One Amazing Thing
Chitra Banerjee Divakaruni, 2010
Hyperion/ Everywoman's Voice
220 pp.
ISBN-13: 9781401341589
Summary
Late afternoon sun sneaks through the windows of a passport and visa office in an unnamed American city. Most customers and even most office workers have come and gone, but nine people remain.
—A punky teenager with an unexpected gift.
—An upper-class Caucasian couple whose relationship is disintegrating.
—A young Muslim-American man struggling with the fallout of 9/11.
—A graduate student haunted by a question about love.
—An African-American ex-soldier searching for redemption.
—A Chinese grandmother with a secret past.
—Two visa office workers on the verge of an adulterous affair.
When an earthquake rips through the afternoon lull, trapping these nine characters together, their focus first jolts to their collective struggle to survive.
There's little food. The office begins to flood. Then, at a moment when the psychological and emotional stress seems nearly too much for them to bear, the young graduate student suggests that each tell a personal tale, "one amazing thing" from their lives, which they have never told anyone before. And as their surprising stories of romance, marriage, family, political upheaval, and self- discovery unfold against the urgency of their life-or-death circumstances, the novel proves the transcendent power of stories and the meaningfulness of human expression itself.
From Chitra Divakaruni, author of such finely wrought, bestselling novels as Sister of My Heart, The Palace of Illusions, and The Mistress of Spices, comes her most compelling and transporting story to date. One Amazing Thing is a passionate creation about survival—and about the reasons to survive. (From the publisher.)
Author Bio
• Birth—July 29, 1956
• Where—Kolkata, India
• Education—B.A., Kolkata University; Ph.D., University of California, Berkeley
• Currently—lives in Houston, Texas and San Jose, Calif.
Chitra Banerjee Divakaruni is the author of the bestselling novels Queen of Dreams, Mistress of Spices, Sister of My Heart, and The Vine of Desire, and of the prizewinning story collections Arranged Marriage and The Unknown Errors of Our Lives. Her writings have appeared in more than 50 magazines, including Atlantic Monthly and The New Yorker.
Divakaruni was born in India and came to the United States at 19. She put herself through Berkeley doing odd jobs, from working at an Indian boutique to slicing bread in a bakery. She lives in Houston, Texas, and teaches creative writing at the University of Houston. (Adapted from the publisher.)
Extras
Excerpts from a 2004 Barnes & Noble interview:
• During graduate school, I used to work in the kitchen of the International House at the University of California, Berkeley. My favorite task was slicing Jell-O.
• I love Chinese food, but my family hates it. So when I'm on book tour I always eat Chinese!
• I almost died on a pilgrimage trip to the Himalayas some years back—but I got a good story out of it. The story is in The Unknown Errors of Our Lives—let's see if readers can figure out which one it is!
• Writing is so central to my life that it leaves little time/desire/need for other interests. I do a good amount of work with domestic violence organizations—I'm on the advisory board of Asians Against Domestic Violence in Houston. I feel very strongly about trying to eradicate domestic violence from our society.
• My favorite ways to unwind are to do yoga, read, and spend time with my family.
• When asked what book most influenced her career as a writer, here is her answer:
Maxine Hong Kingston's The Woman Warrior. I read this when I was in grad school, and it really made me examine my own role as a woman of color living in the U.S. It made me want to start writing about my own experiences. It made me think that perhaps I, too, had something worthwhile to write about. ("Extras" from Barnes & Noble.)
Book Reviews
The appeal of these life stories, like that of Chaucer's Canterbury Tales, is that they throw the spotlight onto varied lives, each with its own joys and miseries. Together, the stories show how easy it is to divert young lives into unforeseen and restrictive channels, and how hard it is for people to realize their early dreams. Their shared experiences and fears form the frame that holds together this compendium of short stories into an absorbing novel....At the end of her novel, her readers are fully engaged in what will happen to those nine people.
Washington Post
The plot of Chitra Banerjee Divakaruni's new novel could be ripped from the horrifying headlines about Haiti in a strange case of art imitating life.... One Amazing Thing, which was written well before the Haiti earthquake, is receiving high praise.
USA Today
Masterful storyteller Chitra Banerjee Divakaruni examines such stories in an apropos novel for our times. Her suspenseful tale of nine souls who suddenly don't know if they will live or die is a tribute—on many levels—to hope and survival. But it is also, most successfully, a ringing rebuke to rushes to judgment. It's an adult, literary version of The Breakfast Club, with dire circumstances. 'Hell is other people,' Uma thinks as she looks at one of her fellow distraught victims. But redemption can be other people, too, Uma and the others soon understand.One more amazing thing we've learned from Divakaruni.
Miami Herald
In a soggy treatment of catastrophe and enlightenment, Divakaruni (The Mistress of Spices) traps a group of nine diverse people in the basement of an Indian consulate in an unidentified American city after an earthquake. Two are émigrés who work for the consulate; the others are in the building to apply for visas. With very little food, rising flood water, dwindling oxygen, and no electricity or phone service, the victims fend off panic by taking turns at sharing the central stories of their lives. Oddly, the group spends little time brainstorming ways to escape, even when they run out of food and water, and sections of ceiling collapse around them. They wait in fatalistic resignation and tell their tales. Some are fable-like, with captivating scene-setting and rush-to-moral conclusions, but the most powerful are intimate, such as the revelations an accountant shares about his impoverished childhood with an exhausted mother, her boyfriend, and a beloved kitten. Despite moments of brilliance, this uneven novel, while vigorously plumbing themes of class struggle, disillusionment, and guilt, disappoints with careless and unearned epiphanies.
Publishers Weekly
Nine people of diverse backgrounds trapped by an earthquake in the basement of the Indian consulate in an unidentified American city—that's the situation Divakaruni (The Palace of Illusions) sets for herself here. The thoroughly American Uma immigrated with her parents as an infant and is now a graduate student. She tries to concentrate on reading Chaucer while waiting to apply for a visa to visit her parents, who have moved back to India, but spends more time speculating about the people around her. When the earthquake hits, African American army veteran Cameron takes charge, while Uma encourages each of these modern-day pilgrims to share a story of "one amazing thing." The pilgrims range from a young Muslim man hoping that he can visit his parents' ancestral home to an upper-class Caucasian couple planning a trip to the Taj Mahal. As the stories unfold, they tell as much about the diversity of Indian culture as they do about the American "melting pot," which lets some groups Americanize more successfully than others. Verdict: Writing with great sensitivity, Divarkaruni presents snapshots that speak volumes about the characters, so unexpectedly drawn together. Highly recommended. —Debbie Bogenschutz, Cincinnati State Technical & Community Coll.
