The Other Side of the Bridge 
Mary Lawson, 2006
Random House
320 pp.
ISBN-13: 9780385340380


Summary
From the author of the beloved best seller, Crow Lake, comes an exceptional new novel of jealously, rivalry and the dangerous power of obsession.

Two brothers, Arthur and Jake Dunn, are the sons of a farmer in the mid-1930s, when life is tough and another world war is looming. Arthur is reticent, solid, dutiful and set to inherit the farm and his father’s character; Jake is younger, attractive, mercurial and dangerous to know – the family misfit. When a beautiful young woman comes into the community, the fragile balance of sibling rivalry tips over the edge.

Then there is Ian, the family’s next generation, and far too sure he knows the difference between right and wrong. By now it is the fifties, and the world has changed – a little, but not enough.

These two generations in the small town of Struan, Ontario, are tragically interlocked, linked by fate and community but separated by a war which devours its young men – its unimaginable horror reaching right into the heart of this remote corner of an empire. With her astonishing ability to turn the ratchet of tension slowly and delicately, Lawson builds their story to a shocking climax. Taut with apprehension, surprising us with moments of tenderness and humour, The Other Side of the Bridge is a compelling, humane and vividly evoked novel with an irresistible emotional undertow. (From the publisher.)

The Other Side of the Bridge was long-listed for the Man Booker Prize.

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Author Bio
• Birth—1946
• Where—Ontario, Canada
• Education—B.A., McGill University
• Awards—Books in Canada First Novel; McKitterick Prize
  (both for Crow Lake);
• Currently—lives in Kingston-upon-Thames, England, UK


Mary Lawson was born and brought up in a farming community in central Ontario. She is a distant relative of the author of Anne of Green Gables. She moved to England in 1968, is married with two sons, and lives in Kingston-upon-Thames. Crow Lake is her first novel. Her second is The Other Side of the Bridge. (Adapted from the publisher.)

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Book Reviews
There's an almost Sophoclean momentum as events rush to their end. The reader prays that inescapable harm will not come to good people. But the novel's true literary antecedent is in Genesis: the story of Esau and Jacob, brothers in a dysfunctional family where each parent has a favorite child and the younger son can think circles around the older. Lawson honors these archetypes by using them discreetly; biblical undertones simply add to the story's richness.The Other Side of the Bridge is an admirable novel. Its old-fashioned virtues were also apparent in Crow Lake—narrative clarity, emotional directness, moral context and lack of pretension—but Lawson has ripened as a writer, and this second novel is much broader and deeper. The author draws her characters with unobtrusive humor and compassion, and she meets one of the fiction writer's most difficult challenges: to portray goodness believably, without sugar or sentiment.
Frances Taliaferro - Washington Post

Lawson’s gifts are enormous, especially her ability to write a literary work in a popular style. Her dialogue has perfect pitch, yet I’ve never read anyone better at articulating silence. Best of all, Lawson creates the most quotable images in Canadian literature.
Toronto Star

One of the most eagerly awaited books of the autumn season.... The prologue draws you in, as does the novel, which is consistently well-written, involving and enjoyable to read.... Achingly real, known, [Arthur’s] inner life, with all its shifts in understanding, emotion, perception and conflicted impulses, is rendered with compelling force in concise, supple prose.
Ottawa Citizen

I could not put it down, but perhaps better to say that I could not let it go or that it would not let me go . . . Lawson transported me into a place that I know does not exist by taking me deep down into the story of a family whose fate is inexorable and universal. Her reality became mine.
Globe and Mail (Toronto)

“[Lawson] returns to several of the themes that marked her brilliantly successful first novel, Crow Lake .... Lawson’s cornucopia of novelistic gifts, even more bounteously on display in her second book, includes handsome, satisfying sentences, vivid descriptions of physical work and landscape and an almost fiendish efficiency in building the feeling that something very bad is about to happen.
National Post (Canada)

In this follow-up to her acclaimed Crow Lake, Lawson again explores the moral quandaries of life in the Canadian North. At the story's poles are Arthur Dunn, a stolid, salt-of-the-earth farmer, and his brother, Jake, a handsome, smooth-talking snake in the grass, whose lifelong mutual resentments and betrayals culminate in a battle over the beautiful Laura, with Arthur, it seems, the unlikely winner. Observing, and eventually intervening in their saga, is Ian, a teenager who goes to work on Arthur's farm to get close to Laura, seeing in her the antithesis of the mother who abandoned his father and him. It's a standard romantic dilemma who to choose: the goodhearted but dull provider or the seductive but unreliable rogue? but it gains depth by being set in Lawson's epic narrative of the Northern Ontario town of Struan as it weathers Depression, war and the coming of television. It's a world of pristine landscapes and brutal winters, where beauty and harshness are inextricably intertwined, as when Ian brings home a puppy that gambols adorably about and then playfully kills Ian's even cuter pet bunny. Lawson's evocative writing untangles her characters' confused impulses toward city and country, love and hate, good and evil.
Publishers Weekly

At the center of Lawson's follow-up to her lauded debut, Crow Lake, are the antithetical personalities of two brothers the handsome and insidious Jake and Arthur, who's diffident and diligent. This stark contrast bursts into dangerous sibling rivalry when a girl named Laura comes between them. Lawson composes the novel in mutually enlightening chapters that vacillate between two different periods: the brothers' adolescence and early adulthood during World War II and a setting 20 years later, when Arthur and Laura are married, Jake has returned to Arthur's farm after a long absence, and Ian, a local boy who also is attracted to Laura, is working with Arthur. Lawson ingeniously uses this narrative structure to create immense tension by gradually disclosing the past Ian walks into and the unresolved hostility he unwittingly reignites in his adoration for Laura. The suspense of Arthur's impending explosion is a double-edged sword, though, as along the way his reticence depletes many events of their emotional impact. Despite this flaw, Lawson proves herself an adept chronicler of the conflicting dispositions and priorities that divide a family. Recommended for most fiction collections.
Library Journal

