Sula 
Toni Morrison, 1973
Knopf Doubleday
174 pp.
ISBN-13: 9781400033430


Summary
Two girls who grow up to become women. Two friends who become something worse than enemies. In this brilliantly imagined novel, Toni Morrison tells the story of Nel Wright and Sula Peace, who meet as children in the small town of Medallion, Ohio.

Their devotion is fierce enough to withstand bullies and the burden of a dreadful secret. It endures even after Nel has grown up to be a pillar of the black community and Sula has become a pariah. But their friendship ends in an unforgivable betrayal—or does it end? Terrifying, comic, ribald and tragic, Sula is a work that overflows with life. (From the publisher.)

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Author  Bio 
• Aka—Chloe Anthony Wofford
• Birth—February 18, 1931
• Where—Lorain, Ohio, USA
• Education—B.A., Howard University; M.A.,  Cornell,
• Awards—Nobel Prize, 1993, National Book Critics' Circle
  Award, 1977; Pulitzer Prize, 1988.
• Currently—lives in Princeton, NJ and New York, NY


With her incredible string of lyrical, imaginative, and adventurous modern classics Toni Morrison lays claim to being one of America's best novelists. Race issues are at the heart of many of Morrison's most enduring novels, from the ways that white concepts of beauty affect a girl's self image in The Bluest Eye to themes of segregation in Sulu and slavery in her signature work Beloved. Through it all, Morrison relates her tales with lyrical eloquence and spellbinding mystery.

Born Chloe Anthony Wofford, Morrison's unique approach to writing stems from a childhood spent steeped in folklore and mythology. Her family reveled in sharing these often tales, and their commingling of the fantastic and the natural would become a key element in her work when she began penning original tales of her own.

The other majorly influential factor in her writing was the racism she experienced firsthand in, as Jet magazine described it, the "mixed and sometimes hostile neighborhood" of Lorain, Ohio. When Morrison was only a toddler, her home was set afire by racists while her family was still inside of it. During times such as these, she found strength in her father, who instilled in her a great sense of dignity. This pride in her cultural background would heavily influence her debut novel.

In The Bluest Eye, an eleven-year old black girl named Pecola prays every night for blue eyes, seeing them as the epitome of feminine beauty. She believes these eyes, symbolizing commonly held white concepts of attractiveness, would put an end to her familial woes, an end to her father's excessive drinking and her brother's meandering. They would give her self-esteem and purpose. The Bluest Eye is the first of Toni Morrison's cries for racial pride and it is an auspicious debut told with an eerie poeticism.

Morrison next tackled segregation in Sulu, which chronicles the friendship between two women who, much like the author, grew up in a small, segregated village in Ohio. Song of Solomon followed. Arguably her first bona fide classic and certainly her most lyrical work, Song of Solomon breathed with the mythology of Morrison's youth, a veritable modern folktale pivoting on an eccentric whimsically named Milkman Dead who spends his life trying to fly. This is one of Morrison's most breathtaking, most accomplished and fully dimensional novels, a story of powerful convictions told in an unmistakably original manner.

In Song of Solomon, Morrison created a distinct world where the supernatural commingles comfortably with the mundane, a setting that would reappear in her masterpiece, Beloved. Beloved is a ghost story quite unlike any other, a tale of guilt and love and the horrendous legacy of slavery. Taking place not long after the end of the Civil War, Beloved finds Sethe, a former slave, being haunted by the daughter she murdered to save the child from being sold into slavery. It is a gut wrenching story that is buoyed by its fantastical plot device and the sheer beauty of Morrison's prose.

Beloved so moved Morrison's literary peers that forty-eight of them signed an open letter published in the New York Times demanding she be recognizing for this major effort. Subsequently, the book won her a Pulitzer Prize. A year after publishing her next novel Jazz in 1992, she would become the very first African American to win the Nobel Prize for Literature.

Towards the end of the century, Morrison's work became increasingly eclectic. She not only published another finely crafted, incendiary novel in Paradise, which systematically tracks the genesis of an act of mob violence, but she also published her first children's book The Big Box. In 2003, she published Love, her first novel in five years, a complex meditation on family and the way one man fuels the obsessions of several women. The following year she assembled a collection of photographs of school children taken during the era of segregation. What makes Remember: The Journey to School Integration so particularly haunting is that Morrison chose to compose dialogue imagining what the subjects of each photo may have been thinking. In 2008, Morrison published A Mercy.

That imagination, that willingness to take chances, to examine history through a fresh perspective, is such an integral part of Morrison's craft. She is as vital as any contemporary artist, and her stories may focus on the black American experience, but the eloquence, imaginativeness, and meaningfulness of her writing leaps high over any racial boundaries.

Extras
• Chloe Anthony Wofford chose to publish her first novel under the name Toni Morrison because she believed that Toni was easier to pronounce than Chloe. Morrison later regretted assuming the nom de plume.

• In 1986, the first production of Morrison's sole play Dreaming Emmett was staged. The play was based on the story of Emmett Till, a black teen murdered by racists in 1955.

• Morrison's prestigious status is not limited to her revered novels or her multitude of awards. She also holds a chair at Princeton University. (Author bio from Barnes & Noble.)

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Book Reviews 
Morrison's novel is...vital and rich.... Her extravagantly beautiful, doomed characters are locked in a world where hope for the future is a foreign commodity, yet they are enormously, achingly alive. And this book about them—and about how their beauty is drained back and frozen—is a howl of love and rage, playful and funny as well as hard and bitter.... Toni Morrison is someone who really knows how to clank a sentence...and her dialogue is so compressed and life-like that it sizzles. Morrison's skill at characterization is such that, by the end, it's as if an enormous but too severely framed landscape has been unrolled and inhabited by people who seem almost mythologically strong and familiar...they have a heroic quality, and it's hard to believe we haven't known them forever.
Sara Blackburn - New York Times

Sula and Nel grow up through this novel in a small town called The Bottom, in Medallion, Ohio and in doing so got through different issues, situations, and strains, because of race, socioeconomic status, traditions, sexual orientation and intercourse. Through these issues human emotions are shown and just how different people can think.

Nel Wright is an example of the black bourgeoisie, structured in traditional roles and conventional life, and Sula lives in stucturelessness and her mother and grandmother are viewed eccentric and loose. The girls come from opposites, but come together, in which is like two halves making a whole.

Sula’s breakthrough about life occurs when she over hears her mother say that she doesn’t like Sula although she loves her. The reader learns that a mother will always love a child but doesn’t have to like them showing the difference between liking and loving. This also shows the novels exploration of human emotions. After hearing this Sula is changed forever, realizing you can only live for yourself.

