One Flew Over the Cuckoo's Nest
Ken Kesey, 1962
Penguin Group USA
312 pp.
ISBN-13: 9780141181226
Summary
An international bestseller and the basis for a hugely successful film, Ken Kesey's One Flew Over the Cuckoo's Nest was one of the defining works of the 1960s.
A mordant, wickedly subversive parable set in a mental ward, the novel chronicles the head-on collision between its hell-raising, life-affirming hero Randle Patrick McMurphy and the totalitarian rule of Big Nurse. McMurphy swaggers into the mental ward like a blast of fresh air and turns the place upside down, starting a gambling operation, smuggling in wine and women, and egging on the other patients to join him in open rebellion. But McMurphy's revolution against Big Nurse and everything she stands for quickly turns from sport to a fierce power struggle with shattering results. (From the publisher.)
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Boisterous, ribald, and ultimately shattering, Ken Kesey's One Flew Over the Cuckoo's Nest is the seminal novel of the 1960s that has left an indelible mark on the literature of our time. Here is the unforgettable story of a mental ward and its inhabitants, especially the tyrannical Big Nurse Ratched and Randle Patrick McMurphy, the brawling, fun-loving new inmate who resolves to oppose her. We see the struggle through the eyes of Chief Bromden, the seemingly mute half-Indian patient who witnesses and understands McMurphy's heroic attempt to do battle with the awesome powers that keep them all imprisoned. (Also from the publisher.)
Author Bio
• Birth—September 17, 1935
• Where—La Junta, Colorado, USA
• Death—November 10, 2001
• Where—Pleasant Hill, Oregon
• Education—B.A., University of Oregon; studied at Stanford
University
Ken Kesey was an American author, best known for his novel One Flew Over the Cuckoo's Nest (1962) and as a counter-cultural figure who considered himself a link between the Beat Generation of the 1950s and the hippies of the 1960s. "I was too young to be a beatnik, and too old to be a hippie," Kesey said in a 1999 interview with Robert K. Elder.
Kesey was born in La Junta, Colorado to dairy farmers Frederick A. Kesey and Geneva Smith. In 1946, the family moved to Springfield, Oregon. A champion wrestler in both high school and college, he graduated from Springfield High School in 1953.
In 1956, while attending college at the University of Oregon in neighboring Eugene, Kesey eloped with his high-school sweetheart, Norma "Faye" Haxby, whom he had met in seventh grade. They had three children, Jed, Zane, and Shannon; Kesey had another child, Sunshine, in 1966 with fellow Merry Prankster Carolyn Adams.
Kesey attended the University of Oregon's School of Journalism, where he received a degree in speech and communication in 1957, where he was also a brother of Beta Theta Pi. He was awarded a Woodrow Wilson National Fellowship in 1958 to enroll in the creative writing program at Stanford University, which he did the following year. While at Stanford, he studied under Wallace Stegner and began the manuscript that would become One Flew Over the Cuckoo's Nest.
Psychoactive drugs
At Stanford in 1959, Kesey volunteered to take part in a CIA-financed study named Project MKULTRA at the Menlo Park Veterans Hospital. The project studied the effects of psychoactive drugs, particularly LSD, psilocybin, mescaline, cocaine, AMT, and DMT on people. Kesey wrote many detailed accounts of his experiences with these drugs, both during the Project MKULTRA study and in the years of private experimentation that followed. It was this role as a medical guinea pig, as well as his stint working at a state veterans' hospital, that inspired him to write One Flew Over the Cuckoo's Nest in 1962.
The success of this book, as well as the sale of his residence at Stanford, allowed him to move to La Honda, California, in the mountains south of San Francisco. He frequently entertained friends and many others with parties he called "Acid Tests" involving music (The Warlocks, later known as the Grateful Dead), black lights, fluorescent paint, strobes and other "psychedelic" effects, and, of course, LSD. These parties were noted in some of Allen Ginsberg's poems and are also described in Tom Wolfe's The Electric Kool-Aid Acid Test, as well as Hell's Angels: The Strange and Terrible Saga of the Outlaw Motorcycle Gangs by Hunter S. Thompson and Freewheelin Frank, Secretary of the Hell's Angels by Frank Reynolds.
Cuckoo's Nest
In 1959, Kesey wrote Zoo, a novel about the beatniks living in the North Beach community of San Francisco, but it was never published. In 1960, he wrote End of Autumn, about a young man who leaves his working class family after he gets a scholarship to an Ivy League school, also unpublished.
The inspiration for One Flew Over the Cuckoo's Nest came while working on the night shift (with Gordon Lish) at the Menlo Park Veterans' Hospital. There, Kesey often spent time talking to the patients, sometimes under the influence of the hallucinogenic drugs with which he had volunteered to experiment. Kesey did not believe that these patients were insane, rather that society had pushed them out because they did not fit the conventional ideas of how people were supposed to act and behave.
Published in 1962, Cuckoo's Nest was an immediate success; in 1963, it was adapted into a successful stage play by Dale Wasserman; in 1975, Milos Forman directed a screen adaptation, which won the "Big Five" Academy Awards: Best Picture, Best Actor (Jack Nicholson), Best Actress (Louise Fletcher), Best Director (Forman) and Best Adapted Screenplay (Lawrence Hauben, Bo Goldman).
Kesey was originally involved in creating the film, but left two weeks into production. He claimed never to have seen the movie because of a dispute over the $20,000 he was initially paid for the film rights. Kesey loathed the fact that, unlike the book, the film was not narrated by the Chief Bromden character, and he disagreed with Jack Nicholson being cast as Randle McMurphy (he wanted Gene Hackman). Despite this, Faye Kesey has stated that Ken was generally supportive of the film and pleased that it was made.