Library Journal
After the glorious complexity of The Palace of Illusions (2008), Divakaruni...presents a wise and beautifully refined drama.... A storyteller of exquisite lyricism and compassion, Divakaruni weaves a suspenseful, astute, and unforgettable survivors’ tale. —Donna Seaman
Booklist
A diverse group trapped in the aftermath of a disaster shares tales of love, loss and desire. Divakaruni's latest (The Palace of Illusions, 2008, etc.) harkens back to her earlier collections of short stories more than it coalesces as a convincing novel. Seven visa applicants wait for the services of two bureaucrats in the basement-level visa office of an Indian consulate somewhere in America. "It was not uncommon, in this city, to find persons of different races thrown together," Divakaruni writes. "Still, Uma thought, it was like a mini UN summit in here. Whatever were all these people planning to do in India?" Suddenly, a massive earthquake strikes, trapping them in the dark and forcing them to confront each other. An angry young man named Tariq Husein seethes as Cameron Grant, an African-American veteran, assumes leadership of the trapped group. Mr. Pritchett, who had hoped a trip to India would lift his wife's depression, endangers them all by trying to light a cigarette despite a gas leak. Malathi, a clerk at the consulate, stands up to him when he takes away Mrs. Pritchett's medication. Jiang, an elderly Chinese woman injured in the quake, tries to protect her granddaughter Lily. In the midst of their ordeal, Uma, a grad student first glimpsed reading "The Wife of Bath's Tale," comes up with the idea of having each person relate an incident from his or her life. "Everyone has a story," she says. "I don't believe anyone can go through life without encountering at least one amazing thing." The individual tales are engaging, but the mechanical setup and the lack of resolution in the primary narrative make it difficult to fully embrace all that follows. Compassionate stories, many of them inspired, suspended in half of a novel.
Kirkus Reviews
Discussion Questions
1. If you were to tell the story of one amazing thing that had happened in your life, what would it be? Would it be a memory of a gift, an experience, a person that you met, or an event that you witnessed? What made it amazing, and how did it change your life?
2. Would the experience of reading One Amazing Thing have been different had the narrative been from the point of view of just one person, or if the story was told by an outside figure removed from the events in the book?
3. If you were trapped in a similar dangerous situation as the characters in One Amazing Thing, how do you think you’d react? Was there an action or behavior by a character that resonated with you?
4. Out of the nine people in the visa office, did you identify with any in particular? Which one(s) and why?
5. Why was each character’s “one amazing thing” remarkable?
6. The book begins and ends with Uma Sinha, the graduate student. Why did the author choose Uma’s story to “bookend” the novel in this way? What about Uma set her apart from the members of the group, in your mind?
7. Which character’s story did you find the most unexpected? Conversely, were you able to predict what was to happen in any of the stories?
8. Refresh your memory with the stories of the female characters in the book. Did these stories have anything in common?
9. “Apologize to a woman and she would gain the upper hand. Mangalam knew better than to let that happen” (pg. 55). What did you first think of Mr. Mangalam, and did this change after you learned his story?
10. Discuss Mr. and Mrs. Pritchett. Were you surprised, as their stories unfolded, to discover their reasons for going to India?
11. Almost all of the characters experience or perpetuate some kind of cultural misunderstanding. What did you learn about some of the cultures and religions explored in the book?
12. What did you think of the book’s ending? What do you think the group’s fate was? Why did Uma’s story end where it did?
(Questions issued by publisher.)
The Da Vinci Code
Dan Brown, 2003
Random House
489 pp.
ISBN-13: 9780307474278
Summary
While in Paris on business, Harvard symbologist Robert Langdon receives an urgent late-night phone call: the elderly curator of the Louvre has been murdered inside the museum. Near the body, police have found a baffling cipher. While working to solve the enigmatic riddle, Langdon is stunned to discover it leads to a trail of clues hidden in the works of Da Vinci—clues visible for all to see—yet ingeniously disguised by the painter.
Langdon joins forces with a gifted French cryptologist, Sophie Neveu, and learns the late curator was involved in the Priory of Sion—an actual secret society whose members included Sir Isaac Newton, Botticelli, Victor Hugo, and Da Vinci, among others.
In a breathless race through Paris, London, and beyond, Langdon and Neveu match wits with a faceless powerbroker who seems to anticipate their every move. Unless Langdon and Neveu can deipher the labyrinthine puzzle in time, the Priory's ancient secret—and an explosive historical truth—will be lost forever. (From the publisher.)
Author Bio
• Birth—June 22, 1964
• Where—Exeter, New Hampshire
• Education—B.A., Amherst College; University
of Seville, Spain
• Currently—lives in New England
Novelist Dan Brown may not have invented the literary thriller, but his groundbreaking tour de force The Da Vinci Code—with its irresistible mix of religion, history, art, and science—is the gold standard for a flourishing genre.
Born in Exeter, New Hampshire in 1964, Brown attended Phillips Exeter Academy (where his father taught), and graduated from Amherst with a double major in Spanish and English. After college he supported himself through teaching and enjoyed moderate success as a musician and songwriter.
Brown credits Sidney Sheldon with jump-starting his literary career. Up until 1994, his reading tastes were focused sharply on the classics. Then, on vacation in Tahiti, he stumbled on a paperback copy of Sheldon's novel The Doomsday Conspiracy. By the time he finished the book, he had decided he could do as well. There and then, he determined to try his hand at writing. His first attempt was a pseudonymously written self-help book for women co-written with his future wife Blythe Newlon. Then, in 1998, he published his first novel, Digital Fortress—followed in swift succession by Angels and Demons, Deception Point, The Lost Symbol, and most recently Inferno.
Then, in 2003, Brown hit the jackpot with his fourth novel, a compulsively readable thriller about a Harvard symbiologist who stumbles on an ancient conspiracy in the wake of a shocking murder in the Louvre. Combining elements from the fields of art, science, and religion, The Da Vinci Code became the biggest bestseller in publishing history, inspiring a big-budget movie adaptation and fueling interest in Brown's back list.