The girls grow into adulthood. Nel stayed in their hometown and went into a conventional life that she grew up in; she got married, had kids, and was a housewife. Sula left for 10 years, went to college and traveled the country having affairs with many men.

The two reunite after Sula’s return to The Bottom. She caused trouble for the whole town, by being a threat to their convention and traditional ways of life. Woman changed and became more understanding of their husbands, working hard to keep them home so that they don’t fall into Sula’s bed. They treated children better and each other better. Sula’s return although some viewed as almost evil, brought good fortune to The Bottom, because the people change for the better.

Sula then commits the ultimate betrayal to Nel. It is through this betrayal and Sula’s demise that it is shown that Sula is not good or evil, she is merely indifferent to all. The events of her life leading up to her death such as her mothers comment has left Sula with any way of understanding human emotion or ability to have emotions. Without Sula the town then falls apart without the influence of her "evil" helping them to be better.

This novel causes the reader to look at "good" and "evil" and see that the good can be evil and the evil can be good. In the end Nel realizes that in some ways she is like Sula and that their relationship was even more important then the betrayal that had occurred in the Novel.
Daniel Dawkins - African-American Fiction

(Audio version.) Hearing an author read her own work creates a special ambiance. To hear Morrison read a short, unabridged novel published 24 years ago, to hear in her voice how much she still values the writing, well, who could ask for more? The only drawback is that Morrison, while very much in tune with her characters, often lets her voice drop to a whisper, making these tapes difficult to listen to while driving and almost impossible on a highway with the window open. On the page, Sula is one of her more clearly defined novels—the friendship and later hatred that envelopes the lives of two black women from "the bottom"—but the imagistic nature of the writing means listeners may have to replay passages if they want to follow the action. A small price to pay for a masterpiece. —Rochelle Ratner, formerly with Soho Weekly News, NYC
Library Journal

Told from the points of view of many characters, Sula provides a multifaceted portrait of a community and, within it, a friendship. Morrison confronts superstition, the role of women in black society, the ravages of war, legacy, and the gray areas of morality and perception that don't make any of the preceding easy to define. Students studying this work might want to concentrate on characterization (Sula's mother Hannah and her grandmother Eva are as complex as Sula and Nel) and the rhythm of Morrison's prose, especially in the first-person sections. Morrison has proven through her body of work that she is one of America's premier novelists, a writer who can portray multiple levels of even the simplest plot. Since she has written so few novels (eight at this writing), readers should easily be able to familiarize themselves with all her books. For those who have not read Morrison, I recommend starting with this book or Song of Solomon since the others are either more demanding or, in the case of The Bluest Eye, not as complex.
Debbie Lee Wesselman - MostlyFiction.com

The novel...explores notions of good and evil through the friendship of two childhood friends who have witness the accidental death of a little boy. Nel admits to herself that she had blamed his death entirely on Sula and set herself up as the “good” half of the relationship. In this regard, Sula is a novel about ambiguity. It questions and examines the terms “good” and “evil,” often demonstrating that the two often resemble one another.
Moleskine Book Reviews - Mattviews.wordpress.com

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Discussion Questions 
1. What is the significance of the quote at the start of the book, "Nobody knew my rose of the world but me.... I had too much glory. They don't want glory like that in nobody's heart." (The Rose Tattoo) How does this set the stage for the novel.

2. The novel begins by telling the reader that the Bottom, the neighborhood above Medallion, will soon be gone, replaced by the Medallion City Golf Course. How does knowing that the Bottom will soon be gone influence the rest of the novel? How does this description imply that things are not what they appear to be on the surface?

3. What are some possible reasons Eva's decision to go downstairs and light the fire, "the smoke of which was in her hair for years"? How does this make you feel about her character? Was this an act of sacrifice or selfishness? Can Eva be described as "good" or "bad"?

4. Eva gave her children to a neighbor and returned 18 months later, minus one leg. What is the possible symbolic significance of Eva's missing leg? How does it tie into the theme of deceptive appearances in the novel?

5. Sula contains some adult language and themes. Is this book appropriate for high school students? Are African Americans portrayed in a positive or negative light in the book? What about the portrayal of white people?

6. The novel takes place over the course of 45 years. How do relations between the races change over the course of the novel? How are the inhabitants of the Bottom and Medallion changed by what's going on in the world around them?

7. One reviewer commented that Sula is "a complex story of friendship and disappointment, death and sex, desperation and vulnerability" (Gayle Sims, Knight-Ridder Newspaper). How would you characterize the novel?

8. Sula and Nel become friends and later seem to be each other's alter egos. How does Nel's decision to marry inform Sula's life? How does Sula's leaving influence Nel?
(Questions issued by publisher.)

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The Thousand Autumns of Jacob de Zoet
David Mitchell, 2010
Random House
496 pp.
ISBN-13: 9780812976366

Summary 
In 2007, Time magazine named him one of the most influential novelists in the world. He has twice been short-listed for the Man Booker Prize. The New York Times Book Review called him simply “a genius.” Now David Mitchell lends fresh credence to The Guardian’s claim that “each of his books seems entirely different from that which preceded it.” The Thousand Autumns of Jacob de Zoet is a stunning departure for this brilliant, restless, and wildly ambitious author, a giant leap forward by even his own high standards. A bold and epic novel of a rarely visited point in history, it is a work as exquisitely rendered as it is irresistibly readable.

The year is 1799, the place Dejima in Nagasaki Harbor, the “high-walled, fan-shaped artificial island” that is the Japanese Empire’s single port and sole window onto the world, designed to keep the West at bay; the farthest outpost of the war-ravaged Dutch East Indies Company; and a de facto prison for the dozen foreigners permitted to live and work there. To this place of devious merchants, deceitful interpreters, costly courtesans, earthquakes, and typhoons comes Jacob de Zoet, a devout and resourceful young clerk who has five years in the East to earn a fortune of sufficient size to win the hand of his wealthy fiancée back in Holland.

But Jacob’s original intentions are eclipsed after a chance encounter with Orito Aibagawa, the disfigured daughter of a samurai doctor and midwife to the city’s powerful magistrate. The borders between propriety, profit, and pleasure blur until Jacob finds his vision clouded, one rash promise made and then fatefully broken. The consequences will extend beyond Jacob’s worst imaginings. As one cynical colleague asks, “Who ain’t a gambler in the glorious Orient, with his very life?”

A magnificent mix of luminous writing, prodigious research, and heedless imagination, The Thousand Autumns of Jacob de Zoet is the most impressive achievement of its eminent author. (From the publisher.)