Merry Pranksters
When the publication of his second novel, Sometimes a Great Notion in 1964 required his presence in New York, Kesey, Neal Cassady, and others in a group of friends they called the "Merry Pranksters" took a cross-country trip in a school bus nicknamed "Furthur." The trip, described in Tom Wolfe's The Electric Kool-Aid Acid Test (and later in Kesey's own screenplay "The Further Inquiry") was the group's attempt to create art out of everyday life. In New York, Cassady introduced Kesey to Jack Kerouac and Allen Ginsberg, who then turned them on to Timothy Leary. Sometimes a Great Notion was made into a 1971 film starring and directed by Paul Newman; it was nominated for two Academy Awards, and in 1972 was the first film shown by the new television network HBO, in Wilkes-Barre, Pennsylvania.
Legal trouble
Kesey was arrested for possession of marijuana in 1965. In an attempt to mislead police, he faked suicide by having friends leave his truck on a cliffside road near Eureka, along with an elaborate suicide note, written by the pranksters. Kesey fled to Mexico in the back of a friend's car. When he returned to the United States eight months later, Kesey was arrested and sent to the San Mateo County jail in Redwood City, California, for five months. On his release, he moved back to the family farm in Pleasant Hill, Oregon, in the Willamette Valley, where he spent the rest of his life. He wrote many articles, books (mostly collections of his articles), and short stories during that time.
Twister
In 1994 he toured with members of the Merry Pranksters performing a musical play he wrote about the millennium called Twister: A Ritual Reality. Many old and new friends and family showed up to support the Pranksters on this tour that took them from Seattle's Bumbershoot, all along the West Coast including a sold out two-night run at The Fillmore in San Francisco to Boulder, Colorado, where they coaxed (or pranked) the Beat Generation poet Allen Ginsberg into performing with them. Kesey, always a friend to musicians since his days of the Acid Test, enlisted the band Jambay, one of the original bands of the jam band genre, to be his "pit orchestra." Jambay played an acoustic set before each Twister performance and an electric set after each show.
Final years
Kesey mainly kept to his home life in Pleasant Hill, preferring to make artistic contributions on the Internet, or holding ritualistic revivals in the spirit of the Acid Test.
In 1984, Kesey's son Jed, a wrestler for the University of Oregon, was killed on the way to a wrestling tournament when the team's bald-tired van crashed. This deeply affected Kesey, who later said Jed was a victim of conservative, anti-government policy that starved the team of proper funding. There is a memorial dedicated to Jed on the top of Mount Pisgah, which is near the Keseys' home in Pleasant Hill. At a Grateful Dead Halloween concert just days after promoter Bill Graham died in a helicopter crash, Kesey appeared on stage in a tuxedo and delivered a eulogy while the Grateful Dead was playing the song Dark Star, and he mentioned that Graham had paid for Jed's mountain-top memorial.
His last major work was an essay for Rolling Stone magazine calling for peace in the aftermath of the September 11, 2001 attacks.
In 1997, health problems began to take their toll on Kesey, starting with a stroke that year. Then soon after his stroke he was diagnosed with diabetes. On October 25, 2001 Kesey had surgery on his liver to remove a tumor. He never recovered from the operation and died of complications on November 10, 2001, aged 66. (From Wikipedia.)
Book Reviews
(Older works have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
The world of this brilliant first novel is Inside—inside a mental hospital and inside the blocked minds of its inmates. Sordid sights and sounds abound, but novelist Kesey has not descended to mere shock treatment or isolation-ward documentary. His book is a strong, warm story about the nature of human good and evil, despite its macabre setting.
Time
Kesey's new introduction to this anniversary edition could very well be the last thing he worked on before shuffling off this mortal coil in 2001. Additionally, 25 sketches he drew while working at a mental institution in the 1950s, the inspiration for the novel, are littered throughout. Critics are divided on the meaning of the book: Is it a tale of good vs. evil, sanity over insanity, or humankind trying to overcome repression amid chaos? Whichever, it is a great read.
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 One Flew Over the Cuckoo's Nest:
1. In what way is Kensey's novel representative of the 1960s? (If you are too young to have experienced the '60s, you might want to do a little research into the era.) The book, issued in 1962, is nearly 50 years old. Are the thematic concerns of Cuckoo's Nest still relevant today, do they speak to the 21st century...or are they outdated?
2. Cuckoo's Nest centers around a classic plot device—the introduction of disorder into an ordered environment. How does Randlel McMurphy destabilize the psychiatric ward? First, discuss how "order" is maintained...who enforces it...and what form "order" takes. Then talk about what happens when McMurphy enters the story.
3. Was Chief Bromden mentally insane when he was committed to the hospital 10 years ago? How does he appear when we first meet him? What is the cause of his hallucinatory fog—his medications or his paranoia or...?
4. Trace the change in Bromden that occurs over the course of the novel. What does he come to understand about himself? Why he has he presented himself as "deaf and dumb"? Why does he believe he has lost his once prodigious strength? What effect does McMurphy have on him?
5. At one point, Bromden pleas with the reader to believe him. He says, "But it's the truth even if it didn't happen." What does he mean—how can something be true if it's not based in reality?
6. Is McMurphy crazy? Under what circumstances does he enter the hospital ward? If this is a parable...or allegory, what does McMurphy represent symbolically? Can he be seen as a Christ figure, one who sacrifices himself for the good of others? Yes...or no.
7. What is Dr. Spivey's theory of the Therapeutic Community—and how does McMurphy challenge it? What does he mean when he compares the process to a flock of chickens?
8. As a follow-up to Question 4, what does Nurse Ratched represent? What's funny, by the way, about her name? Talk about her ability to disguise her true "hideous self, which she shows readily to Bromden and the aides, from the patients. Bromden sees her as a combine...and nicknames her "Big Nurse." What are the implications of those words?
9. How does Ratched maintain power over her patients?
10. How does Ratched eventually gain control over McMurphy? Why does he gradually submit to her—and why does the newly subdued McMurphy confuse the other patients? What has he become to them?