Lawson's melancholy saga of misspent youth, misplaced passion, and mistaken assumptions evinces both an enchanting delicacy and provocative vitality, and delivers an unerring sensitivity to place and time, people and passions. —Carol Haggas
Booklist

Another note-perfect take on coming of age in northern Canada, as beautiful as the landscape is stark, from Lawson. Jake and Arthur are as dissimilar as brothers can be. Arthur, stolid and strong, takes after their farmer father, which is a great help as the Depression hits even their self-sufficient village of Struan. Quicksilver younger brother Jake is their mother's favorite. She admires his good looks and wit, but is blind to his selfishness. The brothers are so different that the story's crisis feels inevitable. Assigned to walk cows to a neighbor's farm, Arthur patiently leads a nervous heifer over a rickety bridge, while Jake fools around on the bridge's underside. When Jake calls out that the cow's movements might make him fall, Arthur responds with one rare word, "Good," that will haunt him throughout life. Cut to 20 years later, and Arthur is in charge of the family farm, still silent, still suffering, despite a healthy family and lovely wife. This second story focuses on young Ian, the son of Struan's doctor, who obsesses over Arthur's wife. As he wrestles with his own legacy, he becomes more involved with Arthur's, bringing about an event that will lay bare several secrets. With all the elements of melodrama, Lawson instead crafts a deftly interwoven story of family and loss. Jake's not evil, just bored. He, like Ian's mother, isn't valued in this hardscrabble climate, where his father and brother miss his school play due to errands. "Farming's important. Work's important. Time he knew what matters and what doesn't." The calm and beauty of the setting pervade Lawson's second novel, intensifying the heartfelt pull of its simple human drama.
Kirkus Reviews

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Discussion Questions
1. How were you affected by the novel’s prologue? What did you discover about Arthur and Jake in this scene? How did your perceptions of the brothers change throughout the book?

2. How would you answer the questions that conclude the prologue? What accounts for the differences between those who follow the rules, like Arthur, and those who defy them? Which came more easily for you as an adolescent: obedience or defiance?

3. How were Jake and Arthur affected by their family dynamic? Did their mother pamper Jake too much? Did their father favor Arthur because he was easier to manage, or was Jake difficult to manage because of his father’s favoritism?

4. What was the effect of the novel’s timeline? How did it compare to your own experience of the continuum between present moments and memory? What parallels run between Ian’s life and Arthur’s?

5. Discuss the use of the headlines that open each chapter. What do they say about the local and global concerns of humanity? In what way were the headlines timeless, and in what way did they convey the unique attributes of this locale? What headlines would be most significant in marking the chapters of your life?

6. What is the significance of the two time periods in the lives of the characters? How were the Dunn brothers shaped by a youth of economic hardship and the presence of POWs? How was Ian shaped by an era of greater liberation, with television for entertainment and “risqué” music on the radio? What dreams for the future did each of these generations possess?

7. Discuss the nature of love and marriage as described in the novel. What made Jake so irresistible to Laura? What made Dr. Christopherson’s wife choose another man? Was Laura’s appeal strictly physical when she first moved to town? What is the riskiest romantic decision you have made?

8. How are the characters shaped by the novel’s setting? What do the natural surroundings of the town mean to them? What separates those who want to escape from those who bask in the town’s familiarity?

9. Why is Ian so transformed by the “day of the dragonflies” that concludes chapter nine? What did these memories mean to him?

10. Discuss the novel’s title. What does it mean for the characters to reach the other side of the bridge? Could Jake and Arthur ever be free of the wounds they inflicted on each other?

11. Who ultimately was responsible for Jake’s fall from the bridge? Who ultimately paid the price (literally, in terms of his medical bills, and figuratively as well)?

12. How did you react to the knowledge that Ian followed in his father’s footsteps after all? Did he make the right decision?

13. Laura confides in Arthur soon after meeting him, telling him she doesn’t believe that God cares about humanity (Chapter Ten). How would you have responded to her?

14. Discuss the cycles of tragedy conveyed in the Dunn family history, from the death of Arthur’s father to the closing scenes of Carter. How do characters cope with the concepts of fate versus intent? How do they cope with regret?

15. What common threads link the families in this novel to those in Crow Lake? What makes rural landscapes so appropriate for both of these storylines? Do you think people who grow up in cities feel the same passion for them as the characters in these two novels feel for the land?

16. If Matt Morrison, the brilliant and adored older brother in Crow Lake, had wandered into this book, which character do you think he would have had more in common with, Ian or Pete?
(Questions issued by publisher.)

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South of Broad 
Pat Conroy, 2009
Knopf Doubleday
528 pp.
ISBN-13: 9780385344074


Summary 
Against the sumptuous backdrop of Charleston, South Carolina, South of Broad gathers a unique cast of sinners and saints. Leopold Bloom King, our narrator, is the son of an amiable, loving father who teaches science at the local high school. His mother, an ex-nun, is the high school principal and a respected Joyce scholar.

