Unfinished Desires
Gail Godwin, 2010
Random House
432 pp.
ISBN-13: 9780345483218
Summary
From Gail Godwin, three-time National Book Award finalist and acclaimed New York Times bestselling author of Evensong and The Finishing School, comes a sweeping new novel of friendship, loyalty, rivalries, redemption, and memory.
It is the fall of 1951 at Mount St. Gabriel’s, an all-girls school tucked away in the mountains of North Carolina. Tildy Stratton, the undisputed queen bee of her class, befriends Chloe Starnes, a new student recently orphaned by the untimely and mysterious death of her mother. Their friendship fills a void for both girls but also sets in motion a chain of events that will profoundly affect the course of many lives, including the girls’ young teacher and the school’s matriarch, Mother Suzanne Ravenel.
Fifty years on, the headmistress relives one pivotal night, trying to reconcile past and present, reaching back even further to her own senior year at the school, where the roots of a tragedy are buried.
In Unfinished Desires, a beloved author delivers a gorgeous new novel in which thwarted desires are passed on for generations—and captures the rare moment when a soul breaks free. (From the publisher.)
Author Bio
• Birth—June 18, 1937
• Where—Birmingham, Alabama, USA
• Raised—Ashville, North Carolina
• Education—B.A., University of North Carolina, Chapel Hill;
M.A. and Ph.D., University of Iowa, Writers' Workshop
• Currently—lives in Woodstock, New York
Gail Kathleen Godwin, an American novelist and short story writer, has published one non-fiction work, two collections of short stories, and eleven novels, three of which have been nominated for the National Book Award and five of which have made the New York Times Bestseller List.
Personal life
Godwin was born in Birmingham, Alabama but raised in Asheville, North Carolina by her divorced mother and grandmother. She attended Peace College in Raleigh, North Carolina (a women's college founded by Presbyterians in 1857) from 1955 to 1957, but graduated with a B.A. in Journalism from the University of North Carolina at Chapel Hill in 1959. She worked briefly as a reporter for the Miami Herald and married a Herald photographer named Douglas Kennedy. After the job and the marriage finished (by firing and by divorce, respectively), she worked as waitress back home in North Carolina to save money to travel to Europe. In the early 1960s, Godwin worked for the U.S. Travel Service at the U.S. Embassy in London and wrote novels and short stories in her spare time. She returned to the United States and worked briefly as an editorial assistant at the Saturday Evening Post before attending the University of Iowa, earning her M.A. (1968) from the Iowa Writers' Workshop and PhD (1971) in English Literature.
Godwin's body of work has garnered many honors, including three National Book Award nominations, a Guggenheim Fellowship, National Endowment for the Arts grants for both fiction and libretto writing, and the Award in Literature from the American Academy and Institute of Arts and Letters. Five of her novels have been on the New York Times best seller list.
Godwin lives and writes in Woodstock, New York. Her family includes her half-brother Rebel A. Cole and half-sister Franchelle Millender.
Writings
Godwin’s eighteen books have established her as a leading voice in American literature along several currents. Her first few novels, published in the early 1970s, explored the worlds of women negotiating restrictive roles. The Odd Woman (1974) was a National Book Award finalist, as was her fourth novel, Violet Clay (1978), in which she modernized the Gothic novel and explored such themes as villainy and suicide.
A Mother and Two Daughters (1982) marked a turning point in Godwin’s career. It encompassed a community, Mountain City, based on her hometown of Asheville, North Carolina, and carried out her empathetic method of entering many characters’ minds within a fluid narrative. Voted a National Book Award finalist, it also became Godwin’s first best-seller. Between it and her next four best-sellers, Godwin interposed Mr. Bedford and the Muses (1983), her second short story collection after Dream Children (1976).
Dream Children had been Godwin’s offering, with some additions, of work she’d created at the Iowa Writer’s Workshop, studying with advisors Kurt Vonnegut and Robert Coover. It exhibits her early interest in allegory made real on a psychological level. The Iowa years come alive in her edited journals, The Making of a Writer, Journals, 1963-1969 (2010). A previous volume, The Making of a Writer, Journals, 1961-1963 (2006), presents her years in Europe after a do-or-die decision to become a writer. The novella, “Mr. Bedford,” which leads her second story collection, derives from her time in London. Narrated in the first person, it achieves the author’s quest for timelessness through a look into a living room window.
“Last night I dreamed of Ursula DeVane,” begins Godwin’s sixth novel, The Finishing School (1984), again employing a first person reverie, and turning it toward one of Godwin’s fertile interests, the effect of a powerful personality on a developing one. The suspense that tragically ensues relates to her next novel, A Southern Family, which returns to Mountain City, but is darker than A Mother and Two Daughters, as it involves a murder-suicide that sends shock waves and melancholy through a family. All of Godwin’s second three novels were published additionally as mass market paperbacks.
Father Melancholy’s Daughter (1991), also a best-seller, represented Godwin’s independence from the best-seller niche being marketed for her. The daughter of the title navigates her relationships with her father, an Episcopal minister; and with a classic Godwin character, a bewitching theatrical auteur. Theology, and its non-doctrinal meaning in spiritual life, became one of the areas in which Godwin began to act as a leading explorer. The subject is embraced in Evensong, her 1999 sequel to Father Melancholy’s Daughter; and in her 2010 novel, Unfinished Desires. It also informs her non-fiction book, Heart: A Natural History of the Heart-Filled Life (2001), illustrated by stories from her life and from her constant reading.
Godwin ninth novel, The Good Husband (1994), makes use of a form she’d emulated as a 24-year-old in Europe, Lawrence Durrell’s quartet (as in The Alexandria Quartet), by which a story is told through four related characters. Godwin’s new direction—not just in form, but also in choice of characters—did not reach the best-seller list. Evensong, her tenth novel, did; and then she engaged in another literary experiment, "Evenings at Five" (2003), a novella that explores, through a distinctive kind of stream-of-consciousness, the presence that follows the death of a long-term companion. It is based on her relationship with composer Robert Starer, with whom she collaborated on nine libretti. Regarding Evenings at Five, Godwin said she wanted “to write a different kind of ghost story.” The trade paperback edition of the book, with Godwin’s autobiographical “Christina Stories” added, became one of eight works of her fiction published as Ballantine Readers Circle trade paperbacks, with interviews and reader’s guides.
For her twelfth novel, Queen of the Underworld, Godwin fashioned a Bildungsroman, derived from her years as a Miami Herald reporter, 1959-60. Her experience included close familiarity with the Cuban emigre community, with whom, at times, she conversed in Spanish.