In addition, The Da Vinci Code became the subject of raging controversy, inspiring a spate of books by scholars and theologians who disputed several of the book's claims and accused Brown of distorting and misrepresenting religious history. The author, whose views on the subject are stated clearly on his website, remains unperturbed by the debate, proclaiming that all dialogue, even the most contentious, is powerful, positive, and healthy.
More
Brown revealed the inspiration for his labyrinthine thriller during a writer's address in Concord, New Hampshire. "I was studying art history at the University of Seville (in Spain), and one morning our professor started class in a most unusual way. He showed us a slide of Da Vinci's famous painting "The Last Supper"... I had seen the painting many times, yet somehow I had never seen the strange anomalies that the professor began pointing out: a hand clutching a dagger, a disciple making a threatening gesture across the neck of another... and much to my surprise, a very obvious omission, the apparent absence on the table of the cup of Christ... The one physical object that in many ways defines that moment in history, Leonardo Da Vinci chose to omit." According to Brown, this reintroduction to an ancient masterpiece was merely "the tip of the ice burg." What followed was an in-depth explanation of clues apparent in Da Vinci's painting and his association with the Priory of Sion that set Brown on a path toward bringing The Da Vinci Code into existence.
If only all writers could enjoy this kind of success: in early 2004, all four of Brown's novels were on the New York Times Bestseller List in a single week!
Extras
From a 2003 Barnes & Noble interview:
• If I'm not at my desk by 4:00 a.m., I feel like I'm missing my most productive hours. In addition to starting early, I keep an antique hourglass on my desk and every hour break briefly to do push-ups, sit-ups, and some quick stretches. I find this helps keep the blood—and ideas—flowing.
• I'm also a big fan of gravity boots. Hanging upside down seems to help me solve plot challenges by shifting my entire perspective.
• When asked what book most influenced his career as a writer, here is his response:
Until I graduated from college, I had read almost no modern commercial fiction at all (having focused primarily on the "classics" in school). In 1994, while vacationing in Tahiti, I found an old copy of Sydney Sheldon's Doomsday Conspiracy on the beach. I read the first page...and then the next...and then the next. Several hours later, I finished the book and thought, Hey, I can do that. Upon my return, I began work on my first novel—Digital Fortress—which was published in 1996. (Author bio and interview from Barnes & Noble.)
Book Reviews
A riddle-filled, code-breaking, exhilaratingly brainy.... In this gleefully erudite suspense novel, Mr. Brown takes the format he has been developing through three earlier novels and fine-tunes it to blockbuster perfection. Not since the advent of Harry Potter has an author so flagrantly delighted in leading readers on a breathless chase and coaxing them through hoops.
Janet Maslin - The New York Times
Brown keeps the pace fast, the puzzles that lead to the Grail are exceedingly clever, and there is a flurry of surprises and betrayals before the mystery is finally solved. Whatever the reader makes of the religious theories put forth, Brown has a great deal of interest to say about the early days of Christianity, the influence of pagan religions on it and the legend of the Grail. He says the revelations about Jesus — not to be revealed here — have been whispered about for centuries, but have never overcome the opposition of organized Christianity. How much of this is fact and how much is fiction? Read the book and make up your own mind.
Patrick Anderson - The Washington Post
The Da Vinci Code is a dazzling performance by Brown, a delightful display of erudition. Though his mini-lectures sometimes hijack the narrative, they're necessary to keep us informed and occasionally permit us to try to unravel puzzles with Langdon and Neveu. Brown delivers a crackling, intricate mystery, complete with breathtaking escapes and several stunning surprises. It's challenging, exciting, and a whole lot more.
Jim Fusilli - The Boston Globe
What if Jesus Christ had a tryst with Mary Magdalene, and the interlude produced a child? Such a possibility-yielding a so-called royal bloodline-provides the framework for Brown's latest thriller (after Angels and Demons), an exhaustively researched page-turner about secret religious societies, ancient coverups and savage vengeance. The action kicks off in modern-day Paris with the murder of the Louvre's chief curator, whose body is found laid out in symbolic repose at the foot of the Mona Lisa. Seizing control of the case are Sophie Neveu, a lovely French police cryptologist, and Harvard symbol expert Robert Langdon, reprising his role from Brown's last book. The two find several puzzling codes at the murder scene, all of which form a treasure map to the fabled Holy Grail, where proof of the Jesus bloodline supposedly can be found. As their search moves from France to England, Neveu and Langdon are confounded by two mysterious groups-the legendary Priory of Sion, a nearly 1,000-year-old secret society whose members have included Botticelli and Isaac Newton, and the conservative Catholic organization Opus Dei. Both have their own reasons for wanting to ensure that the Grail isn't found. Brown sometimes ladles out too much religious history at the expense of pacing, and Langdon is a hero in desperate need of more chutzpah. Still, Brown has assembled a whopper of a plot that will please both conspiracy buffs and thriller addicts.
Publishers Weekly
Robert Langdon, the Harvard symbologist from Brown's Angels and Demons, is back in this amazing sequel. In Paris for a lecture, Langdon is summoned in the middle of the night to meet the head of the French police at the Louvre. The museum's curator has been found dead in a secure section of the gallery, with a message by his body leading to a baffling series of clues hidden in the works of Leonardo da Vinci. In addition, the curator left a specific message to find Langdon. While the police think Langdon is their culprit, he teams up with a French cryptologist to uncover the truth about the hidden messages. The answers lead to discovery of a shocking historical fact, and certain people will do anything to keep it a secret. Brown solidifies his reputation as one of the most skilled thriller writers on the planet with his best book yet, a compelling blend of history and page-turning suspense. This masterpiece should be mandatory reading.