After Leo's older brother commits suicide at the age of ten, the family struggles with the shattering effects of his death, and Leo, lonely and isolated, searches for something to sustain him. Eventually, he finds his answer when he becomes part of a tightly knit group of high school seniors that includes friends Sheba and Trevor Poe, glamorous twins with an alcoholic mother and a prison-escapee father; hardscrabble mountain runaways Niles and Starla Whitehead; socialite Molly Huger and her boyfriend, Chadworth Rutledge X-and an ever-widening circle whose liaisons will ripple across two decades, from 1960s counterculture through the dawn of the AIDS crisis in the 1980s.

The ties among them endure for years, surviving marriages happy and troubled, unrequited loves and unspoken longings, hard-won successes and devastating breakdowns, as well as Charleston's dark legacy of racism and class divisions. But the final test of friendship that brings them to San Francisco is something no one is prepared for.

South of Broad is Pat Conroy at his finest: a long-awaited work from a great American writer whose passion for life and language knows no bounds. (From the publisher.)

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Author Bio 
• Birth—October 26, 1945
• Where—Atlanta, Georgia, USA
• Education—B.A., The Citadel
• Currently—lives in San Francisco, California, and Fripp
   Island, South, Carolina


Pat Conroy was born in Atlanta, Georgia, to a young career military officer from Chicago and a Southern beauty from Alabama, whom Pat often credits for his love of language. He was the first of seven children.

His father was a violent and abusive man, a man whose biggest mistake, Conroy once said, was allowing a novelist to grow up in his home, a novelist "who remembered every single violent act.... My father's violence is the central fact of my art and my life." Since the family had to move many times to different military bases around the South, Pat changed schools frequently, finally attending the Citadel Military Academy in Charleston, South Carolina, upon his father's insistence. While still a student, he wrote and then published his first book, The Boo, a tribute to a beloved teacher.

After graduation, Conroy taught English in Beaufort, where he met and married a young woman with two children, a widow of the Vietnam War. He then accepted a job teaching underprivileged children in a one-room schoolhouse on Daufuskie Island, a remote island off the South Carolina shore. After a year, Pat was fired for his unconventional teaching practices—such as his unwillingness to allow corporal punishment of his students—and for his general lack of respect for the school's administration. Conroy evened the score when he exposed the racism and appalling conditions his students endured with the publication of The Water is Wide in 1972. The book won Conroy a humanitarian award from the National Education Association and was made into the feature film Conrack, starring Jon Voight.

Writings
Following the birth of a daughter, the Conroys moved to Atlanta, where Pat wrote his novel, The Great Santini, published in 1976. This autobiographical work, later made into a powerful film starring Robert Duvall, explored the conflicts of his childhood, particularly his confusion over his love and loyalty to an abusive and often dangerous father.

The publication of a book that so painfully exposed his family's secret brought Conroy to a period of tremendous personal desolation. This crisis resulted not only in his divorce but the divorce of his parents; his mother presented a copy of The Great Santini to the judge as "evidence" in divorce proceedings against his father.

The Citadel became the subject of his next novel, The Lords of Discipline, published in 1980. The novel exposed the school's harsh military discipline, racism and sexism. This book, too, was made into a feature film.

Pat remarried and moved from Atlanta to Rome where he began The Prince of Tides which, when published in 1986, became his most successful book. Reviewers immediately acknowledged Conroy as a master storyteller and a poetic and gifted prose stylist. This novel has become one of the most beloved novels of modern time—with over five million copies in print, it has earned Conroy an international reputation. The Prince of Tides was made into a highly successful feature film directed by Barbra Streisand, who also starred in the film opposite Nick Nolte, whose brilliant performance won him an Oscar nomination.

Beach Music (1995), Conroy's sixth book, was the story of Jack McCall, an American who moves to Rome to escape the trauma and painful memory of his young wife's suicidal leap off a bridge in South Carolina. The story took place in South Carolina and Rome, and also reached back in time to the Holocaust and the Vietnam War. This book, too, was a tremendous international bestseller.

While on tour for Beach Music, members of Conroy's Citadel basketball team began appearing, one by one, at his book signings around the country. When his then-wife served him divorce papers while he was still on the road, Conroy realized that his team members had come back into his life just when he needed them most. And so he began reconstructing his senior year, his last year as an athlete, and the 21 basketball games that changed his life. The result of these recollections, along with flashbacks of his childhood and insights into his early aspirations as a writer, is My Losing Season, Conroy's seventh book and his first work of nonfiction since The Water is Wide.

South of Broad, published in 2009, 14 years after Beach Music, tells the story of friendships, first formed in high school, that span two decades.

He currently lives in Fripp Island, South Carolina with his wife, the novelist Cassandra King. (Adapted from the author's website and Barnes & Noble.)

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Book Reviews 
South of Broad is a big sweeping novel of friendship and marriage—and, perhaps, vintage Pat Conroy…Conroy is an immensely gifted stylist, and there are passages in the novel that are lush and beautiful and precise. No one can describe a tide or a sunset with his lyricism and exactitude. My sense is that the millions of readers who cherish Conroy's work won't be at all disappointed—and nor will anyone who owns stock in Kleenex.
Chris Bohjalian - Washington Post

Echoing some themes from his earlier novels, Conroy fleshes out the almost impossibly dramatic details of each of the friends’ lives in this vast, intricate story, and he reveals truths about love, lust, classism, racism, religion, and what it means to be shaped by a particular place, be it Charleston, South Carolina, or anywhere else in the U.S. —Mark Knoblauch
Booklist

