more and more subject to the workings of the outside world, to its politics and progress, and to history itself. And the Buendias and their fellow Macondons advance in years, experience, and wealth ... until madness, corruption, and death enter their homes.

From the gypsies who visit Macondo during its earliest years to the gringos who build the banana plantation, from the "enormous Spanish galleon" discovered far from the sea to the arrival of the railroad, electricity, and the telephone, Gabriel Garcia Marquez's classic novel weaves a magical tapestry of the everyday and the fantastic, the humdrum and the miraculous, life and death, tragedy and comedy — a tapestry in which the noble, the ridiculous, the beautiful, and the tawdry all contribute to an astounding vision of human life and death, afull measure of humankind's inescapable potential and reality. (Also from the publisher.)

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Author Bio 
• Birth—March 06, 1928
• Where—Aracataca, Colombia
• Education—Universidad Nacional de Colombia; Universidad
   de Cartagena
• Awards—Nobel Prize, 1982
• Currently—lives in Mexico City, Mexico

Gabriel García Márquez is the product of his family and his nation. Born in the small coastal town of Aracataca in northern Colombia, he was raised by his maternal grandparents. As a child, he was mesmerized by stories spun by his grandmother and her sisters — a rich gumbo of superstitions, folk tales, and ghost stories that fired his youthful imagination. And from his grandfather, a colonel in Colombia's devastating Civil War, he learned about his country's political struggles. This potent mix of Liberal politics, family lore, and regional mythology formed the framework for his magical realist novels.

When his grandfather died, García Márquez was sent to Sucre to live (for the first time) with his parents. He attended university in Bogota, where he studied law in accordance with his parents' wishes. It was here that he first read The Metamorphosis by Franz Kafka and discovered a literature he understood intuitively — one with nontraditional plots and structures, just like the stories he had known all his life. His studies were interrupted when the university was closed, and he moved back north, intending to pursue both writing and law; but before long, he quit school to pursue a career in journalism.

Writing
In 1954 his newspaper sent García Márquez on assignment to Italy, marking the start of a lifelong self-imposed exile from the horrors of Colombian politics that took him to Barcelona, Paris, New York, and Mexico. Influenced by American novelist William Faulkner, creator of the fictionalized Yoknapatawpha County, and by the powerful intergenerational tragedies of the Greek dramatist Sophocles, García Márquez began writing fiction, honing a signature blend of fantasy and reality that culminated in the 1967 masterpiece One Hundred Years of Solitude. This sweeping epic became an instant classic and set the stage for more bestselling novels, including Love in the Time of Cholera, Love and Other Demons, and Memories of My Melancholy Whores. In addition, he has completed the first volume of a shelf-bending memoir, and his journalism and nonfiction essays have been collected into several anthologies.

In 1982, García Márquez was awarded the Nobel Prize for Literature. In his acceptance speech, he called for a "sweeping utopia of life, where no one will be able to decide for others how they die, where love will prove true and happiness be possible, and where the races condemned to one hundred years of solitude will have, at last and forever, a second opportunity on earth." Few writers have pursued that utopia with more passion and vigor than this towering 20th-century novelist.

Extras
• Gabriel José García Márquez' affectionate nickname is Gabo.

• García Márquez' first two novellas were completed long before their actual release dates, but might not have been published if it weren't for his friends, who found the manuscripts in a desk drawer and a suitcase, and sent them in for publication. (Bio from Barnes and Noble.)

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Book Reviews 
This book is the granddaddy of magical realism. Written less than 40 years ago, it was recognized immediately as a classic, one of the great works of all time. So buckle your seat belts—because you're in for a ride. Marquez has created an epic.... Read more
A LitLovers LitPick (Feb. '08)

One Hundred Years of Solitude is the first piece of literature since the Book of Genesis that should be required reading for the entire human race....Mr. García Márquez has done nothing less than to create in the reader a sense of all that is profound, meaningful, and meaningless in life."
William Kennedy - New York Times Book Review

It is not easy to describe the techniques and themes of the book without making it sound absurdly complicated, labored and almost impossible to read. In fact, it is none of these things. Though concocted of quirks, ancient mysteries, family secrets and peculiar contradictions, it makes sense and gives pleasure in dozens of immediate ways.
Robert Kiely - New York Times

The fecund, savage, irresistable...you have the sense of living, along with the Buendias (and the rest), in them, through them and in spite of them, and all their loves, madnesses and wars, their alliances, compromises, dreams and deaths...the characters rear up large and rippling with life against the green texture of nature itself.
Paul West - Bookworld

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Discussion Questions 
1. What kinds of solitude occur in the novel (for example, solitude of pride, grief, power, love, or death), and with whom are they associated? What circumstances produce them? What similarities and differences are there among the various kinds of solitude?