Unfinished Desires (2010) exemplified her empathetic method by inhabiting the minds and enunciating the voices of more than a dozen full characters. Set at a girls’ school run by nuns, it makes the connection between religious devotion and artistic seriousness. The novel openly reveals girls in adolescence, as well as their elders, who bequeath them their deep-set issues. Suspense comes from multi-punch power plays, as well as from characters’ struggles to be good. The novel’s original title, "The Red Nun," refers to the statue of a tragic novitiate, whose story becomes the subject of a school play, which in turns becomes an arena for acting out. The play’s the thing, dramatically, metaphorically, and psychologically. (From Wikipedia.)
Book Reviews
Gail Godwin’s reserved yet powerful new novel, Unfinished Desires, is set in a Roman Catholic boarding school in the mountains of North Carolina.... Godwin has created several deeply affecting characters.... The novel’s...theme, played out in almost every major character, is the admonition raised on the first page: “What did you love most? And what have you left undone?” Much has been left undone, and by the end of this tale even more has come undone.
Dominique Browning - New York Times
The novel's structure is odd and original, with multiple time frames and perspectives, and a large cast of characters—difficult to sort out at first. Soon enough, though, clear patterns emerge.... The world of Mount St. Gabriel's is small, but the novel feels sprawling, and, if these women's power struggles are often petty, they are also delicious. Appalling characters are rendered sympathetic as we learn their secrets; good characters are allowed a decency that's surprisingly bracing. Though a where-are-they-now wrap-up section at the end is too long and too summarized, Unfinished Desires is usually brisk and involving.
Valier Sayers - Washington Post
A large, roomy story of love, loss, fidelity, secrets, rivalry and faith in the lives of a charming, flawed troupe of characters.... Provocative and rewarding.
Boston Globe
Tender but clear-eyed...Godwin’s South has always been a place where charm and good manners can barely conceal the emotional drama pulsing beneath the surface.... Recalls the fraught family bonds of Godwin’s best novels.
San Francisco Chronicle
Bestselling author Godwin (Evensong; The Finishing School) brings readers back in time to the early 1950s in this endearing story of Catholic school girls and the nuns who oversee them. As Mother Suzanne Ravenel begins a memoir of her 60-plus years at Mount St. Gabriel's School in Mountain City, N.C., she's forced to re-examine the “toxic year” of 1951–1952, one of her worst at the school—beginning with the arrival of ninth-grade student Chloe Starnes, who's recently lost her mother, and Mother Malloy, a beautiful young nun assigned to the freshman class. Starnes and Malloy's arrivals presage a shift in the ranks of freshman Tildy Stratton's cruel clique, with significant consequences for all involved. Change, when it finally comes, stems from the girls' attempt to revive a play written years before by Ravenel. Godwin captures brilliantly the subtleties of friendships between teenage girls, their ambivalence toward religion and their momentous struggle to define people—especially themselves. Poignant and transporting, this faux memoir makes a convincing, satisfying novel.
Publishers Weekly
She Godwin's latest novel (after Queen of the Underworld) is a convoluted tale of intrigue at a girls' boarding school that spans generations. Mount St. Gabriel, an exclusive academy in the North Carolina mountains, was founded by two nuns at the beginning of the 20th century. The school's sheltered atmosphere promoted rigorous academic and religious education but allowed adolescent jealousies to fester unchecked. The story's major characters attended the school in the early 1950s, when the school's headmistress was the manipulative Mother Ravenel, herself an alumna from the 1920s, as were some of the students' mothers. The story hopscotches in time from the school's founding to the near present, when the elderly Mother Ravenel dictates her memoir and aging classmates reunite to reminisce. It's a chore to keep the many generations of characters straight, especially when so many are superficially drawn. The promise of uncovering Mother Ravenel's involvement in a past incident of seeming import to one of the families lures the reader on, but the denouement, though tragic, reveals little motivation beyond schoolgirl pettiness. —Reba Leiding, James Madison Univ. Libs., Harrisonburg, VA
Library Journal
After a couple of subpar efforts, Godwin (Queen of the Underworld, 2006, etc.) is back in top form with a gripping tale of jealousies and power struggles at a Catholic girls' school. In the year 2001, elderly Mother Suzanne Ravenel tape-records her memories of her 50 years at Mount Saint Gabriel's in the Appalachian mountains of North Carolina. Her worst memories are of the dreadful school year 1951-52, when a turbulent ninth grader provoked an outburst that resulted in the headmistress being sent on a leave of absence. Mother Ravenel's own student years at Mount Saint Gabriel's in the 1930s also figure in the story, as does her fraught friendship with Antonia Tilden. This being the South, the separate generations are connected by blood and grievances. Antonia's orphaned niece Chloe is in that 1951-52 ninth-grade class, and she becomes best friends with manipulative, needy Tildy Stratton, daughter of Antonia's embittered twin Cordelia, who's convinced that Suzanne Ravenel's pushiness led to Antonia abandoning her true vocation as a nun. Cordelia's animosity and malice drive the plot, as Tildy takes up her mother's vendetta against the admittedly bossy, self-righteous Mother Ravenel. Chloe's kind Uncle Henry is the only male character of any significance; the emphasis is on female friendships, especially the adolescent variety, with its gusts of hormonal emotions and intricate maneuvers for position. Bad mothers get a good deal of attention as well (there are quite a few of them), and Godwin elicits our understanding for all her characters without letting them off the hook for bad behavior. She skillfully unfolds fascinatingly tangled motives as she keeps the action bustling along. Moving final scenes show an old nun realizing that mixed motives matter less than a lifetime of service, and two old friends reconnecting after 55 years, matured and seasoned by what they've endured, but not so very different from what they were at 14. A strong story populated by a host of memorable characters-smart, satisfying fiction, one of the author's best in years.
Kirkus Reviews
Discussion Questions
1. In Mother Ravenel’s 2001 reflections on Mount St. Gabriel’s, how does she foreshadow the events that transpire in the “toxic year” of 1951? By the end of Unfinished Desires, do you think she’s reconciled herself to this “year better forgotten”? Does she “prevail”? Does she leave anything “undone”?
2. Who is the Red Nun? How does the myth and tragedy of her origin shape, sustain, and “protect” the Mount St. Gabriel’s community?
3. What is “holy daring” as Mother Elizabeth Wallingford, foundress of Mount St. Gabriel’s, conceived it? Discuss how Mother Ravenel interprets and relates “holy daring” and “a woman’s freedom in God.”
4. How and why does Mother Malloy, at Madeline’s urging, encourage Tildy to keep her “intrepid little soul”? Does her diligent tutoring change Tildy?