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Author Bio 
• Birth—January 12, 1969
• Where—Southport, Lancashire, UK
• Education—B.A., M.A., University of Kent
• Awards—John Llewellyn Rhys Prize
• Currently—lives in County Cork, Ireland


David Mitchell is an English novelist, the author of several novels, two of which, number9dream (2001) and Cloud Atlas (2004), were shortlisted for the Booker Prize. He has lived in Italy, Japan and Ireland. Mitchell currently lives with his wife Keiko Yoshida and their two children in Ardfield, Clonakilty in County Cork, Ireland.

Early life
Mitchell was born in Southport in Merseyside, England, and raised in Malvern, Worcestershire. He was educated at Hanley Castle High School and at the University of Kent, where he obtained a degree in English and American Literature followed by an M.A. in Comparative Literature. He lived in Sicily for a year, then moved to Hiroshima, Japan, where he taught English to technical students for eight years, before returning to England, where he could live on his earnings as a writer and support his pregnant wife.

Work
Mitchell's first novel, Ghostwritten (1999), moves around the globe, from Okinawa to Mongolia to pre-Millennial New York City, as nine narrators tell stories that interlock and intersect. The novel won the John Llewellyn Rhys Prize (for best work of British literature written by an author under 35) and was shortlisted for the Guardian First Book Award. His two subsequent novels, number9dream (2001) and Cloud Atlas (2004), were both shortlisted for the Man Booker Prize. In 2003, he was selected as one of Granta's Best of Young British Novelists. In 2007, Mitchell was listed among Time magazine's 100 Most Influential People in The World.

In 2012 his novel Cloud Atlas was made into a film. In recent years he has also written opera libretti. Wake, based on the 2000 Enschede fireworks disaster and with music by Klaas de Vries, was performed by the Dutch Nationale Reisopera in 2010. For his other opera, Sunken Garden, he collaborated with the Dutch composer Michel van der Aa. It premiered in 2013 with the English National Opera.

Mitchell's sixth novel, The Bone Clocks, was released on September 2nd, 2014. In an interview in The Spectator, Mitchell said that the novel has "dollops of the fantastic in it", and is about "stuff between life and death." The book was longlisted for the 2014 Man Booker Prize.

Personal
In a Random House essay, Mitchell wrote:

I knew I wanted to be a writer since I was a kid, but until I came to Japan to live in 1994 I was too easily distracted to do much about it. I would probably have become a writer wherever I lived, but would I have become the same writer if I'd spent the last six years in London, or Cape Town, or Moose Jaw, on an oil rig or in the circus? This is my answer to myself.

Mitchell has the speech disorder of stammering and considers the film The King's Speech (2010) to be one of the most accurate portrayals of what it's like to be a stammerer: "I'd probably still be avoiding the subject today had I not outed myself by writing a semi-autobiographical novel, Black Swan Green, narrated by a stammering 13 year old."

One of Mitchell's children is autistic, and in 2013 he and wife Keiko translated into English a book written by a 13-year-old Japanese boy with autism, The Reason I Jump: One Boy's Voice from the Silence of Autism.

List of works
Novels
    Ghostwritten (1999)
    number9dream (2001)
    Cloud Atlas (2004)
    Black Swan Green (2006)
    The Thousand Autumns of Jacob de Zoet (2010)
    The Bone Clocks (2014)
    Slade House (2015)
    Utopia Avenue (2020)
(Bio adapted from Wikipedia. Retrieved 9/4/2014.)

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Book Reviews 
David Mitchell has traded in the experimental, puzzlelike pyrotechnics of Ghostwritten and Number9Dream for a fairly straight-ahead story line and a historical setting. He's meticulously reconstructed the lost world of Edo-era Japan, and in doing so he's created his most conventional but most emotionally engaging novel yet: it's as if an acrobatic but show-offy performance artist, adept at mimicry, ventriloquism and cerebral literary gymnastics, had decided to do an old-fashioned play and, in the process, proved his chops as an actor.
Michiko Kakutani - New York Times

If any readers have doubted that David Mitchell is phenomenally talented and capable of vaulting wonders on the page, they have been heretofore silent. Mitchell is almost universally acknowledged as the real deal. His best-known book, Cloud Atlas, is one of those how-the-holy-hell-did-he-do-it? modern classics that no doubt is—and should be—read by any student of contemporary fiction…[The Thousand Autumns of Jacob de Zoet] confirms Mitchell as one of the more fascinating and fearless writers alive.
Dave Eggers - New York Times Book Review

[Mitchell] startles us again with a rich historical romance set in feudal Japan, an epic of sacrificial love, clashing civilizations and enemies who won't rest until whole family lines have been snuffed out. Yes, the novelist who's been showing us the future of fiction has published a classic, old-fashioned tale. It's not too early to suggest that Mitchell can triumph in any genre he chooses.
Ron Charles - Washington Post

When a Dutch trader falls in love with a Japanese midwife who is also the disfigured daughter of a samurai doctor in 19th-century Japan, you can be sure that the emotional and cultural clashes will be significant. The Thousand Days of Jacob de Zoet is a historical romance novel by Davd Mitchell, gifted author of Cloud Atlas and Black Swan Green. Here, Mitchell melds history and literature into a satisfying blend.
Christian Science Monitor

Mitchell’s rightly been hailed as a virtuoso genius for his genre-bending, fiercely intelligent novels Ghostwritten and Cloud Atlas. Now he takes something of a busman’s holiday with this majestic historical romance set in turn-of-the-19th-century Japan, where young, naive Jacob de Zoet arrives on the small manmade island of Dejima in Nagasaki Harbor as part of a contingent of Dutch East Indies officials charged with cleaning up the trading station’s entrenched culture of corruption. Though engaged to be married in the Netherlands, he quickly falls in hopeless love with Orito Aibagawa, a Dutch-trained Japanese midwife and promising student of Marinus, the station’s resident physician. Their “courtship” is strained, as foreigners are prohibited from setting foot on the Japanese mainland, and the only relationships permitted between Japanese women and foreign men on Dejima are of the paid variety. Jacob has larger trouble, though; when he refuses to sign off on a bogus shipping manifest, his stint on Dejima is extended and he’s demoted, stuck in the service of a vengeful fellow clerk. Meanwhile, Orito’s father dies deeply in debt, and her stepmother sells her into service at a mountaintop shrine where her midwife skills are in high demand, she soon learns, because of the extraordinarily sinister rituals going on in the secretive shrine. This is where the slow-to-start plot kicks in, and Mitchell pours on the heat with a rescue attempt by Orito’s first love, Uzaemon, who happens to be Jacob’s translator and confidant. Mitchell’s ventriloquism is as sharp as ever; he conjures men of Eastern and Western science as convincingly as he does the unscrubbed sailor rabble. Though there are more than a few spots of embarrassingly bad writing (“How scandalized Nagasaki shall be, thinks Uzaemon, if the truth is ever known”), Mitchell’s talent still shines through, particularly in the novel’s riveting final act, a pressure-cooker of tension, character work, and gorgeous set pieces. It’s certainly no Cloud Atlas, but it is a dense and satisfying historical with literary brawn and stylistic panache.
Publishers Weekly