2. What are the purposes and effects of the story's fantastic and magical elements? How does the fantastic operate in the characters' everyday lives and personalities? How is the magical interwoven with elements drawn from history, myth, and politics?

3. Why does Garcia Marquez make repeated use of the "Many years later" formula? In what ways does this establish a continuity among past, present, and future? What expectations does it provoke? How do linear time and cyclical time function in the novel?

4. To what extent is Macondo's founding, long isolation, and increasing links with the outside world an exodus from guilt and corruption to new life and innocence and, then, a reverse journey from innocence to decadence?

5. What varieties of love occur in the novel? Does any kind of love transcend or transform the ravages of everyday life, politics and warfare, history, and time itself?

5. What is the progression of visitors and newcomers to Macondo, beginning with the gypsies? How does each new individual and group affect the Buendias, the town, and the story?

6. What is the importance of the various inventions, gadgets, and technological wonders introduced into Macondo over the years? Is the sequence in which they are introduced significant?

7. What is Melquiades's role and that of his innovations, explorations, and parchments? What is the significance of the "fact" that Melquiades "really had been through death, but he had returned because he could not bear the solitude"? Who else returns, and why?

8. When and how do politics enter the life of Macondo? With what short-term and long-term consequences? Do the social-political aspects of life in Macondo over the years parallel actual events and trends?

9. What types of women (from Ursula and Pilar to Meme and Amaranta Ursula) and what types of men (from Jose Arcadio to Aureliano Babilonia) are distinguishable? What characteristics do the men share? What characteristics do the women share?

10. What dreams, prophecies, and premonitions occur in the novel? With which specific characters and events are they associated, and what is their purpose?

11. When, how, and in what guises does death enter Macondo? With what consequences?

12. On the first page we are told that "The world was so recent that many things lacked names." What is the importance of names and of naming (of people, things, and events) in the novel?

12. How do geography and topography — mountains, swamps, river, sea, etc. — affect Macondo's history, its citizens' lives, and the novel's progression?

14. What aspects of the Buendia family dynamics are specific to Macondo? Which are reflective of family life everywhere and at any time? How do they relate to your experience and understanding of family life?

15. How does Garcia Marquez handle the issue and incidence of incest and its association with violence beginning with Jose Arcadio and Ursula's marriage and the shooting of Prudencio Aguilar? Is the sixth-generation incest of Aureliano Babilonia and Amaranta Ursula inevitable?
(Questions issued by publishers.)

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So Brave, Young, and Handsome 
Leif Enger, 2008
Grove/Atlantic
287 pp.
ISBN-13: 9780802144171


Summary
A stunning successor to his best selling novel Peace Like a River, Leif Enger’s new work is a rugged and nimble story about an aging train robber on a quest to reconcile the claims of love and judgment on his life, and the failed writer who goes with him.

In 1915 Minnesota, novelist Monte Becket has lost his sense of purpose. His only success long behind him, Monte lives simply with his wife and son.

But when he befriends outlaw Glendon Hale, a new world of opportunity and experience presents itself.

Glendon has spent years in obscurity, but the guilt he harbors for abandoning his wife, Blue, over two decades ago, has lured him from hiding. As the modern age marches swiftly forward, Glendon aims to travel back to his past—heading to California to seek Blue’s forgiveness.

Beguiled and inspired, Monte soon finds himself leaving behind his own family to embark for the unruly West with his fugitive guide.

As they desperately flee from the relentless Charles Siringo, an ex-Pinkerton who’s been hunting Glendon for years, Monte falls ever further from his family and the law, to be tempered by a fiery adventure from which he may never get home. (From the publisher.)

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Author Bio 
• Birth—1961
• Where—Sauk Centre, Minnesota, USA
• Education—Moorhead State University
• Currently—lives near Aitkin, Minnesota

Since his teens, Leif Enger has wanted to write fiction. He worked as a reporter and producer for Minnesota Public Radio from 1984 until the sale of Peace Like a River to publisher Grove/Atlantic allowed him to take time off to write.

In the early 1990s, he and his older brother, Lin, writing under the pen name L.L. Enger, produced a series of mystery novels featuring a retired baseball player.