Library Journal
When French police discover Harvard professor of symbology Robert Langdon's name hidden in a strange cipher found next to the body of a Louvre museum curator, he becomes their prime suspect for the brutal murder. The only person who believes that Robert is innocent is French cryptologist Sophie Neveu, who helps him escape from the police. While trying to elude capture, the two struggle to unravel the curator's mysterious message, only to find themselves caught between a centuries-old, secret European society and an extremely conservative, controversial branch of the Catholic Church, each of which is determined to possess the curator's secret, even if it means killing Robert and Sophie to get what they want. Brown's best-selling book, which features the hero from his earlier novel, Angels and Demons (Pocket Books, 2000), is an absolutely addictive thriller that blends fact and fiction with wonderfully creative results. The fascinating references in the plot to Da Vinci, the Knights Templar, the early history of the Catholic Church, and the Holy Grail might push some teens into researching these topics just to see what, if any, possible real historical basis there might be to Brown's story. Suspense-loving older teens, especially those with an interest in history or art, will definitely find this fast and furiously plotted thriller to be superior reading entertainment. (Better than most, marred only by occasional lapses; Every YA (who reads) was dying to read it yesterday. —John Charles
VOYA
Discussion Questions
1. As a symbologist, Robert Langdon has a wealth of academic knowledge that helps him view the world in a unique way. Now that you've read The Da Vinci Code, are there any aspects of life/history/faith that you are seeing in a different light?
2. Langdon and Teabing disagree as to whether the Sangreal documents should be released to the world. If you were the Grand Master of the Priory of Sion, would you release the documents? If so, what do you think their effect would be?
3. What observations does this novel make about our past? How do these ideas relate to our future?
4. Other than his fear of being framed for murder, what motivates Langdon to follow this perilous quest? Do his motivations change?
5. The novel's "quest" involves numerous puzzles and codes. Did you enjoy trying to solve these puzzles along with the characters? Did you solve any of the puzzles before the characters did?
6. If you could spend a day in any of the places described in this novel, where would it be, and why? The Louvre? Westminster Abbey? Rosslyn Chapel? The Temple Church? Somewhere else?
7. Historian Leigh Teabing claims the founding fathers of Christianity hijacked the good name of Jesus for political reasons. Do you agree? Does the historical evidence support Teabing's claim?
8. Has this book changed your ideas about faith, religion, or history in any way?
9. Would you rather live in a world without religion…or a world without science?
10. Saunière placed a lot of confidence in Langdon. Was thisconfidence well-placed? What other options might Saunière have had? Did Saunière make the right decision separating Sophie from the rest of her family?
11. Do you imagine Langdon should forgive Teabing for his misguided actions? On the other hand, do you think Teabing should forgive Langdon for refusing to release the Sangreal documents?
12. Does the world have a right to know all aspects of its history, or can an argument be made for keeping certain information secret?
13. What is interesting about the way this story is told? How are the episodes of the novel arranged and linked? In your discussion, you might want to identify where the turning points in the action are where those moments are after which everything is different. Did you anticipate them?
14. What is the novel's theme? What central message or idea links all the other components of the novel together?
15. For most people, the word "God" feels holy, while the word "Goddess" feels mythical. What are your thoughts on this? Do you imagine those perceptions will ever change?
16. Will you look at the artwork of Da Vinci any differently now that you know more about his "secret life?"
(Questions issued by publisher.)
top of page (summary)
Jane Eyre
Charlotte Bronte, 1847
Vintage Classics
600 pp.
ISBN-13: 9780307455192
Summary
Orphaned at an early age, Jane Eyre leads a lonely life until she finds work as a governess at Thornfield Hall, where she meets the mysterious Mr. Rochester and sees a ghostly woman who roams the halls by night.
This is a story of passionate love, travail and final triumph. The relationship between the heroine and Mr. Rochester is only one episode, albeit the most important, in a detailed fictional autobiography in which the author transmuted her own experience into high art.
In this work the plucky heroine is outwardly of plain appearance, but possesses an indomitable spirit, a sharp wit and great courage. She is forced to battle against the exigencies of a cruel guardian, a harsh employer and a rigid social order which circumscribes her life and position. (From Simon & Schusters Collector's Series.)
Author Bio
• Birth—April 21, 1816
• Where—Thornton, Yorkshire, England
• Death—March 31, 1855
• Where—Haworth, West Yorkshire, England
• Education—Clergy Daughters' School at Cowan Bridge in
Lancashire; Miss Wooler's School at Roe Head; Pensionnat
Heger (Belgium, to study French and German)
Bronte was born on April 21, 1816, in Thornton, Yorkshire, in the north of England, the third child of the Reverend Patrick Bronte and Maria Branwell Bronte. In 1820 the family moved to neighboring Haworth, where Reverend Brontë was offered a lifetime curacy. The following year Mrs. Brontë died of cancer, and her sister, Elizabeth Branwell, moved in to help raise the six children.
The four eldest sisters—Charlotte, Emily, Maria, and Elizabeth—attended Cowan Bridge School, until Maria and Elizabeth contracted what was probably tuberculosis and died within months of each other, at which point Charlotte and Emily returned home. The four remaining siblings—Charlotte, Branwell, Emily, and Anne—played on the Yorkshire moors and dreamed up fanciful, fabled worlds, creating a constant stream of tales, such as the Young Men plays (1826) and Our Fellows (1827).
Reverend Bronte kept his children abreast of current events; among these were the 1829 parliamentary debates centering on the Catholic Question, in which the Duke of Wellington was a leading voice. Charlotte's awareness of politics filtered into her fictional creations, as in the siblings' saga The Islanders (1827), about an imaginary world peopled with the Brontë children's real-life heroes, in which Wellington plays a central role as Charlotte's chosen character.
Throughout her childhood, Charlotte had access to the circulating library at the nearby town of Keighley. She knew the Bible and read the works of Shakespeare, George Gordon, Lord Byron, and Sir Walter Scott, and she particularly admired William Wordsworth and Robert Southey. In 1831 and 1832, Charlotte attended Miss Wooler's school at Roe Head, and she returned there as a teacher from 1835 to 1838. After working for a couple of years as a governess, Charlotte, with her sister Emily, traveled to Brussels to study, with the goal of opening their own school, but this dream did not materialize once she returned to Haworth in 1844.
Midlife
In 1846 the sisters published their collected poems under the pen names Currer (Charlotte), Ellis (Emily), and Acton (Anne) Bell. That same year Charlotte finished her first novel, The Professor, but it was not accepted for publication.
However, she began work on Jane Eyre, which was published in 1847 and met with instant success. Though some critics saw impropriety in the core of the story—the relationship between a middle-aged man and the young, naive governess who works for him—most reviewers praised the novel, helping to ensure its popularity. One of Charlotte's literary heroes, William Makepeace Thackeray, wrote her a letter to express his enjoyment of the novel and to praise her writing style, as did the influential literary critic G. H. Lewes.