5. Why does Mother Ravenel place Tildy in charge of the freshman class revival of the Red Nun play? Does she ultimately regret this decision?
6. What is Agnes’s “mortal mistake”? Do you think she anticipated her own untimely death? Why or why not? Is Chloe really “haunted” by her mother?
7. Tildy understands that “best friends have been known to do hurtful things to each other.” Does this explain why Suzanne Ravenel decides to enter as a postulant without her best friend, Antonia? If not, why did she “jump the gun on [her] vocation”?
8. Do you agree with Tildy that “some girls are just always background” and“some girls just stand out”? How does Chloe counter Tildy’s argument? Why doesn’t Chloe unveil her “masterpiece” to the class?
9. Discuss the impact of Cornelia Stratton’s “dry ice” comments on those she loves. How does her “caustic tongue” influence her daughters? Her sister, Antonia? Mother Ravenel?
10. Consider Tildy and Maud’s friendship from its beginning and from each girl’s perspective. How does their friendship evolve? Is it, like each of them, a “work in progress”? How do their perceptions of each other change? How would you define their relationship at the end of the novel?
11. Reading David Copperfield for Mother Malloy’s class, Maud is introduced to the idea that “someone else’s story, if told a certain way, could make you ache as though it were your own.” Do you identify strongly with one particular character’s story in Unfinished Desires? Which one(s)?
12. Discuss the importance and power of secrets in Unfinished Desires. How do they serve to either unite or isolate those who tell them and those whom they are about? (Questions issued by publisher.)
Crossing to Safety
Wallace Stegner, 1987
Random House
368 pp.
ISBN-13: 9780375759314
Summary
Called a “magnificently crafted story...brimming with wisdom” by Howard Frank Mosher in the Washington Post Book World, Crossing to Safety has, since its publication in 1987, established itself as one of the greatest and most cherished American novels of the twentieth century.
Tracing the lives, loves, and aspirations of two couples who move between Vermont and Wisconsin, it is a work of quiet majesty, deep compassion, and powerful insight into the alchemy of friendship and marriage. (From the publisher.)
Author Bio
• Birth—February 18, 1909
• Where—Lake Mills, Iowa
• Death—April 13, 1993
• Where—Santa Fe, New Mexico
• Education—B.A., University of Utah; Ph. D., State University
of Iowa
• Awards—Pulitzer Prize, 1972; National Book Award for, 1977
Some call Wallace Stegner "The Dean of Western Writers." He was born in Lake Mills, Iowa and grew up in Great Falls, Montana, Salt Lake City, Utah and southern Saskatchewan, which he wrote about in his autobiography Wolf Willow. Stegner says he "lived in twenty places in eight states and Canada." While living in Utah, he joined a Boy Scout troop at a Mormon church (though he was not Mormon but Presbyterian himself) and earned the Eagle Scout award.
He received his B.A. at the University of Utah in 1930. He taught at the University of Wisconsin and Harvard University, and then he settled in at Stanford University, where he founded the creative writing program. His students included Sandra Day O'Connor, Edward Abbey, Wendell Berry, Thomas McGuane, Ken Kesey, Gordon Lish, Ernest Gaines, and Larry McMurtry.
He served as a special assistant to Secretary of the Interior Stewart Udall. He was elected to the Sierra Club board of directors for a term that lasted 1964—1966. He also moved into a house in nearby Los Altos Hills and became one of the town's most prominent residents.
Stegner's novel Angle of Repose won the Pulitzer Prize for Fiction in 1972, and was directly based on the letters of Mary Hallock Foote (later published as the memoir A Victorian Gentlewoman in the Far West). Stegner's use of uncredited passages taken directly from Foote's letters caused a minor controversy. Stegner also won the National Book Award for The Spectator Bird in 1977. In the late 1980s, he refused a National Medal from the National Endowment for the Arts in 1992 because he believed the NEA had become too politicized. Crossing to Safety was published in 1987.
He died in Santa Fe, New Mexico, while visiting the city to give a lecture. His death was the result of injuries suffered in an automobile accident on March 28, 1993. He is the father of nature writer Page Stegner. (From Wikipedia.)
Book Reviews
Stegner isn't a household name, though he should be. He had a long and prolific career, writing more than 30 books: novels, story collections, and non-fiction. His characters burrow into your heart, and Stegner's prose, as one critic put it, is "prismatic, lush and painterly." Don't miss this one.
A LitLovers LitPick (March '06)
Adding to a distinguished body of work that already has earned him a Pulitzer Prize and the National Book Awardand on the 50th anniversary of the publication of his first novel, Stegner's new book is an eloquent, wise and immensely moving narrative. It is a meditation on the idealism and spirit of youth, when the world is full of promise, and on the blows and compromises life inevitably inflicts. Two couples meet during the Depression years in Madison, Wis., and become devoted friends despite vast differences in upbringing and social status. Hard work, hope and the will to succeed as a writer motivate the penurious narrator Larry Morgan and his wife Sally as he begins a term teaching at the university. Equally excited by their opportunities are Sid Lang, another junior man in the English department, and his wife Charity. They are fortune's children, favored with intelligence, breeding and money. Taken into the Langs' nourishing and generous embrace, the Morgans have many reasons for gratitude over the years, especially when Sally is afflicted with polio and the Langs provide financial as well as moral support. During visits at the Langs' summer home on Battell Pond in Vermont and later sharing a year in Florence, the couples feel that they are "four in Eden." Yet the Morgans observe the stresses in their friends' marriage as headstrong, insufferably well-organized Charity tries to bully the passive Sid into a more aggressive mold. Charity is one of the most vivid characters in fiction; if she is arrogant, she is also kindhearted, enthusiastic, stalwart and brave—an ardent liver of life. Her incandescent personality is both the dominant force and the source of strain in the enduring friendship Stegner conveys with brilliant artistry. He is also superb at expressing a sense of place, and his intelligent voice makes cogent observations on American society in the decades of his setting. But most importantly, he speaks to us of universal questions, reflecting on "the miserable failure of the law of nature to conform to the dream of man." In doing so, he has created a believable human drama the dimensions of which reach out beyond the story's end and resonate in the reader's heart.
Publishers Weekly
tStegner published his first novel 50 years ago. Since then he has won both a Pulitzer Prize (for Angle of Repose, 1971) and the National Book Award (for The Spectator Bird, 1976). His latest effort, an exploration into the mysteries of friendship, deserves similar accolades. With a quiet but strong hand, he traces the bond that develops between Charity and Sid Lang and Sally and Larry Morgan from their first meeting in 1937 through their eventual separation to their final get-together in 1972 when Charity is dying of cancer and is determined ``to do it right,'' no matter what anyone else thinks. It seems only appropriate that Charity bring them together since she has been the driving force behind the relationship. As we discover now, her bull-headedness has had its price. This is a wonderfully rich, warm, and affecting book. Highly recommended. —David W. Henderson, Eckerd Coll. Lib., St. Petersburg, Fla.