Charleston, S.C., gossip columnist Leopold Bloom King narrates a paean to his hometown and friends in Conroy's first novel in 14 years. In the late '60s and after his brother commits suicide, then 18-year-old Leo befriends a cross-section of the city's inhabitants: scions of Charleston aristocracy; Appalachian orphans; a black football coach's son; and an astonishingly beautiful pair of twins, Sheba and Trevor Poe, who are evading their psychotic father. The story alternates between 1969, the glorious year Leo's coterie stormed Charleston's social, sexual and racial barricades, and 1989, when Sheba, now a movie star, enlists them to find her missing gay brother in AIDS-ravaged San Francisco. Too often the not-so-witty repartee and the narrator's awed voice (he is very fond of superlatives) overwhelm the stories surrounding the group's love affairs and their struggles to protect one another from dangerous pasts. Some characters are tragically lost to the riptides of love and obsession, while others emerge from the frothy waters of sentimentality and nostalgia as exhausted as most readers are likely to be. Fans of Conroy's florid prose and earnest melodramas are in for a treat.
Publishers Weekly

"Kids, I'm teaching you to tell a story. It's the most important lesson you'll ever learn," says the protagonist of Conroy's first novel in 14 years (since 1995's Beach Music). Switching between the 1960s and the 1980s, the narrative follows a group of friends whose relationship began in Charleston, SC. The narrator is Leopold Bloom King (his mother was a Joyce scholar), a likable but troubled kid who goes from having one best friend, his brother, to having no friends after a tragedy, to having, suddenly, a gang, of which he is perhaps not the leader but certainly the glue. Conroy continues to demonstrate his skill at presenting the beauty and the ugliness of the South, holding both up for inspection and, at times, admiration. He has not lost his touch for writing stories that are impossible to put down; the fast pace and shifting settings grip the reader even as the story occasionally veers toward the unbelievable. Verdict: Filled with the lyrical, funny, poignant language that is Conroy's birthright, this is a work Conroy fans will love. Libraries should buy multiple copies. —Amy Watts, Univ. of Georgia Lib., Athens
Library Journal

First novel in 14 years from the gifted spinner of Southern tales (Beach Music, 1995, etc.)—a tail-wagging shaggy dog at turns mock-epic and gothic, beautifully written throughout. The title refers, meaningfully, to a section of Charleston, S.C., and, as with so many Southern tales, one great story begets another and another. This one starts most promisingly: "Nothing happens by accident." Indeed. The Greeks knew that, and so does young Leopold Bloom King. It is on Bloomsday (June 16) 1969 that 18-year-old Leo learns his mother had once been a nun. Along the way, new neighbors appear, drugs make their way into the idyllic landscape and two new orphans turn up "behind the cathedral on Broad Street." The combination of all these disparate elements bears the unmistakable makings of a spirit-shaping saga. The year 1969 is a heady one, of course, with the Summer of Love still fresh in memory, but Altamont on the way and Vietnam all around. Working a paper route along the banks of the Ashley River and discovering the poetry of place ("a freshwater river let mankind drink and be refreshed, but a saltwater river let it return to first things"), Leo gets himself in a heap of trouble, commemorated years later by the tsk-tsking of the locals. But he also finds out something about how things work ("Went out with a lot of women when I was young," says one Nestor; "I could take the assholes, but the heartbreakers could afflict some real damage.") and who makes them work right—or not. Leo's classic coming-of-age tale sports, in the bargain, a king-hell hurricane. Conroy is a natural at weaving great skeins of narrative, and this one will prove a great pleasure to his many fans.
Kirkus Reviews

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Discussion Questions 
1. At the beginning of the novel, Leo is called on to mitigate the racial prejudice of the football team. What other types of prejudice appear in the novel? Which characters are guilty of relying on preconceived notions? Why do you think Leo is so accepting of most people? Why is his mother so condemnatory?

2. What do you think of the title "South of Broad"? How does the setting inform the novel? Would the novel be very different if it were set in another city or region?

3. As a teenager, Leo is heavily penalized for refusing to name the boy who placed drugs in his pocket. Why did he feel compelled to protect the boy's identity? Do you think he did the right thing?

4. When Leo's mother asks him to meet his new peers, she warns, “Help them, but do not make friends with them.” Do you think such a thing possible? Through the novel, how does Leo help his friends, and how do they help him?

5. Leo's mother tells him, “We're afraid the orphans and the Poe kids will use you,” to which he responds, “I don't mind being needed. I don't even mind being used.” Do you think this is a healthy attitude toward friendship? Do any of the characters end up “using” Leo? Does his outlook on friendship changed by the end of the novel?

6. Leo admits that the years after Steven's suicide nearly killed him. How was he able to cope? How do Leo's parents deal with their grief? What does the novel say about human resilience and our propensity to overcome tragedy?

7. When Sheba suggests to Leo that he divorce his wife, he says, “I knew there were problems when I married Starla so I didn't walk into that marriage blind.” Do you think that knowledge obligates Leo to stay with his wife? In your opinion, does Leo do the right thing by staying married? Would you do the same?

8. Both Chad and Leo are unfaithful to their wives, but only Leo is truthful about it. Do you think this makes Chad's infidelity a worse offense? Why or why not?

9. At two points in the novel, the group tries to rescue a friend: first Niles, then Trevor. But when Starla is in trouble, they don't attempt to save her. Why do you think this is? Has Starla become a “lost cause”?

10. At one point Leo remarks, “I had trouble with the whole concept [of love] because I never fully learned the art of loving myself.” How does the concept of self-love play into the novel?

11. In the moment before Leo attacks Trevor's captor, he recites a portion of “Horatio at the Bridge,” a poem about taking a lone stand against fearful odds. What is the significance of the verse? Do you think it's appropriate to that moment?

12. The twins are the novel's most abused characters and also the most creative. Do you think there is a connection between suffering and art?

13. What do you make of the smiley face symbol that Sheba and Trevor's father paints? How does the novel address the idea of happiness coexisting with pain?