Following the deaths of Branwell and Emily Bronte in 1848 and Anne in 1849, Charlotte made trips to London, where she began to move in literary circles that included such luminaries as Thackeray, whom she met for the first time in 1849; his daughter described Bronte as "a tiny, delicate, serious, little lady." In 1850 she met the noted British writer Elizabeth Gaskell, with whom she formed a lasting friendship and who, at the request of Reverend Bronte, later became her biographer. Charlotte's novel Villette was published in 1853.
In 1854 Charlotte married Arthur Bell Nicholls, a curate at Haworth who worked with her father. Sadly, less than a year later, Bronte died during her first pregnancy. While her death certificate lists the cause of death as "phthisis" (tuberculosis), there is a school of thought that believes she may have died from excessive vomiting caused by morning sickness. At the time of her death, Charlotte Brontë was a celebrated author. The 1857 publication of her first novel, The Professor, and of Gaskell's biography of her life only heightened her renown. (Bio from Barnes and Noble Classic Edition.)
Book Reviews
(Older works have few, if any, mainstream press reviews online. See Amazon and Barnes & Noble for helpful customer reviews.)
Possibly no book, other than Pride and Prejudice, has been as beloved by women as Jane Eyre, a Cinderella novel if ever there was one.... On its surface, Jane Eyre is a simple romance: a young girl, brought low by circumstance and maltreated by the very institutions that should have protected her (family and school), wins the love of a wealthy, accomplished man. At its core, however, Jane Eyre is much, much more. (Read more...)
LitLovers Book Reviews - April 2013
The detailed exploration of a strong female character's consciousness has made readers in recent decades consider Jane Eyre as an influential feminist text. The novel works both as the absorbing story of an individual woman's quest and as a narrative of the dilemmas that confront so many women. Its mythic quality is enhanced by the fact that at the time of its writing its author was, like her heroine, unmarried and unremarked, and considered unattractive. In Jane Eyre, Charlotte Brontë created a fully imagined character defined by her strength of will. Though Jane is nothing more than an impoverished governess, she can retort to her haughty employer Rochester: "Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless?—You think wrong!" (p. 284). Jane's willfulness scandalized many contemporary critics, who called her (and the novel) "coarse" and "unfeminine." Such criticisms were powerless against the novel's popularity, and Jane's indomitable voice continues to enthrall readers more than 150 years after the novel's original publication.
Penguin Classic Edition (excerpt)
Discussion Questions
(There are two sets of questions—from the Penguin [first set] and Random House editions)
1. Why does Bronte juxtapose Jane's musings about women's social restraints with the mysterious laugh that Jane attributes to Grace Poole (p. 125-26)?
2. Rochester tells Jane, "if you are cast in a different mould to the majority, it is no merit of yours; Nature did it" (p. 153-54). Are we intended to agree or disagree with this statement?
3. After Mason's visit to Thornfield, Jane asks herself, "What crime was this, that lived incarnate in this sequestered mansion, and could neither be expelled nor subdued by the owner?" (p. 237). What crime does Bertha represent? Why does Rochester keep her at Thornfield?
4. Does Rochester ever actually intend to marry Blanche Ingram? If so, when does he change his mind? If not, why does he go to such lengths to make Jane believe he does?
5. Rochester's disastrous marriage to Bertha was based on passion, while St. John refuses to marry Rosamund because of his passion for her. What is Brontë saying about the role passion should play in marriage?
6. What does St. John feel for Jane? Why does Jane end her story with his prayer?
7. Jane asserts her equality to Rochester (p. 284), and St. John (p. 452). What does Jane mean by equality, and why is it so important to her?
8. When Jane first appears at Moor House, Hannah assumes she is a prostitute, but St. John and his sisters do not. What distinguishes the characters who misjudge Jane from those who recognize her true nature?
9. When Jane hears Rochester's voice calling while he is miles away, she says the phenomenon "is the work of nature" (p. 467). What does she mean by this? What are we intended to conclude about the meaning of this experience?
10. Brontë populates the novel with many female characters roughly the same age as Jane—Georgiana and Eliza Reed, Helen Burns, Blanche Ingram, Mary and Diana Rivers, and Rosamund Oliver. How do comparisons with these characters shape the reader's understanding of Jane's character?
11. What is the balance of power between Jane and Rochester when they marry? Does this balance change from the beginning of the marriage to the time ten years later that Jane describes at the end of the novel (p. 500-501)?
12. In a romantic relationship, does one partner inevitably dominate the other?
13. Should an individual who holds a position of authority be granted the respect of others, regardless of his or her character?
(This set of questions issued by Penguin Classics Edition.)
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More Questions
1. In Jane Eyre, nothing can better show a man's moral worth than the way in which he treats the women in his life. How is Rochester's character reflected in the way he treats Jane, Adele, Bertha Mason, and Miss Ingram, and in his reported treatment of Celine Varens? How is St. John's character reflected in the way he treats Jane, Miss Oliver, and Diana and Mary? Why does this serve as such a good gauge of a man's morality and worth? What other relationships serve similar functions in the novel?
2. Throughout the novel, questions of identity are raised. From her identity as an orphan and stranger in the hostile environment of Gateshead Hall to that of a ward of the church at Lowood; from her being a possible wife of Rochester, then of St. John, to being the cousin of Diana and Mary, Jane is constantly in transition. Trace these changes in identity and how they affect Jane's view of herself and the world around her. Describe the final discovery of her identity that becomes apparent in the last chapter of the novel and the events that made that discovery possible.
3. Throughout the novel, Charlotte Brontë uses biblical quotes and religious references. From the church-supported school she attended that was run by Mr. Brocklehurst to the offer of marriage she receives from St. John, she is surrounded by aspects of Christianity. How does this influence her throughout her development? How do her views of God and Christianity change from her days as a young girl to the end of the novel? How is religion depicted in the novel, positively or negatively?
4. Many readers of Jane Eyre feel that the story is composed of two distinct parts, different in tone and purpose. The first part (chapters 1-11) concerns her childhood at Gateshead and her life at Lowood; the second part is the remainder of the story. Is creating such a division justified? Is there a genuine difference of tone and purpose between the two sections as they have been described? Some critics and readers have suggested that the first part of Jane Eyre is more arresting because it is more directly autobiographical. Do you find this to be true?