It is a rare novel that's so captivating that the reader feels transported through time and fully immersed in an unfamiliar culture and place, and this is such a novel. Mitchell, a Man Booker Prize finalist for Cloud Atlas, returns with a story set at the turn of the 18th century around Dejima, an artificial island located in Nagasaki Bay and used as a trade outpost by the Dutch East Indies Company. A small group of mostly Dutch merchants lives on Dejima under the watchful eye of Japanese guards, government officials, and translators. Clerk Jacob de Zoet comes to Dejima for a period of five years to make his fortune and return to marry his wealthy fiancee in Holland. An honest man, Jacob intends to put the company's financial records in order and root out corruption, but after meeting midwife Orito Aibagawa, he becomes entangled in events far more sinister than forged ledgers. Verdict: this painstakingly researched and original novel is hard to pin to any one genre, for it is a historical novel and cultural study with plenty of intrigue and mystery mixed in. It is intelligent and utterly readable at the same time. Highly recommended. —Shaunna Hunter, Hampden-Sydney Coll. Lib., VA
Library Journal

Another Booker Prize nomination is likely to greet this ambitious and fascinating fifth novel—a full-dress historical, and then some-from the prodigally gifted British author (Black Swan Green, 2006, etc.). In yet another departure from the postmodern Pynchonian intricacy of his earlier fiction, this is the story of a devout young Dutch Calvinist (the eponymous Jacob) sent in 1799 to Japan, where the Dutch East India Company, aka the VOC, had opened trade routes more than two centuries earlier. But now the Company is threatened by the envious British Empire, which seeks to appropriate the Far East's rich commercial opportunities. Jacob's purpose is to acquire sufficient wealth and experience to earn the hand of his fiancee Anna. But his mission is to serve as a ship's clerk while simultaneously investigating charges of corruption against the Company's powerful Chief Resident. When a scandal involving the seizure of the much-desired commodity of copper is manipulated to implicate Jacob, he is posted to the artificially constructed island of Dejima in Nagasaki Harbor, becoming a de facto prisoner of an insular little world of rigorously patterned and controlled cultural-and commercial-rituals. Meanwhile, the story of Aibagawa Orita, a facially disfigured (hence unmarriageable) midwife authorized to study with the Company's doctor (the saturnine Marinus, a kind of Pangloss to Jacob's earnest Candide), punished for having aspired beyond her station, and the moving story of her planned escape from servitude and reunion with the beloved (Uzaeman) forbidden to marry her (which contains deft echoes of Atwood's The Handmaid's Tale and Ondaatje's The English Patient), mocks, as it exalts, Jacob's concealed love for this extraordinary woman. The story climaxes as British forces challenge the Dutch hold on the East's riches, and Jacob's long ordeal hurtles toward its conclusion. It's as difficult to put this novel down as it is to overestimate Mitchell's virtually unparalleled mastery of dramatic construction, illuminating characterizations and insight into historical conflict and change. Comparisons to Tolstoy are inevitable, and right on the money.
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 Thousand Autumns of Jacob de Zoet:
1. What is the purpose of Dejima? Why do the Japanese wish to isolate European traders from their society, walling them off on a man-made island?

2. How do the Europeans and the Japanese view one another in this novel? What stereotypes do the Europeans have toward the Japanese? Why are Europeans determined to break through the barriers errected by the Shoguns—are their motives humanistic or mercenary...principled or unprincipled?

3. In an interview with a Japanese newspaper, David Mitchell said his intention was to "write a bicultural novel, where Japanese perspectives are given an equal weight to Dutch/European perspectives." Do you think Mitchell succeeded in being even-handed to both cultures?

4. This book also explores the clash between science and superstition; or the European enlightenment and intuition. How do those two different ways of knowing play out in The Thousand Autumns?

5. Jacob is a devout Christian. Are his religious ideals challenged or altered in any way? How do the Japanese view the religion of the Europeans?

6. Jacob is referred to as "an honest soul in a human swamp of crocodiles, a sharp quill among blunt nibs." How well does this passage describe his character? How else would you describe Jacob; what other personality/character traits does he possess?

7. Is Jacob naive to see right and wrong as "moral bookkeeping" and to believe "all that matters is truth"? How difficult is it in this book to define, or discern, or prove what is true?

8. Mitchell is interested in language. How powerful are the story's translators? What role do translators play in protecting—or distorting—meaning and truth through the use of language? Can translation ever penetrate the meaning of another language?

9. Talk about the numerous moral dilemmas faced by Ogawa Uzaemon? Does he make the right choices...with regards to his parents, his wife, Orito, and Jacob?

10. Discuss Japanese society: especially the highly stratified social order, including the role and of women and the restrictions placed on them. Is Japanese society more, or less, hierarchical than European society?

11. How would you describe Orito Aibagawa? What is her role in Japanese society—in what ways does Japanese culture restrict, even debase Orito. What makes Jacob fall in love with her when he is already committed to Anna back home?

12. Why does Orito decide to return to the shrine? Would you have returned?

13. Discuss John Penhaligon and the pivotal decisions he makes in the novel. Why does the Phoebus turn away from Dejima?

14. Who wins the game of Go—the magistrate or the abbot?

15. Which of the book's three sections do you find most engaging...or least engaging?

16. How would you classify this novel—as a suspense-thriller, mystery, melodrama, cultural study, or historical novel? How would you describe it to someone?

17. Was the book's ending satisfying? How else might it have ended? Does Jacob die a happy or fulfilled man? Where do you think he would have preferred to end his days?

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

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The Crowning Glory of Calla Lily Ponder 
Rebecca Wells, 2009
HarperCollins
395 pp.
ISBN-13: 9780060930622


Summary
Known for her beloved Ya-Ya books (Divine Secrets of the Ya-Ya Sisterhood, Little Altars Everywhere, and Ya-Yas in Bloom), Rebecca Wells has helped women name, claim, and celebrate their shared sisterhood for over a decade. Divine Secrets of the Ya-Ya Sisterhood held the top of the New York Times bestseller list for sixty-eight weeks, became a knockout feature film, sold more than 5 million copies, and inspired the creation of Ya-Ya clubs worldwide.

Now Wells debuts an entirely new cast of characters in this shining stand-alone novel about the pull of first love, the power of life, and the human heart's vast capacity for healing.