14. At several points in the novel, characters divulge family secrets. Do you believe that this information should stay secret, or is there value in bringing it to light?

15. Leo examines his Catholicism at several points in the novel. What do you think he might say are the advantages and drawbacks of his religion? Do you think all religions are fraught with those problems?

16. One might interpret Leo's mother's attitude toward religion as one of blind faith. If Steven had admitted his abuse to her, do you think she would she have believed him? How do you think the information might have affected her?

17. Sheba and Trevor are literally tormented by their childhoods, in the form of their deranged father. How are some of the other characters hindered by the past? Are they ever able to escape its clutches and, if so, by what means?

18. Discuss the scene in which Leo and Molly rescue the porpoise. What does the event symbolize?

19. Why do you think the discoveries about Leo's mother and Monsignor Max begin and end the novel? What theme do these incidents convey?

20. Chapter one begins with the statement, “Nothing happens by accident,” and Leo often reflects on the way that destiny has shaped his life. How does destiny affect the other characters? Do you agree that real life is the result of predetermined forces? Or can we affect our fate.
(Questions issued by publisher.)

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Whiteout
Ken Follett, 2004
Penguin Group USA
480 pp.
ISBN-13: 9780451215710

Summary
As a Christmas Eve blizzard whips out of the north, several people converge on a remote family house. As the storm worsens, the emotional sparks—jealousies, distrust, sexual attraction, rivalries-crackle, desperate secrets are revealed, hidden traitors and unexpected heroes emerge. (From the publisher.)

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Author Bio
• Birth—June 5, 1949
• Where—Cardiff, Wales, UK
• Education—B.A., University College, London
• Awards—(see below)
• Currently—lives in Hertfordshire, England


Kenneth Martin Follett is a Welsh author of thrillers and historical novels who has sold more than 150 million copies of his works. Many of his books have reached number 1 on the New York Times Best Seller list, including Edge of Eternity, Fall of Giants, A Dangerous Fortune, The Key to Rebecca, Lie Down with Lions, Triple, Winter of the World, and World Without End.

Early years
Follett was born in Cardiff, Wales, the first child of four children, to Martin Follett, a tax inspector, and Lavinia (Veenie) Follett. Barred from watching films and television by his Plymouth Brethren parents, he developed an early interest in reading but remained an indifferent student until he entered his teens. His family moved to London when he was ten years old, and he began applying himself to his studies at Harrow Weald Grammar School and Poole Technical College.

He won admission in 1967 to University College London, where he studied philosophy and became involved in center-left politics. He married his wife Mary in 1968, and their son was born in the same year. After graduating in the autumn of 1970, Follett took a three-month post-graduate course in journalism, working as a trainee reporter in Cardiff on the South Wales Echo.  A daughter was born in 1973.

Career
After three years in Cardiff, Follett returned to London as a general-assignment reporter for the Evening News. He eventually left journalism for publishing, having found it unchallenging, and by the late 1970s became deputy managing director of the small London publisher Everest Books.

During that time, Follett began writing fiction as a hobby during evenings and weekends. Later, he said he began writing books when he needed extra money to fix his car, and the publisher's advance a fellow journalist had been paid for a thriller was the sum required for the repairs. Success came gradually at first, but the 1978 publication of Eye of the Needle, became an international bestseller and sold over 10 million copies, earning Follett wealth and international fame.

Each of Follett's subsequent novels, some 30, has become a best-seller, ranking high on the New York Times Best Seller list. The first five best sellers were fictional spy thrillers. Another bestseller, On Wings of Eagles (1983), is a true story based on the rescue of two of Ross Perot's employees from Iran during the 1979 revolution.

Kingsbridge series
For the most part, Follett continued writing spy thrillers, interspersed with historical novels. But he usually returned to espionage. Then in 1989, Follett surprised his readers with his first non-spy thriller, The Pillars of the Earth (1989), a novel about building a cathedral in a small English village during the Anarchy in the 12th century.

Pillars was wildly successful, received positive reviews, and stayed on the New York Times Best Seller list for 18 weeks. All told, (internationally and domestically), it has sold 26 million copies and even inspired a 2017 computer game by Daedalic Entertainment of Germany.

Two sequels followed a number of years later — in 2007 and 2017. World Without End (2007) returns to Kingsbridge 200 years after Pillars and focuses on lives devastated by the Black Death. A Column of Fire (2017), a romance and novel of political intrigue, is set in the mid-16th century — a time when Queen Elizabeth finds herself beset by plots to dethrone her.

Century trilogy
Follett initiated his Century trilogy in 2010. The series traces five interrelated families — American, German, Russian, English and Welsh — as they move through world-shaking events, beginning with World War I and the Russian Revolution, up through the rise of the Third Reich and World War II, and into the Cold War era and civil-rights movements.

Adaptations
A number of Follett's novels have been made into movies and TV mini series. Eye of the Needle was made into an acclaimed film, starring Donald Sutherland. Seven novels have been adapted as mini-series: The Key to Rebecca, Lie Down with Lions, On Wings of Eagles, The Third Twin (rights were sold for a then-record price of $1,400,000), The Pillars of the Earth, World Without End, and A Dangerous Fortune.

Follett also had a cameo role as the valet in The Third Twin and later as a merchant in The Pillars of the Earth.