11. Talk about the fishing trip that McMurphy arranges for the inmates. What does McMurphy teach the other patients about being on the outside? What's the symbolic significance of the fishing expedition?
12. Why doesn't McMurphy escape from the ward the night that Billy has his "date" with Candy?
13. Ultimately, Ratched looses her hold over the ward. Why?
14. What is this novel about? What dichotomy is being suggested by Ratched and the hospital vs. the patients? Good vs. evil? Power & authority vs. freedom. Repression vs. expression? Women vs. men? The machine vs. nature? War vs. humanity?
15. Why does Bromden narrate rather than McMurphy?
16. Ultimately, how does Ken Kensey challenge societal notions of sanity and insanity? Who is sick, according to Kensey?
17. Who is the book's hero?
18. What is the title's significance"
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The Road Home
Rose Tremain, 2007
Little, Brown & Co.
432 pp.
ISBN-13: 9780316002622
Summary
In the wake of factory closings and his beloved wife's death, Lev makes his way from Eastern Europe to London, seeking work to support his mother and his little daughter. After a spell of homelessness, he finds a job in the kitchen of a posh restaurant and a room in the house of an appealing Irishman who has already lost his family.
Never mind that Lev must sleep in a bunk bed surrounded by plastic toys—he has found a friend and shelter. However constricted his life in England remains, he compensates by daydreaming of home, by having an affair with a younger restaurant worker, and by trading gossip and ambitions via cell phone with his hilarious friend Rudi, who, dreaming of the wealthy West, lives largely for his battered Chevrolet.
Homesickness dogs Lev, not only for nostalgic reasons, but because he doesn't belong, body or soul, to his new country—but can he really go home again?
Rose Tremain's prodigious talents as a prose writer are on full display in The Road Home, and her novel never loses sight of what is truly important in the lives we lead. (From the publisher.)
Author Bio
• Birth—1943
• Where—London, England, UK
• Education—Sorbonne, Paris; B.A., University of East Anglia
• Awards—James Tait Black Memorial Prize, Prix Fémina
Etranger, Whitbread Award, Orange Prize
• Currently—lives in East Anglia, UK
Rose Tremain was born Rosemary Jane Thomson in 1943 in London, the daughter of Viola (known as Jane) and Keith Thomson, a playwright.
She went to boarding school at Crofton Grange in Hertfordshire, an experience of which she later said in a Guardian interview, "It had all the horrors of boarding school— it was very cold and the food was disgusting. But the good thing about being sent away to school is that there’s a lot of what I would call dead time. You had to really use your own resources and what some of us did was to write our own plays and put them on. We starred in them, made the costumes, made the scenery, and it was thrilling."
After school she studied at the Sorbonne in Paris, and then graduated with a degree in English from the University of East Anglia, where she later taught creative writing from 1988-1995.
She married Jon Tremain in 1971 and in 1972 had a daughter, Eleanor. Her second marriage was to the theatre director Jonathan Dudley. She now lives in East Anglia with the writer and biographer Richard Holmes.
Her first novel, Sadler’s Birthday, was published in 1976, and picked up by the editor Penelope Hoare, who later said, "I remember feeling utterly thrilled when I read it.... It was so unlike most people’s first novels, in the sense that it didn’t seem to be in the least bit autobiographical." Hoare has been Tremain’s editor ever since, working together on ten novels and several short story collections.
In the course of her writing career, Tremain has garnered a host of prizes, including the James Tait Black Memorial Prize (for fiction) and the prestigious Prix Fémina Etranger, the Whitbread Novel Award, and several others. She has been nominated for the Booker and Orange Prize several times. She won the Orange Prize in 2008 for The Road Home. (Author bio from Chatto & Windus, a division of Random House, UK.)
Book Reviews
Journeys like Lev's are very much a part of Britain's present reality, with discussion of the Eastern European invasion appearing all over. But Tremain elevates the subject beyond its outlines by making Lev not a statistic or a caricature or the standard-bearer of a trend but simply a man—fully embodied, his ignoble and noble acts presented without exaggeration, without excessive praise or condemnation.... A less disciplined and agile author might have been tempted to ease Lev's transition from daydreamer to doer. Or she might have jollied Lev into a toque at London's River Cafe and set Rudi up as a chauffeur on Belisha Road. But Rose Tremain is in the business of inventing not so much fantasies as alternate realities.
Liesl Schillinger - New York Times
Rose Tremain brings the full tone and range of her novelist's imagination to bear on Lev, giving him, besides his enduring and endearing grief, humour, a romantic temperament, a genius for intimate male friendship and a poets' eye for images.
Times Literary Supplement (UK)
A classic work by the gifted Tremain.... She has the art of finding the improbable graces in human connection.
Guardian (UK)
This is a finely balanced novel of urgent humanity.... The Road Home should keep you gripped...and fraught with anxious sympathy.
Sunday Telegraph (UK)
The pleasure, the wit and the joy in humanity that Tremain brings to every page do what literature, at its best, should do: connect us, as E.M. Forester famously exhorted.
Stacey D'Erasmo - Los Angeles Times
It's not difficult to see why author Rose Tremain won the Orange Prize—a prestigious British fiction award--for her latest novel, The Road Home. From page one, Tremain plunges readers deep into the journey of Lev, an immigrant from an unnamed Eastern European country.... An unexpected, poignant story.
Allecia Vermillion - Chicago Sun Times
Tremain transforms this episodic road story into a gem of a novel, driven by a memorable character whose caring and ambition move him from a difficult personal situation and damaging historical past toward a positive new life.
Robert Allen Papinchak - Seattle Times
Why do I love Rose Tremain? It's not just the clarity of her prose, the liveliness of her plots, the precision of her settings, or the depth of her characters. I love Tremain because she is so compassionate. Her novels exemplify this moral quality, even as they excel at all the others.