Library Journal
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 Crossing to Safety:
1. Given the difference between their upbringings (social class), what is the basis of friendship between these two couples? What does each couple gain from the friendship? Is it an equal or unequal relationship?
2. Talk about the nature of the two marriages, how they differ. The Langs' marriage seems to be the one most under the microscope here, the most complicated of the two marriages.
3. Then there's Charity—clearly the most complex character of the four. Do you like her, despise her? What drives her?
4. What are Charity's expectations of Sid? Does she desire academic status? Does she want him to realize his full potential or live up to his best self? What does she want from him?
5. Why does Sid stay with Charity? What do you think will happen to him after she dies? Will he choose to go on without her?
6. Stegner is very much a nature writer, using the natural beauty of Vermont as a sort of back drop to his human drama. In what way might he be making a comparison between the immutable natural world and mutable human world?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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Interpreter of Maladies
Jhumpa Lahiri, 1999
Houghton Mifflin Harcourt
208 pp.
ISBN-13: 9780395927205
Summary
Winner of the 2000 Pulitzer Prize and PEN/Hemingway Award
Navigating between the Indian traditions they've inherited and the baffling new world, the characters in Jhumpa Lahiri's elegant, touching stories seek love beyond the barriers of culture and generations. In "A Temporary Matter," published in The New Yorker, a young Indian-American couple faces the heartbreak of a stillborn birth while their Boston neighborhood copes with a nightly blackout. In the title story, an interpreter guides an American family through the India of their ancestors and hears an astonishing confession. Lahiri writes with deft cultural insight reminiscent of Anita Desai and a nuanced depth that recalls Mavis Gallant. She is an important and powerful new voice. (From the publisher.)
More
Maladies both accurately diagnosed and misinterpreted, matters both temporary and life changing, relationships in flux and unshakeable, unexpected blessings and sudden calamities, and the powers of survival—these are among the themes of Jhumpa Lahiri's extraordinary, Pulitzer Prize-winning debut collection of stories. Traveling from India to New England and back again, Lahiri charts the emotional voyages of characters seeking love beyond the barriers of nations, cultures, religions, and generations. Imbued with the sensual details of both Indian and American cultures, they also speak with universal eloquence and compassion to everyone who has ever felt like an outsider. Like the interpreter of the title story—which was selected for both the O. Henry Award and The Best American Short Stories—Lahiri translates between the ancient traditions of her ancestors and the sometimes baffling prospects of the New World. Including three stories first published in The New Yorker, Interpreter of Maladies introduces, in the words of Frederick Busch, "a writer with a steady, penetrating gaze. Lahiri honors the vastness and variousness of the world." Amy Tan concurs: "Lahiri is one of the finest short story writers I’ve read." (Also from the publisher.)
Author Bio
• Birth—July 11, 1967
• Where—London, England, UK
• Raised—Kingston, Rhode Island, USA
• Education—B.A., Barnard College; 2 M.A's., M.F.A., and
Ph.D., Boston University
• Awards—Pulitizer Prize (see more below)
• Currently—lives in Rome, Italy
Jhumpa Lahiri is an Indian American author. Lahiri's debut short story collection, Interpreter of Maladies (1999), won the 2000 Pulitzer Prize for Fiction, and her first novel, The Namesake (2003), was adapted into the popular film of the same name.She was born Nilanjana Sudeshna but goes by her nickname Jhumpa. Lahiri is a member of the President's Committee on the Arts and Humanities, appointed by U.S. President Barack Obama.
Biography
Lahiri was born in London, the daughter of Indian immigrants from the state of West Bengal. Her family moved to the United States when she was two; Lahiri considers herself an American, having said, "I wasn't born here, but I might as well have been." Lahiri grew up in Kingston, Rhode Island, where her father Amar Lahiri works as a librarian at the University of Rhode Island; he is the basis for the protagonist in "The Third and Final Continent," the closing story from Interpreter of Maladies. Lahiri's mother wanted her children to grow up knowing their Bengali heritage, and her family often visited relatives in Calcutta (now Kolkata).
When she began kindergarten in Kingston, Rhode Island, Lahiri's teacher decided to call her by her pet name, Jhumpa, because it was easier to pronounce than her "proper names". Lahiri recalled, "I always felt so embarrassed by my name.... You feel like you're causing someone pain just by being who you are." Lahiri's ambivalence over her identity was the inspiration for the ambivalence of Gogol, the protagonist of her novel The Namesake, over his unusual name. Lahiri graduated from South Kingstown High School and received her B.A. in English literature from Barnard College in 1989.
Lahiri then received multiple degrees from Boston University: an M.A. in English, M.F.A. in Creative Writing, M.A. in Comparative Literature, and a Ph.D. in Renaissance Studies. She took a fellowship at Provincetown's Fine Arts Work Center, which lasted for the next two years (1997–1998). Lahiri has taught creative writing at Boston University and the Rhode Island School of Design.
In 2001, Lahiri married Alberto Vourvoulias-Bush, a journalist who was then Deputy Editor and now Senior Editor of Time Latin America. The couple lives in Rome, Italy with their two children.
Literary career
Lahiri's early short stories faced rejection from publishers "for years." Her debut short story collection, Interpreter of Maladies, was finally released in 1999. The stories address sensitive dilemmas in the lives of Indians or Indian immigrants, with themes such as marital difficulties, miscarriages, and the disconnection between first and second generation United States immigrants. Lahiri later wrote,
When I first started writing I was not conscious that my subject was the Indian-American experience. What drew me to my craft was the desire to force the two worlds I occupied to mingle on the page as I was not brave enough, or mature enough, to allow in life.
The collection was praised by American critics, but received mixed reviews in India, where reviewers were alternately enthusiastic and upset Lahiri had "not paint[ed] Indians in a more positive light." However, according to Md. Ziaul Haque, a poet, columnist, scholar, researcher and a faculty member at Sylhet International University, Bangladesh,
But, it is really painful for any writer living far away in a new state, leaving his/her own homeland behind; the motherland, the environment, people, culture etc. constantly echo in the writer’s (and of course anybody else’s) mind. So, the manner of trying to imagine and describe about the motherland and its people deserves esteem. I think that we should coin a new term, i.e. “distant-author” and add it to Lahiri’s name since she, being a part of another country, has taken the help of "imagination" and depicted her India the way she has wanted to; the writer must have every possible right to paint the world the way he/she thinks appropriate.