Peace Like a River, published in 2001, has been described as "high-spirited and unflagging" and has received some notable acclaim in literary circles.  His second novel, So Brave, Young, and Handsome is the story of an aging train robber's quest for self-discovery. Published in 2008, it received has excellent reviews. In 2018 Enger released Virgil Wander, a midwestern twist on magical realism about a town—and its inhabitants—struggling for a new lease on life.

Enger is married and lives on a farm in Minnesota with his wife. They have two sons. (From Wikipedia.)

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Book Reviews 
So Brave, Young, and Handsome is an adventure of the heart and mind as much as of the body. This second novel from Enger will not move you as deeply as Peace Like a River did, but it is far more than just a hectically plotted cowboy adventure story. A famous literary editor once said, "Never be sincere. Sincerity is the death of writing." But Enger proves him wrong. His new novel is romantic but not silly. It belongs to a golden time at the edge of our collective memory of what life—and stories—were like when the West was young and a tale was something to read aloud at night under the lamplight. The world Enger writes about here is a vanished one, but Enger has brought it back to life by the force of his belief.
Carrie Brown - Washington Post

[Leif Enger is] a formidably gifted writer, one whose fictions are steeped in the American grain.... [He] is-like Ron Hansen-a child-friendly, contemporary American heartland novelist, a writer unafraid to concoct and couch his stories in such terms as faith, miracle, sin and grace, repentance and redemption, atonement and absolution.... Enger is a masterful storyteller...possessed of a seemingly effortless facility for the stiletto-sharp drawing of wholly believable characters [and] a pitch-perfect ear for the cadences and syntax of Midwest and Great Plains vernacular. His Amishly carpentered prose smacks of plow work, prairie, flapjacks and cider, butter churns, denim and calico.... At times reminiscent of the sinew and gristle in the craggier work of Annie Proulx, and at other times aspiring to a Jean Shepherdesque folk poetry.... So Brave, Young, and Handsome is affable and human as all get out, homespun and sophisticated at once, wise and knowing about the ubiquity of the human condition and the vagaries of the human heart.
Bruce Olds - Chicago Tribune

A superbly written, utterly compelling story of self-discovery and redemption disguised as a cracking good adventure tale.... Enger has created a work of great humanity and huge heart, a riveting piece of fiction that while highly accessible is never shallow. This story of an ordinary man's discovery of who he is and his place in the world is exciting, admirable and ultimately very affecting.... After reading the final page, don't be surprised if you find yourself shaking your head and murmuring, "Wow. What a good book."
Peter Moore - Minneapolis Star Tribune

So Brave, Young, and Handsome is an almost perfect novel, lively and engrossing, full of surprises, funny, touching, and a great read.... [This novel] will appeal to fans of Larry McMurty's Western epics, but also to those who enjoy the magical realism of Isabel Allende and Alice Hoffman. The straightforward narrative, recounted in a single voice, keeps us turning the pages, faster and faster, and by the time the story comes full circle, Enger will have plenty of new fans hoping he gets to work soon on his next book.
Gail Pennington - St. Louis Post-Dispatch

An inviting voice guides readers through this expansive saga of redemption in the early 20th-century West and gives a teeming vitality to a period often represented with stock phrases and stock characters. Novelist Monte Becket isn't a terribly distinguished figure; his first and only published work hit five years before the story's start and he is about to reclaim his job at a smalltown Minnesota post office when he meets Glendon Hale, a former outlaw who is traveling to Mexico to find his estranged wife. He persuades Becket to join him, and the two set off on a long journey peopled with sharply carved characters (among them a Pinkerton thug tracking down Glendon) and splendid surprises. As Monte's narration continues, the tale veers away from Monte's artistic struggle and becomes an adventure story. The progress has its listless moments, but Enger crafts scenes so rich you can smell the spilled whiskey and feel the grit.
Publishers Weekly

Enger's (Peace Like a River) sophomore effort is at once engaging and curiously flat, somewhat like its Midwestern setting. In 1915 Minnesota, Monte Becket, a writer trying to follow up a runaway best seller (like Enger himself), leaves his incomplete novels, his wife, and his son to go on a quest. Glendon Hale, a boat builder with a checkered past, takes Monte with him on his journey to apologize to the wife he abandoned 20 years previously. Their trip takes many unexpected detours while they try to avoid the ex-detective who has pursued Glendon for several decades. What awaits them at the end of their journey surprises both men. This is a particularly American tale, with many elements from both penny Westerns and Mark Twain; the plot is improbable, but the writing is absorbing. Libraries where Enger's first novel was popular will want this book as well.
Amy Ford - Library Journal