The Crowning Glory of Calla Lily Ponder is the sweet, sexy, funny journey of Calla Lily's life set in Wells's expanding fictional Louisiana landscape. In the small river town of La Luna, Calla bursts into being, a force of nature as luminous as the flower she is named for. Under the loving light of the Moon Lady, the feminine force that will guide and protect her throughout her life, Calla enjoys a blissful childhood—until it is cut short. Her mother, M'Dear, a woman of rapture and love, teaches Calla compassion, and passes on to her the art of healing through the humble womanly art of "fixing hair." At her mother's side, Calla further learns that this same touch of hands on the human body can quiet her own soul. It is also on the banks of the La Luna River that Calla encounters sweet, succulent first love, with a boy named Tuck.

But when Tuck leaves Calla with a broken heart, she transforms hurt into inspiration and heads for the wild and colorful city of New Orleans to study at L'Academie de Beaute de Crescent. In that extravagant big river city, she finds her destiny—and comes to understand fully the power of her "healing hands" to change lives and soothe pain, including her own.

When Tuck reappears years later, he presents her with an offer that is colored by the memories of lost love. But who knows how Cally Lily, a "daughter of the Moon Lady," will respond?

A tale of family and friendship, tragedy and triumph, loss and love, The Crowning Glory of Calla Lily Ponder features the warmth, humor, soul, and wonder that have made Wells one of today's most cherished writers, and gives us an unforgettable new heroine to treasure. (From the publisher.)

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Author Bio
• Birth—N/A
• Where—Alexandria, Louisiana, USA
• Education—B.A., Louisiana State University; Graduate work,
   Louisiana State and Naropa Institute
• Awards—Western States Book Award; ABBY Award
• Currently—lives near Seattle, Washington, USA

In 1992, a Louisiana-born playwright and actress introduced the world to a clan of quirky Southerners that instantly made an indelible imprint on readers all over the country. Little Altars Everywhere was the warm and witty story of the Walker family of Thornton, Louisiana, and it established Rebecca Wells as one of the most beloved writers in contemporary literature. She solidified that position further with Divine Secrets of the Ya-Ya Sisterhood in 1996. Now, nearly ten years later, Wells is giving her avid fans yet another reason to celebrate.

Wells originally made waves as an acclaimed playwright. After a childhood spent indulging in the Southern tradition of verbal story-telling, Wells decided to develop her innate skill for yarn-spinning by penning plays after moving to New York City to pursue a career as a stage actor.

It was not until the early '90s that Wells decided to try her hand at a novel. While telling the larger story of the dysfunctional Walkers, Little Altars Everywhere chiefly focused on a young girl named Siddalee, a character which author Andrew Ward once described as "one of the sharpest little chatterboxes since Huckleberry Finn." Little Altars became both a critical favorite and a bestseller, and paved the way for the smashingly successful Divine Secrets of the Ya-Ya Sisterhood, which continued Siddalee's story and revealed her mother Vivi's affiliation with an exuberant society of Southern women. The Ya-Ya Sisterhood not only wowed critics across the country, but it hit #1 on the New York Times bestseller list and inspired a cult-like following of readers to rival Wells's fictional sisterhood.

Unfortunately, during the years following the release of Wells's most beloved novel, she was diagnosed with Lyme disease, an illness that no doubt slowed her productivity. "Before I started treatment, on my weakest days, I was unable to lift my hands to type," she says on her web site. "My husband would hold a tape recorder for me so I could talk scenes that were in my imagination. On some days, I could not walk. My husband would lift me out of my wheelchair and into my writing chair. I could only write about 20 minutes, always at night. I learned to humble myself to limitations of energy, and I learned to be grateful that even though my body was so sick, my imagination was still very much alive. I consider Ya-Yas in Bloom to be my 'miracle baby.'"

Indeed, her legion of fans will agree that her latest release is nothing short of miraculous. After nearly a decade since the release of Divine Secrets of the Ya-Ya Sisterhood, Rebecca Wells has finally produced the third installment of her popular series. Ya-Yas in Bloom reaches further back than either of her previous novels, examining the origins of the Ya-Ya sisterhood in the 1930s through various narrators and a family album-like format. Wells's devoted followers will surely find much to enjoy in what the author describes as a "more tender book" than her last two works. "Illness—and the love and forgiveness I have been given have taught me about the need for Tenderness," she says. "Now I know more deeply that we all need more compassion and kindness than this fast, consumer-driven world encourages. Life is not easy. It is filled with pain. It is also filled with joy and moments of ...[a]nd all of a sudden, you realize how beautiful this raggedy life really is."

Wells's positive outlook should only glow more brightly as her health continues to improve. As for the Ya-Yas, Wells is happy to report, "Good Lord willing and the creek don't rise, I definitely hope to write more Ya-Ya books. The universe of the Ya-Yas has a million tales, and somebody has to tell them!"

Extras
From a 2006 Barnes & Noble interview:

• While attending the Naropa Institute in Boulder, Colorado, Wells studied language and consciousness with legendary beat poet Allen Ginsberg.

• Writing is not the only thing that this author takes seriously. In 1982, she formed a chapter of the Performing Artists for Nuclear Disarmament in Seattle, Washington.

Her own words
• Flowers heal me. Tulips make me happy. I keep myself surrounded by them as soon as they start coming to the island from Canada, and after that when they come from the fields in La Connor, not far from where I live. When their season is over, I surround myself with dahlias from my friend Tami's garden.

• I believe that we are given strength and help from a power much larger than ourselves. I believe if I humble myself that this power will come through me, and help me create work that is bigger than I would have ever been able to have done alone. I believe that illness has led me to a life of gratitude, so I consider Lyme disease at this point in my life to be a blessing in disguise.

• I value humor, kindness, and the ability to tell a good story far more than money, status, or the kind of car someone drives.

• love being with my husband and family, walking outside, standing in La Luz de La Luna in her ever-changing stages, playing with my dog, singing, dancing, having dinner with friends, playing word games in the parlor, thrilling at our sheep eating alfalfa out of my hand, going to the island farmer's market on Saturdays. I love being told by my doctors that there is every reason to believe that I will get ‘better and better' from Lyme disease. I love that I am privileged enough to have been diagnosed and treated for the fastest growing vector-born bacterial disease in this country."

• When asked what book most influenced her career as a writer, here is what she said:

The Gift by Lewis Hyde. For me, this book is solid gold for those involved in making any kind of art. Hyde divides the book into two parts: first, a wide-reaching exploration of indigenous people's gift-giving societies; secondly, a study of what happens to a piece of art when it is put forth into a commodity society. Hyde gave me a way to look at not only my work, but also my life—and all life—as a gift. Pure gift.