Interpreter of Maladies sold 600,000 copies and received the 2000 Pulitzer Prize for Fiction (only the seventh time a story collection had won the award).
In 2003, Lahiri published The Namesake, her first novel. The story spans over thirty years in the life of the Ganguli family. The Calcutta-born parents emigrated as young adults to the United States, where their children, Gogol and Sonia, grow up experiencing the constant generational and cultural gap with their parents. A film adaptation of The Namesake was released in 2007, directed by Mira Nair and starring Kal Penn as Gogol and Bollywood stars Tabu and Irrfan Khan as his parents. Lahiri herself made a cameo as "Aunt Jhumpa".
Lahiri's second collection of short stories, Unaccustomed Earth, was released in 2008. Upon its publication, Unaccustomed Earth achieved the rare distinction of debuting at number 1 on the New York Times best seller list. The Times Book Review editor, Dwight Garner, wrote, "It’s hard to remember the last genuinely serious, well-written work of fiction — particularly a book of stories — that leapt straight to No. 1; it’s a powerful demonstration of Lahiri’s newfound commercial clout."
Her fourth book and second movel, The Lowland, was published in 2013, again to wide acclaim. The story of two Indian born brothers who take different paths in life, it was placed on the shortlist for the Man Booker Prize.
Lahiri has also had a distinguished relationship with The New Yorker magazine in which she has published a number of her short stories, mostly fiction, and a few non-fiction including "The Long Way Home; Cooking Lessons," a story about the importance of food in Lahiri's relationship with her mother.
Since 2005, Lahiri has been a Vice President of the PEN American Center, an organization designed to promote friendship and intellectual cooperation among writers. In 2010, she was appointed a member of the Committee on the Arts and Humanities, along with five others.
Literary focus
Lahiri's writing is characterized by her "plain" language and her characters, often Indian immigrants to America who must navigate between the cultural values of their homeland and their adopted home. Lahiri's fiction is autobiographical and frequently draws upon her own experiences as well as those of her parents, friends, acquaintances, and others in the Bengali communities with which she is familiar. Lahiri examines her characters' struggles, anxieties, and biases to chronicle the nuances and details of immigrant psychology and behavior.
Unaccustomed Earth departs from this earlier original ethos as Lahiri's characters embark on new stages of development. These stories scrutinize the fate of the second and third generations. As succeeding generations become increasingly assimilated into American culture and are comfortable in constructing perspectives outside of their country of origin, Lahiri's fiction shifts to the needs of the individual. She shows how later generations depart from the constraints of their immigrant parents, who are often devoted to their community and their responsibility to other immigrants.
Television
Lahiri worked on the third season of the HBO television program In Treatment. That season featured a character named Sunil, a widower who moves to the United States from Bangladesh and struggles with grief and with culture shock. Although she is credited as a writer on these episodes, her role was more as a consultant on how a Bengali man might perceive Brooklyn.
Awards
• 1993 – TransAtlantic Award from the Henfield Foundation
• 1999 – O. Henry Award for short story "Interpreter of Maladies"
• 1999 – PEN/Hemingway Award (Best Fiction Debut of the Year) for "Interpreter of Maladies"
• 1999 – "Interpreter of Maladies" selected as one of Best American Short Stories
• 2000 – Addison Metcalf Award from the American Academy of Arts and Letters
• 2000 – "The Third and Final Continent" selected as one of Best American Short Stories
• 2000 – The New Yorker's Best Debut of the Year for "Interpreter of Maladies"
• 2000 – Pulitzer Prize for Fiction for her debut "Interpreter of Maladies"
• 2002 – Guggenheim Fellowship
• 2002 – "Nobody's Business" selected as one of Best American Short Stories
• 2008 – Frank O'Connor International Short Story Award for "Unaccustomed Earth"
• 2009 – Asian American Literary Award for "Unaccustomed Earth"
(Author bio from Wikipedia. Retrieved 9/12/13.)
Book Reviews
[Lahiri] announces herself as a wonderfully distinctive new voice.... [She] chronicles her characters' lives with both objectivity and compassion while charting the emotional temperature of their lives with tactile precision. She is a writer of uncommon elegance and poise...a precocious debut.
Michiko Kakutani - The New York Times
Her subject is not love's failure...but the opportunity that an artful spouse (like an artful writer) can make of failure.... She breathes unpredictable life into the page, and the reader finishes each story reseduced, wishing he could spend a whole novel with its characters. There is nothing accidental about her success; her plots are as elegantly constructed as a fine proof in mathematics.
Caleb Crain - The New York Times Book Review
Dazzling writing, an easy-to-carry paperback format and a budget-respecting price tag of $12: Jhumpa Lahiri's Interpreter of Maladies possesses these three qualities, making it my book of choice this summer every time someone asks for a recommendation.... Simply put, Lahiri displays a remarkable maturity and ability to imagine other lives....[E]ach story offers something special. Jhumpa Lahiri's Interpreter of Maladies will reward readers.
USA Today
Lahiri's language is uncluttered; she's sparing with metaphor, and the riches accumulate unobtrusively.
Laura Shapiro - Newsweek
There is not one false note here, not one misstep or hestiation.... [E]ach of these nine stories has the capacity to amaze us.... "In Lahiri's sympathetic tales, the pang of disappointment turns into a sudden hunger to know more.... Lahiri's achievement is something like Twinkle's. She breathes unpredictable life into the page, and the reader finishes each story reseduced, wishing he could spend a whole novel with its characters. There is nothing accidental about her success; her plots are as elegantly constructed as a fine proof in mathematics. To use the word Sanjeev eventually applies to Twinkle, Lahiri is 'wow.'"