Awards
2013 - Grand Master at the Edgar Awards (New York)
2012 - Que Leer Prize-Best Translation (Spain) - Winter of the World
2010 - Libri Golden Book Award-Best Fiction (Hungary) - Fall of Giants
2010 - Grand Master,  Thrillerfest (New York)
2008 - Honorary Doctor of Literature - University of Exeter
2007 - Honorary Doctor of Literature - University of Glamorgan
2007 - Honorary Doctor of Literature - Saginaw Valley State University
2003 - Corine Literature Prize (Bavaria) - Jackdaws
1999 - Premio Bancarella Literary Prize (Italy) - Hammer of Eden
1979 - Edgar Award-Best Novel - Eye of the Needle

Personal life
During the late 1970s, Follett became involved in the activities of Britain's Labour Party when he met the former Barbara Broer, a Labour Party official. Broer became his second wife in 1984.

Follett, an amateur musician, plays bass guitar for Damn Right I Got the Blues. He occasionally plays a bass balalaika with the folk group Clog Iron. (Adapted from Wikipedia. Retrieved 10/4/2017.)

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Book Reviews
Bestseller Follett sets his sights on biological terrorism, pumping old-school adrenaline into this new breed of thriller. Ex-policewoman Antonia "Toni" Gallo, head of security at a boutique pharmaceuticals company, has discovered that two doses of an experimental drug—developed as a potential cure for the deadly Madoba-2 virus—have vanished from her top-secret laboratory. This mystery is a precursor to a more serious crime being planned by Kit Oxenford, the gambling-addicted son of the company's founder, Stanley Oxenford. Kit, deeply in debt to mobster Harry Mac, sees a raid on his father's lab as a chance to score enough money to disappear and start anew in another country. Some characters are a bit familiar—the pesky, unprincipled journalist; the imbecilic police detective—but others, the mobster's psychopathic daughter in particular, show idiosyncratic originality. After a long buildup, the burglary is set in motion, and Kit's best-laid plans begin to fall apart. Eventually, good guys and bad guys end up at the Oxenford family estate, trapped in the house by a fierce snowstorm as they battle one another over the material stolen from the laboratory. A romance between the recently widowed Stanley and Toni and the unexpected addition of Toni's comically addled mother thicken the plot as Follett's agonizingly protracted, nail-biter ending drags readers to the very edge of their seats and holds them captive until the last villain is satisfactorily dispatched.
Publishers Weekly


A laboratory technician's mysterious death on Christmas Eve (think: Ebola) puts a Scottish pharmaceutical firm's security chief, Toni Gallo, on high alert. The extra attention is unfortunate for Kit Oxenford, the lab director's bright but disgraced son, who is planning a Christmas heist of antiviral medicine. Beset by huge gambling debts, Kit now has to work off his losses with a criminal team (i.e., terrorists) more interested in the virus than the cure. Meanwhile, director Stanley Oxenford and the rest of his colorful family are gathering at their remote holiday home. Smart and conscientious Toni catches wind of Kit's plans, and a dynamic game of cat and mouse ensues-in the midst of a blizzard. Implausible? Probably. Exciting? Absolutely. Holidays and viruses aren't new to the bio-thriller field, but best-selling suspense author Follett (Hornet Flight) makes the formula work with his trademark strong females, large cast of characters, and race-against-the-clock pace. Have fun suggesting this title to John J. Nance and Tess Gerritsen fans or other readers looking for high-speed escapism. Strongly recommended. —Terry Jacobsen, Santa Monica P.L.
Library Journal


With an assist from a beautiful former cop, a more or less dysfunctional Scottish family defends home and hearth against superevil Londoners. Back to the present after confounding the Nazis in Jackdaws (2001) and Hornet Flight (2002), the reliable thrillmeister again makes maximum use of wretched British weather—a freak Christmas Eve blizzard this time-to thicken the plot as a gang of brutal thieves plan to break into the ultra-secure laboratory owned by pharmaceutical mogul Stanley Oxenford, a wealthy widower. Lovely security chief Toni Gallo, late of the Glasgow police force, has already dealt with one viral crisis: the death of a bunny-loving technician infected with the dreaded Madoba-2, target of a vaccine in development at Oxenford's headquarters. Toni's latest task is complicated by her ex-lover, a stinker who drove her from her dream career as a cop and thinks nothing of leaking damaging news to scandal-hungry local telly reporters. She's also flustered by handsome Stanley's attentions. Could the 60ish but studly tycoon have a thing for her? The plot races as Toni ponders. Kit Oxenford, Stanley's dissolute only son, in gambling debt up to his eyeballs, is the thieves' secret weapon. As designer of the lab's security system, computer-savvy Kit knows how to get the gang in to steal the vaccine, a service that will supposedly wipe out his debt. He will, however, have to sneak away from the annual holiday gathering of the clan, a large cast including his two sisters, their mates, their children, stepchildren, and significant-other-children. Toni, who was supposed to be on a spa holiday with her chums, learns at the last moment that her useless sister will be unable to take care of their addled mum and is conveniently in the neighborhood when the thieves, who may be after more than vaccine, make it into the lab's inner reaches. Follett's trademark tension and breakneck pace manage (just barely) to overshadow the YA prose.
Kirkus Reviews

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Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:

• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)

Also consider these LitLovers talking points to help get a discussion started for Whiteout:

A special thanks to LitLovers reader Bethany McDonough for her generoisty in offering the following questions. She developed and used them on behalf of her book club. Thanks Bethany!

1. How does the first sentence "TWO tired men looked at Antonia Gallo with resentment and hostility in their eyes" set the tone of the book?

2. Why did the author structure the book the way he did—24 hours, detailed hour-by-hour?

3. Do any of the characters remind you of people you know or characters from other books?

3. Toni’s intrapersonal struggles and potential/former love interests are mentioned throughout the entire story. What effect do these these relationships (with Stanley, Frank, and the news reporter) have?