5. Upon publication, great speculation arose concerning the identity of the author of Jane Eyre, known only by the pen name Currer Bell. Questions as to the sex of the author were raised, and many critics said that they believed it to be the work of a man. One critic of her time said, "A book more unfeminine, both in its excellence and defects, it would be hard to find in the annals of female authorship. Throughout there is masculine power, breadth and shrewdness, combined with masculine hardness, coarseness, and freedom of expression." Another critic of the day, Elizabeth Rigby, said that if it was the product of a female pen, then it was the writing of a woman "unsexed." Why was there such importance placed on the sex of the author and why was it questioned so readily? What does it mean that people believed it to be the product of a man rather than of a woman?
6. Scenes of madness and insanity are among the most important plot devices in Jane Eyre. From the vision Jane sees when locked in the bedroom at Gateshead to her hearing the "goblin laughter" she attributes to Grace Poole, to the insanity and wretchedness of Bertha Mason, madness is of central importance to the plot and direction of the story. Give examples of madness in the text, and show how they affect the reader's understanding of the character experiencing the madness and how these examples affect the reader's understanding of the characters witnessing it.
7. There is probably no single line in the whole of Jane Eyre that has, in itself, attracted as much critical attention as the first line of the last chapter: "Reader, I married him." Why is the phrasing of this line so important? How would the sense be different-for the sentence and for the novel as a whole-if the line read, "Reader, we were married"?
(This set of questions issued by Random House—cover image, top right.)
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Not a Penny More, Not a Penny Less
Jeffrey Archer, 1976
St. Martin's Press
320 pp.
ISBN-13: 9780312997137
Summary
The conned: an Oxford don, a revered society physician, a chic French art dealer, and a charming English lord. They have one thing in common. Overnight, each novice investor lost his life's fortune to one man. The con: Harvey Metcalfe. A brilliant, self-made guru of deceit. A very dangerous individual. And now, a hunted man.
With nothing left to lose four strangers are about to come together—each expert in their own field. Their plan: find Harvey, shadow him, trap him, and penny-for-penny, destroy him. From the luxurious casinos of Monte Carlo to the high-stakes windows at Ascot to the bustling streets of Wall Street to fashionable London galleries, their own ingenious game has begun. It's called revenge—and they were taught by a master. (From the author's website.)
Author Bio
• Birth—April 15, 1940
• Where—London; raised in Somerset, England, UK
• Education—Oxford University; Oxford Institute
• Currently—lives in London and the Old Vicarage,
Grantchester
Jeffrey Howard Archer, Baron Archer of Weston-super-Mare is a best-selling English author and former politician whose political career ended with his conviction and subsequent imprisonment (2001–03) for perjury and perverting the course of justice. Alongside his literary work, Archer was a Member of Parliament (1969–74), deputy chairman of the Conservative Party (1985–86) and was made a life peer in 1992.
Early years
Jeffrey Howard Archer was born in the City of London Maternity Hospital. He was two weeks old when his family moved to the seaside town of Weston-super-Mare, Somerset, where he spent most of his early life. He has an older brother born out of wedlock, also originally called Jeffrey, who was put up for adoption at an early age. The brother assumed the name David Brown and only discovered his relationship to Archer in 1980.
In 1951 Archer won a scholarship to Wellington School, in Somerset (not to be confused with the public school Wellington College). At this time his mother, Lola, contributed a column "Over the Teacups" to the local press in Weston-super-Mare and wrote about the adventures of her son 'Tuppence'; this caused Archer to be the victim of bullying while at Wellington School.
After Archer left school passing O-levels in English Literature, Art, and History, he worked in a number of jobs, including training with the army and for the police. This lasted only for a few months, but he fared better as a Physical Education teacher; first at Vicar's Hill, a Prep School in Hampshire where he taught fencing amongst other sports, later at the more prestigious independent school Dover College in Kent. As a teacher he was popular with pupils and was reported by some to have had good motivational skills, helping to instil personal confidence in the less confident.
Archer studied for three years, gaining an academic qualification in teaching awarded by the Oxford University Department for Continuing Education. The course was based at Brasenose College, Oxford, although Archer was never registered as an undergraduate student of the College.
He raised money for the charity Oxfam, obtaining the support of The Beatles in a charity fundraising drive. The band accepted his invitation to visit the senior common room of Brasenose College, where they were photographed with Archer and dons of the college, although they did not play there.
It was during this period that Archer met his wife, Mary Weeden, at that time studying chemistry at St Anne's College, Oxford. They married in July 1966. Mary went on to specialise in solar power.
Early career
After leaving Oxford, he continued as a charity fundraiser, working for the National Birthday Trust, a medical charity. He also began a career in politics, serving as a Conservative councillor on the Greater London Council during 1967–70.
One organization Archer worked for, the United Nations Association, alleged discrepancies in his claims for expenses, and details appeared in the press in a scrambled form. Archer brought a defamation action against the former Conservative member of parliament Humphry Berkeley, chairman of the UNA, as the source of the allegations. The case was settled out of court after three years. Berkeley tried to persuade Conservative Central Office that Archer was unsuitable as a parliamentary candidate, but a selection meeting at Louth disregarded any doubts.
Archer set up his own fund-raising company, Arrow Enterprises, in 1969. That same year he opened an art gallery, the Archer Gallery, in Mayfair. The gallery specialised in modern art, including pieces by the acclaimed sculptor and painter Leon Underwood. The gallery ultimately lost money, however, and Archer sold it two years later.
Writing career
His first book, Not a Penny More, Not a Penny Less, was published in 1976. The book was an instant success, with BBC Television adapting the book in 1990, following a BBC radio adaptation in the early 1980s.
Kane and Abel proved to be his best-selling works, reaching number one on the New York Times bestsellers list. It was made into a television mini-series by CBS in 1985, starring Peter Strauss and Sam Neill. The following year, Granada TV screened a ten-part adaptation of another Archer bestseller, First Among Equals, which told the story of four men and their quest to become Prime Minister.
In 2011, Archer published Only Time Will Tell, the first of what will be five books in The Clifton Chronicles, which follow the life of Harry Clifton from his birth in 1920, through to the finale in 2020.
Political career
At 29, Archer was elected Member of Parliament (MP) for the Lincolnshire constituency of Louth, holding the seat for the Conservative Party in a by-election on 4 December 1969. Archer won over a substantial proportion of younger members at the selection meeting.