Book Magazine
India is an inescapable presence in this strong first collection's nine polished and resonant tales, most of which have appeared in The New Yorker and other publications. Lahiri, who was born in London and grew up in Rhode Island, offers stories that stress the complex mechanics of adjustment to new circumstances, relationships, and cultures. Sometimes they're narrated by outside observers like the flatmates of an "excited" (presumably epileptic) young woman "cured" by "relations" with men (in "The Treatment of Bibi Haldar"); the preadolescent American schoolboy cared for at "Mrs. Sen's," where the eponymous immigrant is tortured by the pressure of adapting to American ways; or, most compellingly, the Indian-American girl emotionally touched and subtly matured by the kindness her parents show to a Pakistani friend who fears for the safety of his family back home amid civil war ("When Mr. Pirzada Came to Dine"). Richly detailed portrayals of young marriages dominate tales like that of an Indian emigrant's oddly fulfilling relationship with his landlady, a bellicose centenarian ("The Third and Final Continent"); "This Blessed House," in which the wedge afflicting a young couple is widened when they discover "Christian paraphernalia" left behind by their home's former owners; and "A Temporary Matter," which delicately traces how a pair of academics, continually mourning their stillborn baby, find in "an exchange of confessions" a renewal of their intimacy. Lahiri is equally skilled with more sophisticated plots, as in her title story's seriocomic disclosure of a middle-aged tour guide's self-delusive romance, or in the complexity of "Sexy," about a young American woman who's fascinated not only by her married Bengali lover but by all other things Indian—including the manner in which she is and isn't deflected from her passion by an afternoon with an Indian boy victimized by his own father's infidelity. Moving and authoritative pictures of culture shock and displaced identity.
Kirkus Reviews
Discussion Questions
1. What kinds of marriage are presented in the stories? One reviewer has written that Lahiri's "subject is not love's failure,...but the opportunity that an artful spouse (like an artful writer) can make of failure..." Do you agree or disagree with that assessment?
2. Lahiri has said, "As a storyteller, I'm aware that there are limitations in communication." What importance in the stories do miscommunication and unexpressed feelings have?
3. In "When Mr. Pirzada Came to Dine," what does the ten-year-old Lilia learn about the differences between life in suburban America and life in less stable parts of the world? What does she learn about the personal consequences of those differences?
4. For Mrs. Sen, "Everything is there" (that is, in India). What instances are there in these stories of exile, estrangement, displacement, and marginality—both emotional, and cultural?
5. What characterizes the sense of community in both the stories set in India and stories set in the U.S.? What maintains that sense, and what disrupts it?
6. Another reviewer has written, "Food in these stories is a talisman, a reassuring bit of the homeland to cling to." How do food and meal preparation maintain links to the characters’ homelands? What other talismans—items of clothing, for example—act as "reassuring bits of the homeland"?
7. The narrator of "The Third and Final Continent" ends his account with the statement, "Still, there are times I am bewildered by each mile I have traveled, each meal I have eaten, each person I have known, each room in which I have slept." In what ways are Lahiri's characters bewildered?
8. What are the roles and significance of routine and ritual in the stories? What are the rewards and drawbacks of maintaining long-established routines and ritual?
9. In "Interpreter of Maladies," Mr. Kapasi finds it hard to believe of Mr. and Mrs. Das that "they were regularly responsible for anything other than themselves." What instances of selfishness or self-centeredness do you find in these stories?
10. In "Interpreter of Maladies," visitors to Konarak find the Chandrabhaga River dried up, and they can no longer enter the Temple of the Sun, "for it had filled with rubble long ago..." What other instances and images does Lahiri present of the collapse, deterioration, or passing of once-important cultural or spiritual values?
11. What does Mrs. Sen mean when, looking at the traffic that makes "her English falter," she says to Eliot, "Everyone, this people, too much in their world"? What circumstances of life in both America and India account for people being "too much in their world"?
12. Rather than leave his weekly rent on the piano, the narrator of "The Third and Final Continent" hands it to Mrs. Croft. What similar small acts of kindness, courtesy, concern, or compassion make a difference in people's lives?
(Questions issued by publisher.)
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Sullivan's Island: A Low Country Tale
Dorothea Benton Frank, 2004
Penguin Group USA
416 pp.
ISBN-13: 9780515127225
Summary
Sullivan's Island is a real place, a barrier island seven miles off the coast of Charleston, South Carolina. Home to Fort Moultrie, which is known for its role in the American Revolution and the Civil War, it is also called the "Ellis Island of Slavery" as over 200,000 slaves from the west coast of Africa entered our country on its shores between 1770 and 1775. As a young soldier, Edgar Allen Poe was stationed at Fort Moultrie and wrote The Gold Bug during that time. It is said the island is a haunted place, populated with the ghosts of broken hearts and lives of untold courage.
Dorothea Benton Frank's first novel, Sullivan's Island combines the stories of love and family with history and place. Set in 1963 and in 1999, it compares and contrasts coming of age in the tumultuous early sixties to coming of age in the peace of the early nineties. It introduces the Gullah Culture to many people for the first time and explains its significance in forming the traditions and values of the island children, which they carry into their adult lives. Sullivan's Island looks at the rigors of Catholicism during the early sixties, shattered childhood innocence, betrayal and revenge and the magic of Lowcountry life.
The protagonist, Susan Hamilton Hayes is in her early forties when we meet her. She is the wife of Tom, a prominent Charleston attorney and the mother of their daughter, Beth. In the prologue, we watch her life implode and then watch and learn how she puts it back together with great humor and pure grit.
We travel back with her to revisit the bitter disappointments of her childhood until she discovers decades later that those juvenile conundrums and challenges gave her the strength to face her adult years. And, most of those lessons were taught to her by Livvie Singleton, an African American woman, descended from slavery.
The Lowcountry itself as important as any character in Sullivan's Island, because its rich history and great beauty teach all the characters who they are and where they belong on the planet. Perhaps most importantly, the Lowcountry and the night sky of Sullivan's Island guide the characters to connect with the spiritual side of life and show them that love never dies. (From the publisher.)
Author Bio
• Birth—1951
• Where—Sullivan's Island, North Carolina, USA
• Education—Fashion Institute of America
• Currently—lives in New Jersey and on Sullivan Island
An author who has helped to put the South Carolina Lowcountry on the literary map, Dorothea Benton Frank hasn't always lived near the ocean, but the Sullivan's Island native has a powerful sense of connection to her birthplace. Even after marrying a New Yorker and settling in New Jersey, she returned to South Carolina regularly for visits, until her mother died and she and her siblings had to sell their family home. "It was very upsetting," she told the Raleigh News & Observer. "Suddenly, I couldn't come back and walk into my mother's house. I was grieving."
After her mother's death, writing down her memories of home was a private, therapeutic act for Frank. But as her stack of computer printouts grew, she began to try to shape them into a novel. Eventually a friend introduced her to the novelist Fern Michaels, who helped her polish her manuscript and find an agent for it.
Published in 2000, Frank's first "Lowcountry tale," Sullivan's Island made it to the New York Times bestseller list. Its quirky characters and tangled family relationships drew comparisons to the works of fellow southerners Anne Rivers Siddons and Pat Conroy (both of whom have provided blurbs for Frank's books). But while Conroy's novels are heavily angst-ridden, Frank sweetens her dysfunctional family tea with humor and a gabby, just-between-us-girls tone. To her way of thinking, there's a gap between serious literary fiction and standard beach-blanket fare that needs to be filled.