Susan Balee - Philadelphia Inquirer
Tremain's protagonists are often faced with trials that have a fabled quality...and her latest novel is no exception...At once timeless and bitingly contemporary, this novel explores the life now lived by millions—when one's hope lies in one country and one's heart in another.
The New Yorker
Tremain (Restoration) turns in a low-key but emotionally potent look at the melancholia of migration for her 14th book. Olev, a 42-year-old widower from an unnamed former east bloc republic, is taking a bus to London, where he imagines every man resembles Alec Guinness and hard work will be rewarded by wealth. He has left behind a sad young daughter, a stubborn mother and the newly shuttered sawmill where he had worked for years. His landing is harsh: the British are unpleasant, immigrants are unwelcome, and he's often overwhelmed by homesickness. But Lev personifies Tremain's remarkable ability to craft characters whose essential goodness shines through tough, drab circumstances. Among them are Lydia, the fellow expatriate; Christy, Lev's alcoholic Irish landlord who misses his own daughter; and even the cruelly demanding Gregory, chef-proprietor of the posh restaurant where Lev first finds work. A contrived but still satisfying ending marks this adroit emigre's look at London.
Publishers Weekly
A displaced European's Candide-like progress through contemporary London is charted in this ambitious novel from the Whitbread Award-winning British author (The Colour, 2003, etc.). The protagonist is Lev, a recently widowed and also jobless former sawmill worker. He has left his young daughter and his (also widowed) mother behind (in a generically economically disadvantaged country that is and isn't Poland), hoping to find work and send money home. Debarking from the Trans-Euro bus on which he meets a similarly down-at-heels countrywoman (Lydia, who'll re-enter Lev's new life at variously crucial moments), Lev acquires a fragile living working as a distributor of leaflets, as a dishwasher, and so on, slowly ascending the ladder of minimal solvency, making a painstaking adaptation to a society that seems, to his bemused view, inexplicably self-indulgent, pampered and unmotivated. While sticking close to Lev's roiling thought processes, Tremain simultaneously constructs a subtly detailed mosaic of personal and cultural distinctions and conflicts-notably in Lev's cautious approach to reclaiming a sex life (perhaps even a love life?) and in generously developed conversations between Lev and his fulsome Irish landlord, bibulous plumber and compulsive worrywart Christy Slane. The novel's texture is further enriched by lengthy flashbacks spun from Lev's wistful memories, which acquaint us more fully with his warmhearted late wife Marina and his best friend Rudi, a resourceful hustler whose busy head is filled with visions of all things American, and foolproof scams by which such riches may be acquired. Rudi is an ingenious comic counterpart to Candide's annoyingly optimistic mentor Pangloss, and the novel dances into vigorous life whenever he takes hold of it. Still, Lev offers readers ample reason to get lost in this immensely likable novel's many pleasures. One of the best from the versatile Tremain, who keeps on challenging herself, and rewarding readers.
Kirkus Reviews
Discussion Questions
1. "Through Lev’s eyes, we see London as the incomer views it and it is not an attractive sight: alternately moneyed and poverty-stricken, its inhabitants obsessed by status and success." (Edward Marriott, Observer)
Do you agree with Marriot’s assessment of how Lev views London, and do you feel Tremain paints a realistic picture?
2. In her author interview Rose Tremain says "I've deliberately built my fictions around characters who are distant from me, in gender, place or time—or all of these. The moment I get close to my own biography, I feel boredom (and even mild self-dislike) creeping up on me."
Does this reflect your own feelings as a reader? Do you prefer novels which reflect your own experiences or take you somewhere else? What do you think you have in common with Lev?
3. Food is a very important motif in the novel. How does Tremain illustrate Lev’s journey in terms of food? Why do you think she only begins to describe the food of his own country towards the end?
4. In the author interview Tremain says that in her view, "most Brits want to be welcoming to migrants, but have worries—or indeed extreme anxieties—of their own which sometimes prevent them from doing this."
Do you believe that is true in your country? What worries and anxieties do you think Tremain is referring to and how are these played out in the novel?
5. Have you ever lived in another country? If so, how far did your experiences reflect Lev’s? What did you find challenging about establishing a new life in a different culture? Did it affect the way you read the novel? If not, do you think you could ever do what Lev did? What would you find hardest to leave behind?
6. Lev’s relationship with Sophie becomes very dark when he turns violent towards her. Why do you think he has such difficult relationships with women?
7. In the end Lev returns to his family and builds a life with his new found skills and money. Why do you think that the novel has ended in such an idealistic way? Do you think that this ending is possible for immigrants?
(Questions issued by Chatto & Windus, a division of Random House, UK.)
The Crying Tree
Naseem Rakha, 2009
Crown Publishing
368 pp.
ISBN-13: 9780767931748
Summary
Irene and Nate Stanley are living a quiet and contented life with their two children, Bliss and Shep, on their family farm in southern Illinois when Nate suddenly announces he’s been offered a job as a deputy sheriff in Oregon. Irene fights her husband. She does not want to uproot her family and has deep misgivings about the move. Nevertheless, the family leaves, and they are just settling into their life in Oregon’s high desert when the unthinkable happens. Fifteen-year-old Shep is shot and killed during an apparent robbery in their home. The murderer, a young mechanic with a history of assault, robbery, and drug-related offenses, is caught and sentenced to death.
Shep’s murder sends the Stanley family into a tailspin, with each member attempting to cope with the tragedy in his or her own way. Irene’s approach is to live, week after week, waiting for Daniel Robbin’s execution and the justice she feels she and her family deserve. Those weeks turn into months and then years. Ultimately, faced with a growing sense that Robbin’s death will not stop her pain, Irene takes the extraordinary and clandestine step of reaching out to her son’s killer. The two forge an unlikely connection that remains a secret from her family and friends.
Years later, Irene receives the notice that she had craved for so long—Daniel Robbin has stopped his appeals and will be executed within a month. This announcement shakes the very core of the Stanley family. Irene, it turns out, isn’t the only one with a shocking secret to hide. As the execution date nears, the Stanleys must face difficult truths and find a way to come toterms with the past.