A belated follow-up to a popular debut finds the Midwestern novelist in fine storytelling form, as he spins a picaresque tale of redemption and renewal amid the fading glories of the Old West. Some readers will undoubtedly find autobiographical implications in the protagonist conjured by Enger (Peace Like a River, 2001).... This story has its start in 1915, just as [author Monte] Becket abandons his final manuscript, when a mysterious geezer in a rowboat passes his Minnesota riverfront home (with a nod toward Enger's earlier novel, rivers run through this one) and ultimately entices Becket to join him on an adventure that will change both of their lives. The mysterious man's name may or may not be Glendon Hale; he may or may not be an outlaw on the run; and he most certainly is a boat-building alcoholic. With the encouragement of his painter wife, Becket leaves behind a comfortable home and a loving family to accompany Hale on a pilgrimage, one that will find Becket learning more about his companion's identity while assuming an alias of his own. As they head south toward Mexico and then west to California, they find their travels enlivened by a young accomplice who joins them and a pursuer who trails them, a former Pinkerton detective who has also enjoyed some literary success. Revelations abound, for both Becket and the reader. Though Becket laments that he "can't write a(nother) book that anyone will want to read," Enger has.
Kirkus Reviews

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Discussion Questions 
1. What elements of Enger's book play off the conventions of cowboy movies and cowboy novels? In Chapter 12, we read "And so it came down to a farmhouse. As it so often does!" (p. 232) Monte's son, Redstart, "knew which members of the James Gang had once ridden into our town to knock over a bank and been shot to moist rags for their trouble" (p.4). What other traditions of the cowboy genres do you recognize in the book? The lore of train robberies? Cattle rustling?  The nugget of goodness under the outlaw behavior?

2.  How does Enger make these outsized characters convincing?  Is there value as well as mayhem in these renegades?  In their diction, do you find an odd level of civility even as death and destruction are threatened?  For instance, look at some of the rather elegant locutions, such as that of Siringo on p. 115: "I'm leaving, you gentlemen may have this rocky paradise to yourselves."

3. Does it make sense that it is Susannah who sets Monte free to make his journey with Glendon "because he dreamed of his wife" (p. 37)? But then, "Love is a strange fact—it hopes all things, believes all things, endures all things. It makes no sense at all" (p. 37). Talk about love in the book, relationships that occur or are recalled.

4. How does Enger give us characters' inner lives? Are there some characters we feel we know inside and out? Which ones? Who in the book is most adept at holding us at a distance?  Is that part of the person's charm as well as enigma?

5. We read about a number of marriages in So Brave, Young, and Handsome. We begin and end with that of Monte and Susannah. Do you think it is a good marriage? Talk also about Mr. and Mrs. Davies. What about Blue and Glendon? And later Blue/Arandana and Soto, as well as Charlie Siringo and his wife who forgot who he was. Does Monte learn from each of these tales? You might look again at question #3.

6. Monte and Siringo are juxtaposed as both adversaries and an oddly linked couple. Even as a captive, Monte maintains communication. "In the meantime I tried to remain pleasant company. He loved talking about books, especially his own, and his other favorite, Ecclesiastes. That treatise with its severe rhetoric—'all is meaningless'—he had by heart, often enlisting its author, Solomon, in his arguments against bothersome ideas like altruism and honor and clemency" (p. 207). Does this passage set an important dichotomy between Siringo and Monte? Why does Monte prefer Proverbs? Look, too, at Siringo's catechism on honor on p. 191.

7. Royal Davies, the Kansas City policeman, says, "You're doing these youngsters no service, you know...you authors, I mean—this world ain't no romance, in case you didn't notice." But Monte later says, "I take issue with Royal, much as I came to like him; violent and doomed as this world might be, a romance it certainly is" (p. 51). Talk about this idea. Think about the definition of "romance" as a medieval tale about a hero of chivalry. How has Enger explored "romance" in the book?

8. What is the result of Monte's weaving Susannah and Redstart into every turn of his story? Why do you think he consistently fails to write his wife? Ambivalence about what he's doing in this runaway adventure? Guilt? Another kind of writer's block?

9. How is Hood held up as a version of the chivalric hero? Is he almost a foundling for Monte and Glendon? How is he depicted as golden boy (cherubic, even), magnificent horseman, boon companion, and charismatic lover? After Hood's initial conquest on a horse, Monte says, "It was as stunning an ascension as any I have seen (p. 143). How is Hood like a comet? "A cowboy doesn't ask for much, that's my observation. A flashy ride, a pretty girl, momentary glory—for a day or two, I'm glad to say, Hood Roberts had them all" (p. 145).  Was his reversal inevitable, do you think, given his character?