"I don't always want to read serious fiction," Frank explained to The Sun News of Myrtle Beach, South Carolina. "But when I read fiction that's not serious, I don't want to read brain candy. Entertain me, for God's sake." Since her debut, she has faithfully followed her own advice, entertaining thousands of readers with books Pat Conroy calls "hilarious and wise" and characters Booklist describes as "sassy and smart,."
These days, Frank has a house of her own on Sullivan's Island, where she spends part of each year. "The first thing I do when I get there is take a walk on the beach," she admits. Evidently, this transplanted Lowcountry gal is staying in touch with her soul.
Extras
From a Barnes & Noble interview:
• Before she started writing, Frank worked as a fashion buyer in New York City. She is also a nationally recognized volunteer fundraiser for the arts and education, and an advocate of literacy programs and women's issues.
• Her definition of a great beach read—"a fabulous story that sucks me in like a black hole and when it's over, it jettisons my bones across the galaxy with a hair on fire mission to convince everyone I know that they must read that book or they will die."
• When asked about her favorite books, here is what she said:
After working your way through all of F. Scott Fitzgerald, Jane Austen, Eudora Welty, Tennessee Williams, Flannery O'Connor, of course, you have to read Gone with the Wind a billion times, then [tackle these authors].
The Water is Wide by Pat Conroy; To Kill a Mockingbird by Harper Lee; The Handmaid's Tale by Margaret Atwood; A Thousand Acres by Jane Smiley; The Red Tent by Anita Diamant; Ladder of Years by Anne Tyler; Brunelleschi's Dome by Ross King; Making Waves and The Sunday Wife by Cassandra King; Islands by Anne Rivers Siddons; Rich in Love, Fireman's Fair, Dreams of Sleep, and Nowhere Else on Earth (all three) by Josephine Humphrey. (Author bio and interview from Barnes and Noble.)
Book Reviews
Frank's debut novel is a story of redemption set in South Carolina's steamy low country. Susan Hamilton Hayes's comfortable Charleston existence is shattered when she finds her husband in bed with another woman. Faced with a failed marriage, a confused teenage daughter and a mediocre job, she sets about the business of healing. Slowly, supported by visits to her sister in their childhood home on sleepy Sullivan's Island, Susan becomes a successful newspaper columnist, regains her confidence as a woman (despite a hilariously deflating date) and finally explores the death of her complex, abusive father decades before. Chapters alternate between the present and 1963, the year her father died, as Susan faces both the strength and the damaging effects of her family legacy. The ending—complete with a perfect suitor reemerging from Susan's youth—is almost too picture perfect to ring true but both the setting and the characters are blazingly authentic. Frank evokes the eccentric Hamilton family and their feisty Gullah housekeeper with originality and conviction; Susan herself—smart, sarcastic, funny and endearingly flawed—makes a lively and memorable narrator. Thanks to these scrappily compelling portraits, this is a rich read.
Publishers Weekly
Set on the coast of South Carolina, this book explores one woman's journey from a contentedly married middle-aged wife and mother to a newly divorced woman looking back on her past for reassurance and to the future for some means of regaining her self-esteem. The story opens with Susan walking in on her husband and his young lover, a shocking surprise to her and an annoyance to him. Susan escalates the situation by throwing them both out, packing her husband's toiletries, and then beginning a new chapter. The tale moves back and forth between present and past as Susan reminisces about her South Carolina Lowcountry upbringing, with all of its "geechee" and Gullah cadences and the African American housekeeper who raised her and her siblings. Throughout, Susan draws strength and support from her sister, and her appreciation for her roots deepens as she tries to come to terms with divorce and raising a teenager. Frank's novel deals with dating, divorce, family life, and teenagers in an outrageously funny way. Conversely, there is a bittersweet nostalgia that permeates a life that seems familiar to us all. Joyce Bean does a highly credible job of evoking Southern pluck and sass as she moves easily among characters. Those who enjoy Pat Conroy or Anne Rivers Siddons will not be disappointed. Recommended for all public libraries. —Gloria Maxwell, Penn Valley Community Coll., Kansas City, MO
Library Journal
Discussion Questions
1. What is the Lowcountry and how important is it to the story of Sullivan's Island?
2. What is the Gullah culture and how did it impact the psyche of Susan Hamilton Hayes and her siblings? And, did Livvie Singleton's legacy have an impact on Susan's daughter, Beth?
3. Would you say that it was better to have come of age in the sixties or the nineties and what are the principal differences in those decades from Susan's point of view. Is she right?
4. Susan makes a claim that the world has been made better and safer by the people of her generation. What do you think?
5. Susan's relationship with Livvie is a powerful one as is her relationship with her own mother. Would you say that her mother's weakness was as valuable to her as Livvie's strength? And, would you describe Livvie and Susan's mother, MC as frustrated by their positions in life?
6. Susan's father, Hank is a complicated man. Would you say that, if he were a young parent today, that he could be convicted of child abuse? And, why didn't Marvin Struthers have him arrested for it in 1963? How have attitudes changed about parent's rights to discipline their children?
7. Susan's grandfather, Tipa is a classic example of a southern gentleman of his day. Was his bigotry understandable for the early 1960's? Discuss how the love Susan felt for Livvie grew against the narrow mindedness of her grandfather. Do you think that she loved her grandfather and indeed, did she love her parents?
8. Should Susan have taken Tom back? How realistic is forgiveness and reconciliation in the face of blatant adultery of Tom's variety? How well did she handle explaining it to Beth and then coping with her relationship with Tom and Beth?
9. Why did Simon Rifkin play such a long lasting role in Susan's life? Was she naïve about him or were they fated to be together? Is there such a thing as fate?
10 Is it dangerous to love someone with limits on the amount of affection and loyalty you intend to allot them? What happens when Susan and Maggie talk about being stingy with affection and commitment?
11. The south is known for its ghost stories and tales of the inexplicable. Do you think that the mirror described in Sullivan's Island was believable? And, if not, who among you has had something happen that defied scientific explanation?
12. How critical is complete truth in a marriage? Is anyone ever completely honest with someone who holds the immediate stability and the near future in their hands? When is lying permissible? And, when a lie is exposed, how forgiving are you?
(Questions issued by publisher.)
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Still Missing
Chevy Stevens 2010
St. Martin's Press
384 pp.
ISBN-13: 9781250049513
Summary
On the day she was abducted, Annie O’Sullivan, a thirty-two year old realtor, had three goals—sell a house, forget about a recent argument with her mother, and be on time for dinner with her ever-patient boyfriend.