In Parliament, Archer was on the left of the Conservative Party, rebelling against some of his party's policies. He urged free TV licences for the elderly and was against museum charges. Archer voted against restoring capital punishment, saying it was barbaric and obscene.
In 1974, he was a casualty of a fraudulent investment scheme involving Aquablast, a Canadian company, a debacle which lost Archer his first fortune. Fearing imminent bankruptcy, he stood down as an MP at the October 1974 general election. By this time the Archers were living in a large five-bedroom house in The Boltons, an exclusive street in South Kensington. As a result of the Aquablast affair, they were forced to sell the house and move into more modest accommodation for a while.
Archer's political career revived once he became known for his novels and as a popular speaker among the Conservative grassroots. He was made deputy chairman of the Conservative Party by Margaret Thatcher in September 1985.
During his tenure as deputy chairman, Archer was responsible for a number of embarrassing moments, including his statement, made during a live radio interview, that many young, unemployed people were simply unwilling to find work. At the time of Archer's comment, unemployment in the UK stood at a record 3.4 million. Archer was later forced to apologise for the remark, suggesting that his words had been "taken out of context."
Scandals and trials
In 1986 Archer was the subject of an article in The News of the World, "Tory boss Archer pays vice-girl." The story claimed Archer had paid Monica Coghlan, a prostitute, £2,000 through an intermediary at Victoria Station to go abroad.
When the Daily Star also alleged Archer had paid for sex with Coghlan, he responded by suing that paper. The case came to court in July 1987. Explaining the payment to Coghlan as the action of a philanthropist rather than that of a guilty man, Archer won the case and was awarded £500,000 damages. Archer stated he would donate the money to charity. This case would ultimately result in Archer's final exit from front-line politics some years later.
Archer lost a libel case after accusations in his book Twist in the Tale, portraying Major General James Oluleye to be a thief. (Oluleye is the author of Architecturing a Destiny and Military Leadership in Nigeria.)
In 1994, Mary Archer, then a director of Anglia Television, attended a directors' meeting at which an impending takeover of Anglia Television by MAI, which owned Meridian Broadcasting, was discussed. The following day, Jeffrey Archer bought 50,000 shares in Anglia Television, acting on behalf of a friend, Broosk Saib. Shortly after this, it was announced publicly that Anglia Television would be taken over by MAI. As a result the shares jumped in value, whereupon Archer sold them on behalf of his friend for a profit of £77,219. The arrangements he made with the stockbrokers meant he did not have to pay at the time of buying the shares.
An inquiry was launched by the Stock Exchange into possible insider trading. The Department of Trade and Industry, however, announced that Archer would not be prosecuted due to lack of sufficient evidence.
In 1999, Archer had been selected by the Conservative Party as candidate for the 2000 London mayoral election. But when the News of the World published allegations that he had committed perjury in his 1987 libel case (see above), Archer withdrew his candidacy.
After the allegations, Archer was disowned by his party. Conservative leader William Hague explained: "This is the end of politics for Jeffrey Archer. I will not tolerate such behaviour in my party." In 2000 Archer was expelled from the party for five years. In July, 2001, Archer was found guilty of perjury and perverting the course of justice at the 1987 trial. He was sentenced to four years' imprisonment, though released after two.
Peerage
When Saddam Hussein suppressed Kurdish uprisings in 1991, Archer, with the Red Cross, set up the charity Simple Truth, a fundraising campaign on behalf of the Kurds. In 1992 Archer was made a life peer, as Baron Archer of Weston-super-Mare, of Mark in the County of Somerset. Prime minister John Major recommended him largely because of his role in aid to the Kurds.
Novels
Kane and Abel series
–Shall We Tell the President? (1977)
–Kane and Abel (1980)
–The Prodigal Daughter (1982)
Not A Penny More, Not A Penny Less (1976)
First Among Equals (1984)
A Matter of Honour (1986)
As the Crow Flies (1991)
Honour Among Thieves (1993)
The Fourth Estate (1996)
The Eleventh Commandment (1998)
Sons of Fortune (2002)
False Impression (2005)
A Prisoner of Birth (2008)
Paths of Glory (2009)
Only Time Will Tell (2011)
(Author bio adapted from Wikipedia.)
Book Reviews
Cunning plots, silken style.... Archer plays a cat-and-mouse game with the reader.
New York Times
One of the top ten storytellers in the world.
Los Angeles Times
Archer...has an extraordinary talent for turning notoriety into gold, and telling fast-moving stories.
Philadelphia Inquirer
Archer is one of the most captivating storytellers writing today. His novels are dramatic, fast moving, totally entertaining—and almost impossible to put down.
Pittsburgh Press
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 Not a Penny More, Not a Penny Less:
1. Which of the victims' scams did you find the funniest? The most clever? Were any of them believable...or is that beside the point?
2. In what way do the four men use Metcalf's own personal idiosyncrasies against him?
2. Was the ending satisfying? Were you surprised by the plot twist at the end, oo did you find it predictable? In hindsight were there any clues to prepare you for the end? Or is the ending sprung on you from left-field.
3. This is obviously a plot-driven novel, which means little concern about character development. Nonetheless, do you find any of the characters convincing or particularly memorable? Any favorites?
4. Ocassionally, authors make their villains likable. Do feel that way about Metcalf? If so, what makes him likable. If not, why?
(Questions by LitLovers. Please feel free to use them, online or off, with attribution. Thanks.)
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The Sweetness at the Bottom of the Pie
Alan Bradley, 2009
Random House
384 pp.
ISBN-13: 9780385343497
Summary
In his wickedly brilliant first novel, Debut Dagger Award winner Alan Bradley introduces one of the most singular and engaging heroines in recent fiction: eleven-year-old Flavia de Luce, an aspiring chemist with a passion for poison. It is the summer of 1950—and a series of inexplicable events has struck Buckshaw, the decaying English mansion that Flavia’s family calls home. A dead bird is found on the doorstep, a postage stamp bizarrely pinned to its beak. Hours later, Flavia finds a man lying in the cucumber patch and watches him as he takes his dying breath. For Flavia, who is both appalled and delighted, life begins in earnest when murder comes to Buckshaw. “I wish I could say I was afraid, but I wasn’t. Quite the contrary. This was by far the most interesting thing that had ever happened to me in my entire life.”