This book, tattered from years of carrying it in suitcases, duffel bags, and carry-ons has been my talisman as I continue to try and understand how to keep the spirit of gift-giving while I work for profit. This book gave me a vocabulary for talking about any art form. After readings and re-readings, after success came to me, it helped me establish my personal aesthetic: Does a work of art constrict the heart or does it open it wider to more love and generosity? (From Barnes & Noble.)

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Book Reviews
There's something down-to-earth and comforting about [The Crowning Glory of Calla Lily Ponder].... I think the audience for this good-hearted, wishful-thinking book is probably young mothers, staying home with their kids, beginning to feel the existential loneliness sink in and striving to make the best of the hands life has dealt. For them, being told to turn up the boombox and dance in the moonlight, trusting that life is basically good, may be sound advice indeed.
Carolyn See - Washington Post

Wells writes genuinely about her native Louisiana.... It's hard not to fall in love with the people in this magical place, where love is as plentiful as the dancing, gumbo and ice-cold Cokes.... A perfect beach read about mothers and friends and sisters.
Pittsburgh-Post Gazette

The latest novel by Rebecca Wells, the belle of Southern fiction...is a satisfying coming-of-age tale in a place where the moon glows and the lemonade flows.
Columbus Dispatch

Rebecca Wells has done it again.... A new book full of Southern charm and unique characters..... A heartwarming, easy-to-read tale.... Impossible to put down.... Wells delivers characters that are distinct and realistic.
Houston Chronicle

Wells (Divine Secrets of the Ya-Ya Sisterhood) weaves more of the magic that made her a bestseller. At first, Calla Lily Ponder appears to be just like any other young woman growing up in the small town of La Luna, La., where life is simple and Calla Lily is supported by a loving, tightly knit family and a colorful cast of locals. But after a series of hometown heartbreaks, Calla Lily sets out for New Orleans to attend a prestigious beauty academy with dreams of one day opening her own salon. Calla Lily soon learns that while the Big Easy offers a fresh start, adventures and exhilarating new friends, it also presents its own set of tragedies and setbacks. The novel is chock-full of Southern charm and sassy wisdom, and despite its sugary sweetness, it benefits from a hearty dose of Wells's trademark charisma. Calla Lily's story may not be as involved or satisfying as that of the Ya-Yas, but she's sure to be a crowd-pleaser thanks to her humble aspirations, ever hopeful heart and perseverance no matter what fate throws at her.
Publishers Weekly

After Ya-Yas in Bloom, Wells keeps her beloved Louisiana locale but wisely moves on to new characters. Set in tiny La Luna, this novel follows Calla Lily from girlhood through the next 25 years (to 1986). Her papa teaches music, her mama, M'Dear, is a hairdresser; together they run a dance studio. Calla Lily inherits M'Dear's gifts for creating beauty and solace through her hands. Seeking comfort after some painful events, Calla Lily makes a new life as a young adult in New Orleans. Verdict: Wells's latest novel lacks the spunk and spark of her early books, but this more mellow work may reflect the author's personal struggles with serious health issues over the last few years. While Wells's fan base will seek another nostalgic visit to the Deep South of the past, complete with its prejudices, younger women may be attracted to Calla Lilly and her friends. And all readers will embrace the themes of second chances, "take the best and leave the rest," and M'Dear's "Rules of Life."—Rebecca Kelm, Northern Kentucky Univ. Lib., Highland Heights
Library Journal

Wells leaves her Ya-Yas behind to chronicle the life of a Louisiana beautician with healing powers. Calla Ponder, born in 1953, is raised in the small Cajun town of La Luna, where Calla's beloved mother M'Dear teaches Calla to trust in the power of the Moon Lady. M'Dear and Calla's Papa run a dance studio based on M'Dear's belief in "dancing from the bottom of your heart." M'Dear also has a salon on her front porch where Calla realizes she loves to help people by fixing their hair problems. Tragedy mars Calla's idyllic childhood/adolescence when breast cancer strikes M'Dear, who dies with noble grace in 1970. Grief-stricken Calla remains plucky, buoyed by her long-term romance with Tuck, who lives with his grandparents in La Luna to escape his alcoholic mother and sadistic father. As she graduates from high school, her relationship with Tuck falters. Despite high SATs, Calla decides to attend beauty school to follow M'Dear's example, while studious Tuck leaves for Stanford. He promises to write, but Calla never hears from him again. Heartbroken, she moves to New Orleans to attend L'Academie de Beaute de Crescent—Wells has no use for subtlety. Soon Calla is the prize protege of Ricky Chalon, who recognizes her potential to raise hair care to "a healing art." Calla fantasizes about marrying Ricky until she learns that he is gay and happily committed to lawyer Steve. Instead, she falls in love with Ricky's hunky boat-captain cousin, Sweet, with whom she lives in marital bliss until he dies in a boat explosion caused by greedy oilmen. With the settlement Steve wins Calla, she moves back to La Luna to establish her hair practice. When Tuck, recently divorced, comes home for his grandfather's funeral, she learns that his well-meaning but wrong-headed grandfather misdirected their letters to keep them apart. Naturally, love wins out. Wells wallops every button in this sugary addition to the growing genre of Southern beauty parlor uplift fiction.
Kirkus Reviews

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Discussion Questions
1. Wells lives in Seattle now, but Louisiana is clearly still vivid in her life and work. Talk about Wells' fictional Louisiana, and how the setting of La Luna expands that growing landscape.

2. The natural world plays a major role in this story: the La Luna River and the Moon Lady are as fully realized and important as any of the human characters. Talk about how Wells is able to weave together the mystical and the ordinary. Why do you think this works?

3. The Crowning Glory of Calla Lily Ponder is a standalone novel, in which Rebecca Wells introduces a brand new character, Calla Lily Ponder. Wells has referred to this new book as a "spiritual cousin" to her Ya-Ya books. How do you think it relates to Wells' previous works?

4. Wells has long been praised for her ability to write honestly and movingly about family, friendship, and love--all important themes in this new book. How did she approach them differently (or similarly) to tell Calla's story—starting with the fact that there is one very central character here?

5. Wells' previous books have dealt extensively with the idea of sisterhood. This new novel depicts female friendships across racial, generational, and socio-economic lines. Talk about Calla's "sisters," and how each one provides different kinds of support for her emotional journey.

6. Wells has observed that in mythology, legend, and even in present time, hair symbolizes the soul. Hair plays a large role in Calla's life. What does "crowning glory" mean in this story? Why is it such a touchstone for Calla throughout her life, especially when paired with her memories of her childhood? What does the book's title signify to you?