Dramatic, wrenching, and ultimately uplifting, The Crying Tree is an unforgettable story of love and redemption, the unbreakable bonds of family, and the transformative power of forgiveness. (From the publisher.)
Author Bio
Rakha Naseem is an award-winning author and journalist whose stories have been heard on NPR’s All Things Considered, Morning Edition, Marketplace Radio, Christian Science Monitor, and Living on Earth.
She lives in Oregon with her husband, son, and many animals. When Naseem isn’t writing, she’s reading, knitting, hiking, gardening, or just watching the seasons roll in and out.
Naseem is the winner of the 2010 PNBA Book Award. (From the author's website.)
Book Reviews
Rakha writes of one of her central subjects, 'and it wasn't anything she knew how to handle.' Not so for the author, who has crafted not only a compelling read, but one whose message lingers: At what point does that to which we cling for our survival become the very thing that robs us of our life?
The Oregonian
The Crying Tree is a powerful novel full of moral questions as well as surprises. Like real life, there are no easy roads for these characters, but they make their way, one step at a time.
Las Vegas Review-Journal
Absorbing and deeply melancholy….Delving into the controversial subjects of capital punishment, forbidden relationships and forgiveness for horrific
acts, [Rakha's] debut novel seems designed to inspire heated debate in book clubs.
BookPage
The Crying Tree is a fabulous family drama that focuses on what happens to surviving loved ones when a violent unexpected tragedy occurs.
Midwest Book Review
This complex, layered story of a family's journey toward justice and forgiveness comes together through spellbinding storytelling. Deputy sheriff Nate Stanley calls home one day and announces he's accepted a deputy post in Oregon. His wife, Irene, resents having to uproot herself and their children, Shep and Bliss, from their small Illinois town, but Nate insists it's for the best. Once they've moved into their new home, Shep sets off to explore Oregon's outdoors, and things seem to be settling in nicely until one afternoon when Nate returns home to find his 15-year-old son beaten and shot in their kitchen. After Shep dies in Nate's arms, the family seeks vengeance against the young man, Daniel Joseph Robbin, accused of Shep's murder. In the 19 years between Shep's death and Daniel's legal execution, Bliss becomes all but a caretaker for her damaged parents, and a crisis pushes Irene toward the truth about what happened to Shep. Most of the big secret is fairly apparent early on, so it's a testament to Rakha's ability to create wonderfully realized characters that the narrative retains its tension to the end.
Publishers Weekly
A more common name for the "crying tree" is the willow, and one grows near Steven (Shep) Stanley's grave in Blaine, OR. This 15-year-old was killed in his home, and his best friend, Daniel, has been found guilty of the crime and waits a lethal injection on death row. Gifted musician Shep was definitely the center of the world for his mother, Irene, and the intensity of her grief is exquisitely portrayed in this moving, unsentimental tale of loss. After years of severe depression, withdrawal from her family, and alcoholism, Irene comes to realize that if she does not forgive her son's killer she will be destroyed. She secretly writes to Daniel in prison, and they begin corresponding. Then Irene receives written notice of the execution date and knows she must act. Verdict: Gifted storyteller Rakha has crafted a beautiful and passionate novel that never becomes maudlin or unbelievable. All of the characters are genuinely human, and the author even manages to save a few surprising plot details to the end. Highly recommended, especially for readers interested in the subject of loss and coping. —Lisa Rohrbaugh, New Middletown, Ohio
Library Journal
Discussion Questions
1. Why did Irene believe that she could not tell anyone about having forgiven Robbin? What did she think would happen? What was she afraid of? Have you ever forgiven someone but been afraid to admit it?
2. Do you think that, like Irene, you could forgive someone who harmed your family?
3. Irene tells her sister that forgiving Robbin was not a choice. What do you think she meant?
4. Do you think it is necessary to have a belief in a God or a higher power to have made the choices Irene made? Do you think the ability to forgive can be learned?
5. In the first chapter, Tab Mason describes his reaction to seeing his first execution. Have you ever given much thought to how executions affect those who must carry them out?
6. Secrets–Nate’s, Shep’s, Irene’s–are the driving force behind the tragedy in this story. Do you think it is common for families to operate in such isolation from one another?
7. Nate says he moved his family west to help Shep. How did he think this would help?
8. How would you describe the novel’s central message or theme? And how does the ending of the book affect your understanding of the novel’s central message or theme?
9. Tab Mason has an unusual skin disorder. Why do you think I chose to mark him in such a way? What difference would it make, if any, if he were simply a black man? Or a white man?
10. Tab Mason is a man who offers “no surprises.” He is painstakingly in control of his words, his thoughts, and his emotions. And this has paid off, giving him the job, power, and resources to live a very comfortable life. Why then do you think he was willing to risk it all to help Irene Stanley?
11. Bliss recounts a time she found her father having an emotional breakdown while in the barn. The event was heart-wrenching for her. Bliss loved and cared for her father more than anyone, yet she does nothing to try to help. Does it make sense to you that Bliss did not try to step in and help her father?
12. Irene and Bliss had a difficult relationship. How was this transformed by Irene’s act of forgiveness?
13. Bliss feels compelled to forgo her dream of college so that she can stay in Carlton and help her parents. Have you had times in your life when you have given up your dreams to help others?
14. Why do you think Daniel Robbin refuses the offer to introduce new evidence that might overturn his murder conviction?
15. In the end, Nate is in a bus going to Shep’s grave. Why do you think he is doing this? Do you think Nate’s character changed over the course of the book? If so, how? If not, why not?
16. Irene’s relationship with her church and faith were challenged in this story. In the end do you think her belief in God was stronger or weaker?
17. Why, of all the people Irene had in her life, did she open up to Doris, the woman who owned the Hitching Post in Wyoming?