The open house is slow, but when her last visitor pulls up in a van as she's about to leave, Annie thinks it just might be her lucky day after all. Interwoven with the story of the year Annie spent as the captive of psychopath in a remote mountain cabin, which unfolds through sessions with her psychiatrist, is a second narrative recounting events following her escape—her struggle to piece her shattered life back together and the ongoing police investigation into the identity of her captor.
The truth doesn’t always set you free.
Still Missing is that rare debut find—a shocking, visceral, brutal and beautifully crafted debut novel. (From the publisher.)
Author Bio
• Born—1973
• Where—Vancouver Island, British Columbia, Canada
• Education—N/A
• Awards—International Thriller Writers Award
• Currently—lives on Vancouver Island, B.E.
Chevy Stevens grew up on a ranch on Vancouver Island and still calls the island home. For most of her adult life she worked in sales, first as a rep for a giftware company and then as a Realtor.
At open houses, waiting between potential buyers, she spent hours scaring herself with thoughts of horrible things that could happen to her. Her most terrifying scenario, which began with being abducted, was the inspiration for Still Missing. After six months Chevy sold her house and left real estate so she could finish the book.
Chevy enjoys writing thrillers that allow her to blend her interest in family dynamics with her love of the west coast lifestyle. When she’s not working on her next book, she’s hiking with her husband and dog in the local mountains. (From the author's website.)
Book Reviews
Still Missing runs deeper than the chills it delivers, the surprises it holds and the resilience of its main character. Ms. Stevens makes Annie a strong, smart woman who won’t stop fighting to regain her sanity and equilibrium. She can’t come back until she knows why she was taken away.
Janet Maslin - New York Times
The strength of the novel lies not in its characters or insights but in a shrewdly calculated, suspenseful plot that uncorks one surprise after another.
Patrick Anderson - Washington Post
This debut novel has the power to shock and awe with its explosively frightening premise about a woman who is kidnapped by a stranger and held against her will for more than year. It starts with a very scary abduction. Annie O'Sullivan is a real-estate agent, and her captor comes for her at an open house. What happens to Annie during her captivity is heartbreaking, stomach-turning, outrageously immoral and frightening. Equally unimaginable is the catalyst for her kidnapping. This is one scary novel with a new twist on the classic kidnap and conspiracy story. Still Missing by Vancouver Island native and resident Chevy Stevens is sure to rock lovers of the thriller genre.
USA Today
Crackling with suspense this debut thriller stars Annie O'Sullivan, a young Realtor who recounts her year-long ordeal as a captive of a rapist she calls simply "The Freak." Her imprisonment, escape, and fraught reentry into ordinary life will have you glued to the page.
People
(Starred review.) Stevens’s impressive debut, a thriller set on Vancouver Island, pulsates with suspense that gets a power boost from the jaw-dropping but credible closing twist. In psychiatric sessions, Annie O’Sullivan, a 32-year-old realtor with a nice boyfriend and a demanding mother, describes her year-long ordeal as the captive of a rapist. The intense plot alternates between Annie’s creepy confinement, her escape, and her attempts to readjust to real life, from going to the bathroom when she wants to managing her own meals. Still, Annie knows that a large part of her soul is “still missing.” Her transformation from victim adds to the believability of the enthralling plot.
Publishers Weekly
(Starred review.) On a sunny August afternoon, realtor Annie O'Sullivan is just about to end an open house showing when a friendly, nicely dressed man appears. What seems to be a lucky break is really just the beginning of Annie's yearlong ordeal. During sessions with her psychologist, Annie takes the reader back to her abduction and narrates how she struggled to survive during and after the horror. Since the reader is reliving the events through Annie's own retelling, the material can be tough to take. That emotional challenge is alleviated by Annie's flashes of humor and defiance. In her mind, once a victim does not mean one forever. Verdict: While there is physical danger in what Annie experiences, the suspense is in her psychological struggle. Author praise of this highly touted debut includes comparisons to Karin Slaughter and Lisa Gardner, and those authors' fans will like this thriller. While this may be a stretch, the "what would I do" aspect of the reading experience may make this a match for some Jodi Picoult readers as well. Highly recommended. —Jane Jorgenson, Madison P.L., WI
Library Journal
(Starred review.) Stevens’s blistering debut follows a kidnap victim from her abduction to her escape—and the even more horrifying nightmare that follows. One moment, Vancouver Island realtor Annie O’Sullivan is taking one last client, a quiet, well-spoken man with a nice smile, through the property where she’s holding an open house; the next moment, she’s being marched out to a van at gunpoint, unaware that it’s the last time for months that she’ll see the sky or breathe the open air. The man who’s taken her calls himself David; she calls him The Freak. And her ordeal over the next year, described in unsparing detail in a series of lacerating sessions with her psychiatrist, indicates that her name is a lot more accurate than his.... A grueling, gripping demonstration of melodrama’s darker side.
Kirkus Reviews
Discussion Questions
Use our LitLovers Book Club Resources; they can help with discussions for any book:
• How to Discuss a Book (helpful discussion tips)
• Generic Discussion Questions—Fiction and Nonfiction
• Read-Think-Talk (a guided reading chart)
Also consider these LitLovers talking points to help get a discussion started for Still Missing:
1. How would you describe Annie's character...especially those qualities that enable her to survive her ordeal at the hands of The Freak? How well might you have fared?
2. At some point during captivity, Annie begins to almost like The Freak. She goes to far as to admit that "sometimes he's kinda sweet." Although identifying with a captor is a known phenomenon—referred to as the "Stockholm Syndrome" in psychiatric parlance—how do those feelings develop in Annie?
3. Are the early parts of the novel, the sex scenes, too lurid for your taste—do you consider them sensational. Or are they an integral part of the plot, necessary for us to grasp Annie's tormented state?
4. Is "The Freak" a good name for Annie's abductor? What would you have called him? Describe him.
5. Chevy Stevens has written her book as a flashback, the present peering back into the past. We know at the outset, therefore, that Annie escapes her ordeal. Why might the author have structured her book in such a way?
6. David-The-Freak tells Annie that she is perfectly safe with him. There's a degree of ironic truth in his statement. How so? (Consider what happens when she escapes to freedom.)
7. Describe what Annie finds once she returns home—starting with her mother and the accident that took her father's and sibling's lives. Then there's the old boyfriend, Luke, as well as her best friend.
8. What prompts Annie to realize that her captivity was intentionally set-up by someone in her old life?
9. What is the significance of the title, "Still Missing"?
10. In all, does this book deliver? Were you held in suspense? Or did you find it predictable? Was the ending satisfying?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)