7. From her mother, Calla inherits "healing hands," the power to not only beautify a woman's exterior but also to connect with and mend the emotional turmoil underneath. Why isn't it until her adult life in New Orleans that Calla is fully able to appreciate her gift?

8. Think about some of the unbreakable bonds Calla has in her life: with M'Dear, with Sukie. Talk about the Moon Lady's influence as a guiding force throughout Calla's life. Is it just as strong or even stronger than Calla's human relationships?

9. Over the course of the book, Calla experiences first love and then, later, a more mature love. How do the men in her life reflect both her essential nature and her growth? Talk about Wells' ability to depict male characters in this story.

10. Calla goes through heartbreak and loss throughout this story, but she manages to find inspiration through tragedy. How is she able to do this? Is this a strength she was born with?

11. What do you imagine might happen between Calla Lily and Tuck the day/week/month after they drink that cup of coffee together?
(Questions issued by publisher.)

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The Lovely Bones
Alice Sebold, 2002
Little, Brown & Co.
400 pp.
ISBN-13: 9780316044400


Summary
When we first meet Susie Salmon, she is already in heaven. As she looks down from this strange new place, she tells us, in the fresh and spirited voice of a fourteen-year-old girl, a tale that is both haunting and full of hope.

In the weeks following her death, Susie watches life on Earth continuing without her—her school friends trading rumors about her disappearance, her family holding out hope that she'll be found, her killer trying to cover his tracks. As months pass without leads, Susie sees her parents' marriage being contorted by loss, her sister hardening herself in an effort to stay strong, and her little brother trying to grasp the meaning of the word gone.

And she explores the place called heaven. It looks a lot like her school playground, with the good kind of swing sets. There are counselors to help newcomers adjust and friends to room with. Everything she ever wanted appears as soon as she thinks of it—except the thing she most wants: to be back with the people she loved on Earth.

With compassion, longing, and a growing understanding, Susie sees her loved ones pass through grief and begin to mend. Her father embarks on a risky quest to ensnare her killer. Her sister undertakes a feat of remarkable daring. And the boy Susie cared for moves on, only to find himself at the center of a miraculous event.

The Lovely Bones is luminous and astonishing, a novel that builds out of grief the most hopeful of stories. In the hands of a brilliant new writer, this story of the worst thing a family can face is transformed into a suspenseful and even funny novel about love, memory, joy, heaven, and healing. (From the publisher.)

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Author Bio 
• Birth—September 6 1963
• Where—Philadelphia, Pennsylvania, USA
• Education—B.A., Syracuse University; M.F.A., University of
   California, Irvine
• Currently—lives in Long Beach, California

As Alice Sebold relates in her chilling memoir Lucky, she was considered fortunate for surviving a violent, devastating rape in her freshman year at Syracuse University. The woman before her had not been so "lucky": She was murdered and dismembered.

The shadow of this fact survives in Sebold's acclaimed novel The Lovely Bones, which is narrated by another not-so-lucky victim from beyond the grave. It's such a maudlin premise that the book shouldn't have been successful—in fact, Sebold's editor has told the author that the manuscript never would have been bought if she had been told what it was about before reading it.

But in her ability to convey the brutal details of crime and its aftermath—both the imagined instance and the real—Sebold is a gripping writer. She is straightforward, but not simply a reporter; in The Lovely Bones, she maintains with sympathy and humor the voice of a 14-year-old who continues, from heaven, to be engaged with life on earth. Without pandering or overwriting, Sebold can elicit tears with the simple but painfully true expression of a character's thought or wish.

Extras
• Sebold is married to author Glen David Gold, author of Carter Beats the Devil. The two met when Sebold was in the fiction writing program at University of California, Irvine.

• Part of the aftermath of Sebold's traumatic rape in college was a long period of self-abuse, including heroin addiction. After a hard trial in New York trying (and failing) to get published, Sebold decided to leave the city and ultimately applied to grad school at Irvine. ''I couldn't handle the rejection and the failure anymore...and the 'almost' of it all,'' she told Entertainment Weekly. ''Everybody from New York has their almost-but-not-quite story, and I just felt like I don't want to be walking around on the planet trotting out mine.''

• Sebold says that her continued failures ended up creating a good mindset for her writing. "After a while, you don't think what can't be done and what can be done, because no one's going to care anyway," she said in an Associated Press interview. "You just go and have fun in your room, which is what, to me, art should be about anyway." (Christina Nunez - From Barnes and Noble.)

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Book Reviews 
At its most basic level, The Lovely Bones is about how family and friends cope with every parent's worst nightmare. For the next 8 1/2 years, Suzie looks down from heaven as her father and police attempt to find her murderer. As our narrator, Suzie is omniscient, with the ability to see into the hearts and minds of all, tracing their descent into grief and back out again. On another level, though, the story is a retelling of the Persephone / Demeter myth.
A LitLovers LitPick (July '08)

A savagely beautiful story.... The Salmon family's tragedy is...palpable and multifaceted...a strange and compelling novel....  
Sebold takes an enormous risk in her wonderfully strange début novel: her narrator, Susie Salmon, is dead -- murdered at the age of fourteen by a disturbed neighbor -- and speaks from the vantage of Heaven. Such is the author's skill that from the first page this premise seems utterly believable. Susie's voice has all the inflections of a smart teen-ager's, by turns inquisitive, sarcastic, and wistful; unplacated by Heaven, she watches as her family falls apart and her friends resume their lives without her. Sebold slips easily from the ordinary pleasures of a suburban childhood (cutting class; the first kiss) to moments of eerie beauty (a cloud of souls, "all of them clamoring at once inside the air"). If in the end she reaches too far, the book remains a stunning achievement.
San Francisco Chronicle Book Review