10. Describe Glendon as a phenomenon. What are traits you hold onto? Is it his melting disappearances? How are both Siringo and Glendon almost phoenixes, myths that resurface despite the odds?

11. In contrast to the romance of heroic exploits, what are some blasts of reality? Would you agree that this is not a comfortable fairy tale? "We were a dozen weary men in a damp room with one smoky candle for light and no prospect of rest" (p. 159). What are other times Monte and his cohorts are battered by weather, hunger, or assailants?  Is the life of the outlaw worthwhile?

12. If you were to cast this book as a movie, who would play the principal roles? What would be essential scenes?  As a director, how would you handle the frame tale of Monte, Susannah, and Redstart? Is there actually another frame tale?

13. Is it justice that Glendon is seeking in the novel? For whom? Do you think it is achieved? Is forgiveness as important as justice in the book?

14.  The novel's humor is sometimes ironic or deadpan, other times pure slapstick.  What purpose does recurrent comedy serve in a story with such violence and loss?

15.   Almost every major character in the novel has more than one name, whether an alias (like Jack Waits), a stage name (Deep Breath Darla), or a translation (Blue).  What is the significance of a person's "true name?"  Does the revelation of one's true name put him, as Redstart claims, at the mercy of others?  Is that a bad thing?

16.  What is the time of the novel? Enger gives us a date, but what are other clues? Driving with pride eighty miles in a day? Pancho Villa?

17. How do books pervade the novel? Monte, of course, is an author, and we follow his discomfort about producing a second success. But books are important to other people, too. Who are they? Emma Davies?  Her grandmother as literary critic? (see p. 53). What happens to the book Monte had inscribed to Emma? How does Siringo's easy writing and reciting of his compelling narrative affect Monte? How does the library of Claudio and Arandana define them?

18. "Most men are hero and devil," says Siringo (p. 224). Does that statement hold true in the book? And in general? Is it a description better reserved for leaders? Politicians, even statesmen, outlaws, C.E.O.s, Hollywood stars, sports idols? Who else? Do people in this book understand and accept this idea of human nature?

19. How is Darlys the Sharpshooter a pivotal figure? Think about her deft explosion of the glass orb in Monte's hand as well as her well practiced aim later at Siringo who has cruelly spurned her.  

20. Siringo blazes from the pages, always surprising. This is the man who "left off cowboying when the profession of detective was chosen for him at a public demonstration of phrenology" (p. 173). Who is this "dark personage" (p. 178)? When do we see his menace most startlingly? He's an "old vulture" who "ate like a scavenging bird in big swallows without evident pleasure" (p. 197). Does that image tell us something about Siringo's other actions in the book? We know about his treachery to Monte. "That he could trust me was my own disgrace" (p. 205). Other times, "the old monster was capable of gratitude after all" (p. 180), to both Dr. Clary and Monte. Talk about his brilliant manipulation of the town of Alva. What is your ultimate evaluation of Siringo?

21. "Say what you like about melodrama, it beats confusion" (p. 262). Is this how we feel after reading a page-turner? Enger's book has ambiguity to spare, but are you in doubt at the end about events or characters?

22. Where do our sympathies lie in So Brave, Young, and Handsome? Did you feel a loss as Hood sank deeper into runaway crime? Is everyone on the trail tainted except maybe Monte?  Is he, as well?

23. At the end, Glendon is able to give himself to the service of others, to Soto and Blue. Do you think he is truly selfless at this point? Can you possibly think he is not maneuvering? What is his persuasive act that settles the point?

24. The rivers, from the Cannon in Minnesota to the Rienda in California, link the sagas of the book and provide a central theme. Did you find it inevitable to compare Monte and Glendon to Huck and Jim in the Twain celebration of the Mississippi? "People on riverbanks understand one another. "If you can't be on a boat, a dock will do" (p. 55). The Kaw in Kansas City provides a moment of respite as well as another escape. How? How does the Hundred and One disaster, the Salt Fork flood, create a scene of biblical proportions? How is the post-lapsarian world a turning point and a rebirth for some of the characters?

25. Do you see an analogy with Don Quixote and Sancho Panza in the book? (There are even recurrent windmills!) Can you talk about the idea of the Quest? The idealism, as well as the consistent blanket of reality? Give examples?
(Questions issued by the publisher.)

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