4. What are your thoughts on Kit and his family members’ ability or inability to forgive him of his actions?

5. Do you have a “black sheep” in your family?

6. Craig and Sophia struggle to find a private place for intimacy. Do you have a similar story?

7. Is the ending, set in the tropics a year later, satisfying? If not, how would you change it?

8. How does this book compare/contrast to Follett's other novels?

(Questions provided to LitLovers by Bethany McDonough. Please feel free to use them, online of off, with attribution. Thanks.)

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The End of Mr. Y 
Scarlett Thomas, 2006
Houghton Mifflin Harcourt
416 pp.
ISBN-13: 9780156031615


Summary
A cursed book. A missing professor. Some nefarious men in gray suits. And a dreamworld called the Troposphere?

Ariel Manto has a fascination with nineteenth-century scientists—especially Thomas Lumas and The End of Mr. Y, a book no one alive has read. When she mysteriously uncovers a copy at a used bookstore, Ariel is launched into an adventure of science and faith, consciousness and death, space and time, and everything in between.

Seeking answers, Ariel follows in Mr. Y’s footsteps: She swallows a tincture, stares into a black dot, and is transported into the Troposphere—a wonderland where she can travel through time and space using the thoughts of others. There she begins to understand all the mysteries surrounding the book, herself, and the universe. Or is it all just a hallucination?

With The End of Mr. Y, Scarlett Thomas brings us another fast-paced mix of popular culture, love, mystery, and irresistible philosophical adventure. (From the publisher.)

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Author Bio
• Birth—1972
• Where—Hammersmith, England, UK 
• Education—Chelmsford College; University of East London
• Awards—Elle Style Award-Best Young Writer; 
• Currently—teachers at University of Kent

Scarlett Thomas is an English author, who has written some 10+ novels, including PopCo (2005), The End of Mr. Y (2006), and Our Tragic Universe (2011), and Oligarchy (2019). She teaches English literature at the University of Kent.

She is the daughter of Francesca Ashurst, and attended a variety of schools, including a state junior school in Barking, and a boarding school for eighteen months. She studied for her A levels at Chelmsford College and achieved a First in a degree in Cultural Studies at the University of East London from 1992-1995.

Her first three novels feature Lily Pascale, an English literature lecturer who solves murder mysteries. Each of the succeeding novels is independent of the others.

In 2008 she was a member of the Edinburgh International Film Festival jury, along with Director Iain Softley and presided over by actor Danny Huston.

She has taught English Literature at the University of Kent since 2004, and has previously taught at Dartmouth Community College, South East Essex College and the University of East London. She reviews books for the Literary Review, Independent on Sunday, and Scotland on Sunday.

Thomas shares with Ariel, her protagonist in The End of Mr. Y, a wish to know everything:

I'm very much someone who wants to work out the answers. I want to know what's outside the universe, what's at the end of time, and is there a God? But I think fiction's great for that--it's very close to philosophy.

She is currently studying for an MSc in Ethnobotany, and working on her ninth novel, The Seed Collectors.

In 2001 she was named by the Independent as one of 20 Best Young Writers.

In 2002 she won Best New Writer in the Elle Style Awards, and also featured as an author in New Puritans, a project led by the novelists Matt Thorne and Nicholas Blincoeconsisting of both a manifesto and an anthology of short stories.  (From Wikipedia.)

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Book Reviews
Unfortunately, to my mind, the more times Ariel swallows her holy water and enters the Troposphere and the more deadly become the perils there, the more the place feels like a computer game.... But there is a vast gap between even the most interactive computer game and genuine narrative, and this novel dissipates much of its power in that empty space.
Ursula Le Guin - Guardian (UK)


Thomas writes with marvelous panache, although I wish she indulged less in her earnest calls for homeopathy and animal rights. Amid all the novel s engaging questions about the nature of reality, it s hard to get worked up about a subplot that has Ariel traveling through time to save laboratory mice. Still, she spins Derrida and subatomic theory into a wholly enchanting alternate universe that should appeal to a wide popular audience, and that s something no deconstructionist or physicist has managed to do. Consider The End of Mr. Y an accomplished, impressive thought experiment for the 21st century.
Gregory Cowles - New York Times Book Review


You might say that Thomas has redefined activism for the Digital Age. Inspired by a venerable tradition, she achieves here a scope and a passion to match the intelligence and empathy her fiction has always had.
Los Angeles Times Book Review


In Thomas's dense, freewheeling novel, Ariel Manto, an oversexed renegade academic, stumbles across a cursed text, which takes her into the Troposphere, a dimension where she can enter the consciousness, undetected, of other beings. Thomas first signals something is askew even in Ariel's everyday life when a university building collapses; soon after, Ariel discovers her intellectual holy grail at a used book shop: a rare book with the same title as the novel, written by an eccentric 19th-century writer interested in "experiments of the mind." The volume jump-starts her doctoral thesis, but her adviser disappears. And when Ariel follows a recipe in the book, she finds herself in deep trouble in the Troposphere. Her young ex-priest love interest may be too late to save her. Thomas blithely references popular physics, Aristotle, Derrida, Samuel Butler and video game shenanigans while yoking a Back to the Future-like conundrum to a gooey love story. The novel's academic banter runs the gamut from intellectually engaging to droning; this journey to the "edge of consciousness" is similarly playful but less accessible than its predecessor, PopCo.
Publishers Weekly