Sebold's first novel after her memoir, Lucky is a small but far from minor miracle. Sebold has taken a grim, media-exploited subject and fashioned from it a story that is both tragic and full of light and grace. The novel begins swiftly. In the second sentence, Sebold's narrator, Susie Salmon, announces, "I was fourteen when I was murdered on December 6, 1973." Susie is taking a shortcut through a cornfield when a neighbor lures her to his hideaway. The description of the crime is chilling, but never vulgar, and Sebold maintains this delicate balance between homely and horrid as she depicts the progress of grief for Susie's family and friends. She captures the odd alliances forged and the relationships ruined: the shattered father who buries his sadness trying to gather evidence, the mother who escapes "her ruined heart, in merciful adultery." At the same time, Sebold brings to life an entire suburban community, from the mortician's son to the handsome biker dropout who quietly helps investigate Susie's murder. Much as this novel is about "the lovely bones" growing around Susie's absence, it is also full of suspense and written in lithe, resilient prose that by itself delights. Sebold's most dazzling stroke, among many bold ones, is to narrate the story from Susie's heaven (a place where wishing is having), providing the warmth of a first-person narration and the freedom of an omniscient one. It might be this that gives Sebold's novel its special flavor, for in Susie's every observation and memory of the smell of skunk or the touch of spider webs is the reminder that life is sweet and funny and surprising,. Agent, Henry Dunow. (July 3) Forecast: Sebold's memoir, Lucky, was the account of her rape in 1981, at Syracuse University. It is, of course, impossible to read The Lovely Bones without considering the memoir, but the novel moves Sebold effortlessly into literary territory. A long list of writers including Michael Chabon and Jonathan Franzen blurb The Lovely Bones, and booksellers should expect the novel to move quickly; the early buzz has been considerable. Foreign rights have been sold in England, France, Germany, Holland, Italy, Japan, Norway, Spain and Sweden, with film rights to Film Four.
Publishers Weekly

Sebold, whose previous book, Lucky, told of her own rape and the subsequent trial of her attacker, here offers a powerful first novel, narrated by Susie Salmon, in heaven. Brutally raped and murdered by a deceptively mild-mannered neighbor, Susie begins with a compelling description of her death. During the next ten years, she watches over her family and friends as they struggle to cope with her murder. She observes their disintegrating lives with compassion and occasionally attempts, sometimes successfully, to communicate her love to them. Although the lives of all who knew her well are shaped by her tragic death, eventually her family and friends survive their pain and grief. In Sebold's heaven, Susie continues to grow emotionally. She learns that human existence is "the helplessness of being alive, the dark bright pity of being human feeling as you went, groping in corners and opening your arms to light all of it part of navigating the unknown." Sebold's compelling and sometimes poetic prose style and unsparing vision transform Susie's tragedy into an ultimately rewarding novel. Highly recommended for academic and public libraries. —Cheryl L. Conway, Univ. of Arkansas Lib., Fayetteville.
Library Journal

An extraordinary, almost-successful debut that treats sensational material with literary grace, narrated from heaven by the victim of a serial killer and pedophile. "My name was Salmon, like the fish; first name, Susie. I was fourteen when I was murdered on December 6, 1973." These opening lines in Susie's thoroughly engaging voice show the same unblinking and straightforward charm that characterized Sebold's acclaimed memoir, Lucky (2002)—the true story of the author's surviving a brutal rape when she was a college freshman. Now, the fictional Susie recounts her own rape and—less lucky than the author—murder in a Pennsylvania suburb at the hands of a neighbor. Susie's voice is in exquisite control when describing the intensity and complexity of her family's grief, her longing for Ray Singh-the first and only boy to kiss her-and the effect her death has on Ruth, the lonely outsider whose body her soul happened to brush while rising up to a personal, whimsical, yet utterly convincing heaven. Rapt delight in the story begins to fade, though, as the narrative moves farther away in time from Susie's death and grows occasionally forced or superficial as Susie watches what happens over the next decade to everyone she knew on earth, including her killer. By the time Susie's soul enters Ruth's body long enough to make love to Ray, the author's ability to convince the reader has flagged. The closing third forces its way toward affirmative closure, and even the language changes tone: "The events that my death wrought were merely the bones of a body that would become whole at some unpredictable time in the future." Works beautifully for so long as Susie simply tells the truth, then falters when the author goes for bigger truths about Love and Life. Still, mostly mesmerizing and deserving of the attention it's sure to receive.
Kirkus Reviews

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Discussion Questions 
1. In Susie's Heaven, she is surrounded by things that bring her peace. What would your Heaven be like? Is it surprising that in Susie's inward, personal version of the hereafter there is no God or larger being that presides?

2. Why does Ruth become Susie's main connection to Earth? Was it accidental that Susie touched Ruth on her way up to Heaven, or was Ruth actually chosen to be Susie's emotional conduit?

3. Rape is one of the most alienating experiences imaginable. Susie's rape ends in murder and changes her family and friends forever. Alienation is transferred, in a sense, to Susie's parents and siblings. How do they each experience loneliness and solitude after Susie's death?

4. Why does the author include details about Mr. Harvey's childhood and his memories of his mother? By giving him a human side, does Sebold get us closer to understanding his motivation? Sebold explained in an interview about the novel that murderers "are not animals but men," and that is what makes them so frightening. Do you agree?

5. Discuss the way in which guilt manifests itself in the various characters—Jack, Abigail, Lindsay, Mr. Harvey, Len Fenerman.

6. "Pushing on the inbetween" is how Susie describes her efforts to connect with those she has left behind on Earth. Have you ever felt as though someone was trying to communicate with you from "the inbetween"?

7. Does Buckley really see Susie, or does he make up a version of his sister as a way of understanding, and not being too emotionally damaged by, her death? How do you explain tragedy to a child? Do you think Susie's parents do a good job of helping Buckley comprehend the loss of his sister?

8. Susie is killed just as she was beginning to see her mother and father as real people, not just as parents. Watching her parents' relationship change in the wake of her death, she begins to understand how they react to the world and to each other. How does this newfound understanding affect Susie?

9. Can Abigail's choice to leave her family be justified?

10. Why does Abigail leave her dead daughter's photo outside the Chicago Airport on her way back to her family?

11. Susie observes that "The living deserve attention, too." She watches her sister, Lindsay, being neglected as those around her focus all their attention on grieving for Susie. Jack refuses to allow Buckley to use Susie's clothes in his garden. When is it time to let go?

12. Susie's Heaven seems to have different stages, and climbing to the next stage of Heaven requires her to remove herself from what happens on Earth. What is this process like for Susie?

13. In The Lovely Bones, adult relationships (Abigail and Jack, Ray's parents) are dysfunctional and troubled, whereas the young relationships (Lindsay and Samuel, Ray and Susie, Ray and Ruth) all seem to have depth, maturity, and potential. What is the author saying about young love? About the trials and tribulations of married life?

14. Is Jack Salmon allowing himself to be swallowed up by his grief? Is there a point where he should have let go? How does his grief process affect his family? Is there something admirable about holding on so tightly to Susie's memory and not denying his profound sadness?

15. Ray and Susie's final physical experience (via Ruth's body) seems to act almost as an exorcism that sweeps away, if only temporarily, Susie's memory of her rape. What is the significance of this act for Susie, and does it serve to counterbalance the violent act that ended Susie's life?

16. Alice Sebold seems to be saying that out of tragedy comes healing. Susie's family fractures and comes back together, a town learns to find strength in each other. Do you agree that good can come of great trauma?
(Questions issued by publisher.)

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