18. After Nate’s confession, Irene leaves her husband. As she drives across the country, how do her feelings about her son’s death, Nate , and herself change?
19. Irene had strong feelings about staying around her family (“You don’t leave family,” in chapter 2). Yet emotionally, Irene did leave her family. She was not there for her daughter through high school, she never turned to her sister for help, and she and Nate’s relationship was estranged. In the end, what did this belief in family mean? What conclusions about Nate and Irene’s future can you draw from this sentiment?
20. In the end, what do you think Irene, Bliss, and Tab Mason’s actions meant to Daniel Robbin?
(Questions issued by publisher.)
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Nineteen Minutes
Jodi Picoult
Simon & Schuster
464 pp.
ISBN-13: 9780743496735
Summary
In this emotionally charged novel, Jodi Picoult delves beneath the surface of a small town to explore what it means to be different in our society.
In Sterling, New Hampshire, seventeen-year-old high school student Peter Houghton has endured years of verbal and physical abuse at the hands of his classmates. His best friend, Josie Cormier, succumbed to peer pressure and now hangs out with the popular crowd that often instigates the harassment. One final incident of bullying sends Peter over the edge and leads him to commit an act of violence that forever changes the lives of Sterling's residents.
Even those who were not inside the school that morning find their lives in an upheaval, including Alex Cormier. The superior court judge assigned to the Houghton case, Alex—whose daughter, Josie, witnessed the events that unfolded—must decide whether or not to step down. She's torn between presiding over the biggest case of her career and knowing that doing so will cause an even wider chasm in her relationship with her emotionally fragile daughter. Josie, meanwhile, claims she can't remember what happened in the last fatal minutes of Peter's rampage. Or can she? And Peter's parents, Lacy and Lewis Houghton, ceaselessly examine the past to see what they might have said or done to compel their son to such extremes. Nineteen Minutes also features the return of two of Jodi Picoult's characters—defense attorney Jordan McAfee from The Pact and Salem Falls and Patrick DuCharme, the intrepid detective introduced in Perfect Match.
Rich with psychological and social insight, Nineteen Minutes is a riveting, poignant, and thought-provoking novel that has at its center a haunting question. Do we ever really know someone? (From the publisher.)
Author Bio
• Birth—May 19, 1966
• Where—Nesconset (Long Island), New York, USA
• Education—B.A., Princeton University; M.Ed., Harvard University
• Currently—lives in Hanover, New Hampshire
Jodi Lynn Picoult is an American author. She was awarded the New England Bookseller Award for fiction in 2003. Picoult currently has approximately 14 million copies of her books in print worldwide.
Early life and education
Picoult was born and raised in Nesconset on Long Island in New York State; when she was 13, her family moved to New Hampshire. Even as a child, Picoult had a penchant for writing stories: she wrote her first story— "The Lobster Which Misunderstood"—when she was five.
While still in college—she studied writing at Princeton University—Picoult published two short stories in Seventeen magazine. To pay the bills, after graduation she worked at a variety of jobs, including copy writing and editing textbooks; she even taught eighth-grade English and attained a Masters in Education from Harvard University.
In 1989, Picoult married Timothy Warren Van Leer, whom she met in college, and while pregnant with their first child, wrote her first book. Song of the Humpbacked Whale, her literary debut, came out in 1992. Two more children followed, as did a string of bestseller novels. All told, Picoult has more than 20 books to her name.
Writing
At an earlier time in her life, Picoult believed the tranquility of family life in small-town New England offered little fodder for writing; the truly interesting stuff of fiction happened elsewhere. Ironically, it is small-town life that has ended up providing the settings for Picoult's novels. Within the cozy surroundings of family and friends, Picoult weaves complex webs of relationships that strain, even tear apart, under stress. She excels at portraying ordinary people who find themselves in extraordinary circumstances. Disoriented by some accident of chance, they stumble, whirl, and attempt to regain a footing in what was once their calm, ordered world.
Nor has Picoult ever shied from tackling difficult, controversial issues: school shooting, domestic violence, sexual abuse, teen suicide, and racism. She approaches painful topics with sympathy—and her characters with respect—while shining a light on individual struggles. Her legions of readers have loved and rewarded her for that compassion—and her novels have been consistent bestsellers.
Personal life
Picoult and her husband Timothy live in Hanover, New Hampshire. They have three children and a handful of pets. (Adapted from a 2003 Barnes and Noble interview and from Wikipedia. Retrieved 9/28/2016.)
Book Reviews
Part of what's disappointing is the gimmicky cliff-hangers. Picoult is too good a writer to fall back on chintzy tricks—though I admit she kept me turning pages till 3 a.m.
What's admirable about Nineteen Minutes is the daring risk Picoult took with her subject matter—school shootings—and presenting it from shifting points of view. She achieves the near impossible—building sympathy and understanding for the young shooter and his family.
A LitLovers LitPick (Sept. '08)
It's absorbing and expertly made. On one level, it's a thriller, complete with dismaying carnage, urgent discoveries and 11th-hour revelations, but it also asks serious moral questions about the relationship between the weak and the strong, questions that provide what school people call "teachable moments." If compassion can be taught, Picoult may be just the one to teach it.
Frances Taliaferro - Washington Post
Bestseller Picoult (My Sister's Keeper) takes on another contemporary hot-button issue in her brilliantly told new thriller, about a high school shooting. Peter Houghton, an alienated teen who has been bullied for years by the popular crowd, brings weapons to his high school in Sterling, N.H., one day and opens fire, killing 10 people. Flashbacks reveal how bullying caused Peter to retreat into a world of violent computer games. Alex Cormier, the judge assigned to Peter's case, tries to maintain her objectivity as she struggles to understand her daughter, Josie, one of the surviving witnesses of the shooting. The author's insights into her characters' deep-seated emotions brings this ripped-from-the-headlines read chillingly alive.