Graduate student Ariel Manto acquires a copy of a cursed book, The End of Mr. Y. According to the curse, whoever reads the book will die. This doesn't stop Ariel from reading it and taking a tincture prescribed in the text, which transports her to a parallel, multidimensional existence called the Troposphere. Suddenly, Ariel is being pursued by ominous government agents, making friends with the god of mice, falling in love with an office mate, and trying to save the world or at least, the laboratory mice therein. The bare plot outline cannot begin to describe the dizzying inventiveness of Thomas's (PopCo) second novel. It is a combination of postmodern philosophy and physics, spine-tingling science fiction, clever, unexpected narrative twists, and engaging characters all on one wild drug trip. With this book, Thomas, who in 2001 was named by the Independent on Sunday one of Britain's 20 best young writers, has moved into first place. While the science, mathematics, and philosophy may challenge readers, this novel is highly recommended for all fiction collections. —Andrea Kempf, Johnson Cty. Community Coll. Lib., Overland Park
Library Journal


British author Thomas bites off a bit more than she can chew in this novel incorporating time travel, Derrida, and the dangers of sadistic trysts.... Like her previous novel, PopCo (2005), Thomas' mildly amusing second offering aspires to be both wonky and hip: her protagonist obsesses over philosophical matters one moment, her lamentable love life the next. Chick lit for nerds. —Allison Block
Booklist


The curiosity of a young academic triggers a journey of wonder and danger. Ariel Manto, a Ph.D. candidate at a British university, gets an unexpected day off when old tunnels in the campus building adjoining hers threaten to collapse. On the way home, she stumbles onto a much bigger stroke of luck. At a modest bookshop, she comes across a copy of Thomas Lumas's seminal work, The End of Mr. Y, a mysterious novel often cited but thought to be no longer extant. Serendipitously, Ariel is studying Lumas. Lured to the university by Professor Saul Burlem, Ariel has been writing extensively about science, but from a literary perspective. This makes Lumas—a scientific theorist who wrote books in many genres—an ideal candidate for her research. Shortly after April moved into Burlem's capacious office, Burlem vanished, presumably on a research project. Ariel begins to devour Lumas's masterpiece, chunks of which alternate with the main narrative. Mr. Y describes a sort of time travel, into what Lumas calls the Troposphere. Unfortunately, the crucial page that explains how the hero achieves the time-travel trick is missing. Acting on a hunch, Ariel downloads all the information on Burlem's computer, and just in time. Department secretary Yvonne is about to have all Burlem's belongings put into storage to make room for two new occupants, the overfriendly Heather and the highly attractive Adam, with whom Ariel feels an immediate attraction. They seem headed for an affair until Adam informs her that he's a clergyman. Burlem's computer contains the missing page, which had a formula, the ingredients for which Ariel acquires at a local herbalist. Almost before she knows it, she's transported to Lumas's alternate reality, gets chased by CIA-like agents back in her "real" world and indeed drifts toward romance with dreamy Adam. Delicious cross-genre literary picnic, breezy and fiercely intelligent, reminiscent of Haruki Murakami.
Kirkus Reviews

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Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:

• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)

Also consider these LitLovers talking points to help get a discussion started for The End of Mr. Y:

1. Is Ariel a winning narrator? Why or why not? Would you describe her voice as sassy...or whiney? How would you describe her as a character? In what way is she an addictive personality (as she describes herself)?

2. Ariel says, "Give me the invisibility of the contents of books, the thoughts, the ideas, the images. Let me become part of a book...."  Why is the book world more attractive to Ariel than the physical world? Do you ever feel that way? Is that why we read...why you read?

3. What exactly is the Troposphere? Is it an alluring place...or not? A reviewer from the Telegraph (UK) likened it to surfing the web. Good analogy? How is the Troposhpere a metaphor for literature?

4. Is the Troposphere "real"? How does Scarlett Thomas use Derrida's and Heidegger's ideas for her Troposphere? (In other words, how is the Troposhpere a manifestsation of the philosophical ideas of phenomenology?)

5. Is the "real" world real? Based on the theroy of quantum physicals—with its mysterious quarks and charms—how "real" is our 3-dimenionsal physical realm?

6. Does something have to be thought of in order to be real? For example: did Einstein create relativity by thinking it into existence? How does Thomas apply Einstein's theories to conjure up her fictional world?

7. What about the weighty intellectualism of Derrida, Heidegger, or Einstein? Do they get in the way of the plot? Do Ariel's digressions into homeopathy interest you?

8. Ariel must accomplish two tasks: halt the breeding of a line of laboratory mice and stop the writing of Mr. Y. How do those tasks represent time and the metaphysical relationship of past, present, and future?

9. Are the passages from the Lumas book of interest...or do they drag the book's pacing down?

10. Consider the name Ariel.

1. Ariel possesses special powers within the Troposphere. How does that suggest the symbolism of her first name?
2. Ariel Manto" is an anagram of "I am not real." What's the joke? How is this a philosophical comment on the book...its very existence, its ideas, your reading it, your talking about it?

11. Is Apollo Smitheus a more appealing hero than Adam? To what does the Mouse God owe his existence...and what does that suggest about the power of thought?

12. What does Adam's role as an ex-priest suggest about religion?

13. Talk about the book's title as a pun, "The End of Mystery." What does the pun mean?

14. How does this book explore the importance in life of literature? Does it provide answers to the questions, why read fiction...what is fiction good for?

15. The joy of books lies in their disconnect from the real world. Certainly, Ariel's intellectual life is separate from her squalid physical life. Even her doctoral supervisor has disappeared from her real life. How does The End of Mr. Y pose a solution to the idea that one's creative / intellectual life is divorced the "real" world?

16. In what way is Ariel's task a classic quest-story?

17. Is the ending satisfying? What questions about the nature of reality are you left with after having read this book?

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

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