Publishers Weekly
Many things can happen in the span of 19 minutes—fun things, mundane things, and downright horrific things. Best-selling author Picoult (My Sister's Keeper) shows just how quickly lives can be changed in this story of a school massacre much like Columbine that is told through the voice not only of the victims but also of the troubled teen who did the shooting. Readers will be pleased to see the return of two favorite characters. Patrick DuCharme, the detective from Perfect Match, is assigned to the case, while Jordan McAfee, the lawyer from The Pact, finds himself representing the shooter. Picoult has that rare ability to write about an unnerving subject in a way readers will find absorbing. What appears on the surface of a Picoult novel is never as it seems, which is why her books are so popular with book groups. Her 14th novel, perhaps her best, is highly recommended for all public libraries.
Marika Zemke - Library Journal
Picoult's 14th novel (after The Tenth Circle, 2006, etc.) of a school shooting begins with high-voltage excitement, then slows by the middle, never regaining its initial pace or appeal. Peter Houghton, 17, has been the victim of bullying since his first day of kindergarten, made all the more difficult by two factors: In small-town Sterling, N.H., Peter is in high school with the kids who've tormented him all his life; and his all-American older brother eggs the bullies on. Peter retreats into a world of video games and computer programming, but he's never able to attain the safety of invisibility. And then one day he walks into Sterling High with a knapsack full of guns, kills ten students and wounds many others. Peter is caught and thrown in jail, but with over a thousand witnesses and video tape of the day, it will be hard work for the defense to clear him. His attorney, Jordan McAfee, hits on the only approach that might save the unlikable kid—a variation of Post Traumatic Stress Disorder caused by bullying. Thrown into the story is Judge Alex Cormier, and her daughter Josie, who used to be best friends with Peter until the popular crowd forced the limits of her loyalty. Also found dead was her boyfriend Matt, but Josie claims she can't remember anything from that day. Picoult mixes McAfee's attempt to build a defense with the mending relationship of Alex and Josie, but what proves a more intriguing premise is the response of Peter's parents to the tragedy. How do you keep loving your son when he becomes a mass murderer? Unfortunately, this question, and others, remain, as the novel relies on repetition (the countless flashbacks of Peter's victimization) rather than fresh insight. Peter fits the profile, but is never fully fleshed out beyond stereotype. Usually so adept at shaping the big stories with nuance, Picoult here takes a tragically familiar event, pads it with plot, but leaves out the subtleties of character. Though all the surface elements are in place, Picoult falters in her exploration of what turns a quiet kid into a murderer.
Kirkus Reviews
Discussion Questions
1. Alex and Lacy's friendship comes to an end when they discover Peter and Josie playing with guns in the Houghton house. Why does Alex decide that it's in Josie's best interest to keep her away from Peter? What significance is there to the fact that Alex is the first one to prevent Josie from being friends with Peter?
2. Alex often has trouble separating her roles as a judge and a mother. How does this affect her relationship with Josie? Discuss whether or not Alex's job is more important to her than being a mother.
3. A theme throughout the novel is the idea of masks and personas and pretending to be someone you're not. To which characters does this apply, and why?
4. At one point defense attorney Jordan McAfee refers to himself as a "spin doctor," and he believes that at the end of Peter's trial he "will be either reviled or canonized" (250). What is your view of Jordan? As you were reading the book, did you find it difficult to remain objective about the judicial system's standing that every defendant (no matter how heinous his or her crime) has the right to a fair trial?
5. Peter was a victim of bullying for twelve years at the hands of certain classmates, many of whom repeatedly tormented him. But he also shot and killed students he had never met or who had never done anything wrong to him. What empathy, if any, did you have for Peter both before and after the shooting?
6. Josie and Peter were friends until the sixth grade. Is it understandable that Josie decided not to hang out with Peter in favor of the popular crowd? Why or why not? How accurate and believable did you find the author's depiction of high school peer pressure and the quest for popularity? Do you believe, as Picoult suggests, that even the popular kids are afraid that their own friends will turn on them?
7. Josie admits she often witnessed Matt's cruelty toward other students. Why then does it come as such a surprise to Josie when Matt abuses her verbally and physically? How much did you empathize with Josie?
8. Regarding Lacy, Patrick notes that "in a different way, this woman was a victim of her son's actions, too" (53). How much responsibility do Lewis and Lacy bear for Peter's actions? How about Lewis in particular, who taught his son how to handle guns and hunt?
9. At one point during Peter's bullying, Lacy is encouraged by an elementary school teacher to force Peter to stand up for himself. She threatens to cancel his play dates with Josie if he doesn't fight back. How did you feel, when you read that scene? Do you blame Lacy for Peter's future actions because of it? Do you agree or disagree with the idea that it a parent's job to teach a child the skills necessary to defend himself?
10. Discuss the novel's structure. In what ways do the alternating narratives between past and present enhance the story? How do the scenes in the past give you further insight into the characters and their actions, particularly Peter and Josie?
11. When Patrick arrives at Sterling High after the shooting, "his entire body began to shake, knowing that for so many students and parents and citizens today, he had once again been too late" (24). Why does Patrick blame himself for not preventing an incident he had no way of knowing was going to happen?
12. Dr. King, an expert witness for the defense, states that Peter was suffering from Post Traumatic Stress Disorder as a result of chronic victimization. "But a big part of it, too," he adds, "is the society that created both Peter and those bullies" (409). What reasons does Dr. King give to support his assertion that society is partly to blame for Peter's actions as well as those of the bullies? Do you agree with this? Why or why not?
12. Why does Josie choose to shoot Matt instead of shooting Peter? Why does Peter remain silent about Josie's role in the shooting? In the end, has justice been satisfactorily dealt to Peter and to Josie?
13. Discuss the very ending of the novel, which concludes on the one-year anniversary of the Sterling High shooting. Why do you suppose the author chose to leave readers with an image of Patrick and Alex, who is pregnant? In what way does the final image of the book predict the future?
14. Shootings have occurred at a number of high schools across the country over the last several years. Did Nineteen Minutes make you think about these incidents in a more immediate way than reading about them in the newspaper or seeing coverage on television? How so? In what ways did the novel affect your opinion of the parties generally involved in school shootings—perpetrators, victims, fellow students, teachers, parents, attorneys, and law enforcement officials?
15. What do you think the author is proposing as the root of the problem of school violence? What have you heard, in the media and in political forums, as solutions? Do you think they will work? Why or why not?
(Questions issued by publisher.)
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Sundays at Tiffany's
James Patterson & Gabrielle Charbonnet, 2008
Grand Central Publishing
336 pp.
ISBN-13: 9780446536318
Summary
As a little girl, Jane has no one. Her mother Vivienne Margaux, the powerful head of a major New York theater company has no time for her. But she does have one friend—Michael—and no one can see him but her. But Michael can't stay with Jane forever, and on her eighth birthday, her imaginary friend must leave her.
When Jane is in her thirties, working for her mother's company, she is just as alone as she was as a child. Her boyfriend hardly knows she's there and is more interested in what Vivienne can do for his career. Her mother practically treats her as a slave in the office, despite the great success of Jane's first play, Thank Heaven. Then she finds Michael—handsome, and just the same as she remembers him, only now he's not imaginary. For once in her life, Jane is happy—and has someone who loves her back. But not even Michael knows the reason behind why they've really been reunited. (From the publisher.)
Author Bio
• Birth—March 22, 1947
• Where—Newburgh, New York, USA
• Education—B.A., Manhattan College; M.A., Vanderbilt Univ.
• Awards—Edgar Award, Best First Mystery Novel, 1977
• Currently—lives in Palm Beach, Florida
James Patterson had been working as a very successful advertising copywriter when he decided to put his Masters degree in English to a somewhat different use. Inspired by bestselling hair-raising thrillers like The Day of the Jackal and The Exorcist, Patterson went to work on his first novel. Published in 1976, The Thomas Berryman Number established him as a writer of tightly constructed mysteries that move forward with the velocity of a bullet. For his startling debut, Patterson was awarded the prestigious Edgar Award for Best First Mystery Novel—an auspicious beginning to one of the most successful careers in publishing.
A string of gripping standalone mysteries followed, but it was the 1992 release of Along Came a Spider that elevated Patterson to superstar status. Introducing Alex Cross, a brilliant black police detective/forensic psychologist, the novel was the first installment in a series of bestselling thrillers that has proved to be a cash cow for the author and his publisher.
Examining Patterson's track record, it's obvious that he believes one good series deserves another...maybe even a third! In 2001, he debuted the Women's Murder Club with 1st to Die, a fast-paced thriller featuring four female crime fighters living in San Francisco — a homicide detective, a medical examiner, an assistant D.A., and a cub reporter. The successful series has continued with other numerically titled installments. Then, spinning off a set of characters from a previous novel (1998's When the Wind Blows), in 2005 he published Maximum Ride: The Angel Experiment. Featuring a "flock" of genetically engineered flying children, the novel was a huge hit, especially with teen readers, and spawned a series of vastly popular fantasy adventures.
In addition to continuing his bestselling literary franchises, Patterson has also found time to co-author thrillers with other writers — including Peter de Jonge, Andrew Gross, Maxine Paetro, and Howard Roughan — and has even ventured into romance (Suzanne's Diary for Nicholas, Sam's Letters to Jennifer) and children's literature (santaKid). Writing at an astonishing pace, this prolific author has turned himself into a one-man publishing juggernaut, fulfilling his clearly stated ambition to become "the king of the page-turners."
Extras
From a Barnes & Noble interview:
• Patterson's Suzanne's Diary For Nicholas was inspired by a diary his wife kept that tracked the development of their toddler son.
• Two of Patterson's Alex Cross mysteries (Along Came a Spider and Kiss the Girls) have been turned into films starring Morgan Freeman; in 2007, a weekly television series premiered, based on the bestselling Women's Murder Club novels.
• When asked what book most influenced his life, here is is response:
Probably the novel that most influenced me as a young writer is A Hundred Years of Solitude—simply because as I read it, I realized that I could never do anything half as good. So why not try mysteries? Gabriel García Márquez's magical mystery tour begins with one of the most engaging lines in fiction: "Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice." What follows is an exhilarating recounting of a century in the imaginary Colombian town of Macondo—the comedies and tragedies, joy and suffering, sublime and ridiculous. An entire town, for example, is affected with insomnia at one point in the novel. A woman literally rises to heaven while drying her laundry. And eventually, the firing squad, fires. Some have called this the great American novel—only it was written by a South American. (Author bio and interview from Barnes & Noble.)
Book Reviews
What do women want? At this point in his career Mr. Patterson probably has a better answer than Freud did.
Janet Maslin, New York Times
Entertaining.... Readers looking for a romantic escape will enjoy [this book].
Midwest Book Review
A love story with an irresistible twist.
Woodstock Sentinel-Review (Canada)
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 Sunday's at Tiffany's:
1. Patterson's novel merges the boundaries of the natural and supernatural worlds. Many individuals...and many cultures believe those two worlds are actually more closely integrated than everyday reality and science suggests. Where do you fall in this? Guardian angels...yes or no?
2. A number of authors penetrate the boundaries between the natural and supernatural? Can you think of any; if so, how are their works similar to or different from Sundays at Tiffany's?
3. Talk about the root causes of Jane's feelings of loneliness, both as a child and adult? Is a mother's withholding of love and affection cause enough for a life-long sense of emptiness?
4. Discuss Patterson's characters—particuarly Jane and her mother. Are they are fully developed, emotionally complex individuals...or one-dimensional caricatures?
5. Some readers felt the ending was too pat, that it held no surprises. What about you?
6. Early on there are hints that Jane suffers from a serious but undisclosed medical condition. Is this condition ever revealed?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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