To Flavia the investigation is the stuff of science: full of possibilities, contradictions, and connections. Soon her father, a man raising his three daughters alone, is seized, accused of murder. And in a police cell, during a violent thunderstorm, Colonel de Luce tells his daughter an astounding story—of a schoolboy friendship turned ugly, of a priceless object that vanished in a bizarre and brazen act of thievery, of a Latin teacher who flung himself to his death from the school’s tower thirty years before. Now Flavia is armed with more than enough knowledge to tie two distant deaths together, to examine new suspects, and begin a search that will lead her all the way to the King of England himself. Of this much the girl is sure: her father is innocent of murder—but protecting her and her sisters from something even worse...
An enthralling mystery, a piercing depiction of class and society, The Sweetness at the Bottom of the Pie is a masterfully told tale of deceptions—and a rich literary delight. (From the publisher.)
Author Bio
• Birth—1938
• Where—Toronto, Ontario, Canada
• Awards—Debut Dagger Award, Crimewriter's Assn.
• Currently—Kelowna, British Columbia
Alan Bradley was born in Toronto and grew up in Cobourg, Ontario. With an education in electronic engineering, Alan worked at numerous radio and television stations in Ontario, and at Ryerson Polytechnical Institute (now Ryerson University) in Toronto, before becoming Director of Television Engineering in the media centre at the University of Saskatchewan in Saskatoon, SK, where he remained for 25 years before taking early retirement to write in 1994.
He became the first President of the Saskatoon Writers, and a founding member of the Saskatchewan Writers Guild. His children's stories were published in The Canadian Children's Annual, and his short story "Meet Miss Mullen" was the first recipient of the Saskatchewan Writers Guild Award for Children's Literature.
For a number of years, he regularly taught Script Writing and Television Production courses at the University of Saskatchewan (Extension Division) at both beginner and advanced levels.
His fiction has been published in literary journals and he has given many public readings in schools and galleries. His short stories have been broadcast by CBC Radio.
He was a founding member of The Casebook of Saskatoon, a society devoted to the study of Sherlock Holmes and Sherlockian writings. Here, he met the late Dr. William A.S. Sarjeant, with whom he collaborated on their classic book, Ms Holmes of Baker Street. This work put forth the startling theory that the Great Detective was a woman, and was greeted upon publication with what has been described as "a firestorm of controversy".
The release of Ms. Holmes resulted in national media coverage, with the authors embarking upon an extensive series of interviews, radio and television appearances, and a public debate at Toronto's Harbourfront. His lifestyle and humorous pieces have appeared in The Globe and Mail and The National Post.
His book The Shoebox Bible (McClelland and Stewart, 2006) has been compared with Tuesdays With Morrie and Mr. God, This is Anna. In July of 2007 he won the Debut Dagger Award of the (British) Crimewriter's Association for his novel The Sweetness at the Bottom of the Pie, the first of a series featuring eleven year old Flavia de Luce. (From the author's website.)
Book Reviews
Fans of Louise Fitzhugh's iconic Harriet the Spy will welcome 11-year-old sleuth Flavia de Luce, the heroine of Canadian journalist Bradley's rollicking debut. In an early 1950s English village, Flavia is preoccupied with retaliating against her lofty older sisters when a rude, redheaded stranger arrives to confront her eccentric father, a philatelic devotee. Equally adept at quoting 18th-century works, listening at keyholes and picking locks, Flavia learns that her father, Colonel de Luce, may be involved in the suicide of his long-ago schoolmaster and the theft of a priceless stamp. The sudden expiration of the stranger in a cucumber bed, wacky village characters with ties to the schoolmaster, and a sharp inspector with doubts about the colonel and his enterprising young detective daughter mean complications for Flavia and enormous fun for the reader. Tantalizing hints about a gardener with a shady past and the mysterious death of Flavia's adventurous mother promise further intrigues ahead.
Publishers Weekly
An 11-year-old solving a dastardly murder in the English countryside in 1950 wouldn't seem to be everyone's cup of tea. But Flavia Sabina de Luce is no ordinary child: she's already an accomplished chemist, smart enough to escape being imprisoned by her older sisters and to exact revenge, forthright and fearless to the point of being foolhardy, and relentless in defending those she loves. When she spies on her father arguing heatedly with a strange man late at night and the next morning finds that man buried in the cucumber patch, she sets out, riding her bicycle named Gladys, to make sense of it all. And when her father—a philatelist and widower for a decade who still mourns his wife—is arrested, Flavia's efforts are intensified. She delves into the backstory, involving the death of her father's beloved teacher years earlier and the loss of a rare stamp, and puts together the pieces almost too late. The stiff-upper-lip de Luce family is somewhat stereotypically English, but precocious Flavia is unique. Winner of the Debut Dagger Award, this is a fresh, engaging first novel with appeal for cozy lovers and well beyond.
Michele Leber - Library Journal
When a stranger shows up dying in her family's cucumber patch in the middle of the night, 11-year-old Flavia de Luce expands her interests from chemistry and poisons to sleuthing and local history. The youngest of a reclusive widower's three daughters, Flavia is accustomed to independence and takes delight in puzzles and "what if's." She is well suited to uncovering the meaning of the dead snipe left at the kitchen door, the story behind the bright orange Victorian postage stamps, and—eventually—the identity of the murderer and his relationship to the dying man. Bradley sets the protagonist on a merry course that includes contaminating her oldest sister's lipstick with poison ivy, climbing the bell tower of the local boys' school, and sifting through old newspapers in the village library's outbuilding. Flavia is brave and true and hilarious, and the murder mystery is clever and satisfying. Set in 1950, the novel reads like a product of that time, when stories might include insouciance but relative innocence, pranks without swear words, and children who were not so overscheduled or frightened that they couldn't make their way quite nicely in chatting up the police or the battle-shocked family retainer. Mystery fans, Anglophiles, and science buffs will delight in this book and may come away with a slightly altered view of what is possible for a headstrong girl to achieve. —Francisca Goldsmith, Halifax Public Libraries, Nova Scotia
School Library Journal
A precocious 11-year-old chemist confesses to murder. Buckshaw, the de Luce ancestral home, is in a bit of an uproar. First the cook finds a dead snipe with a stamp jammed on its beak on the doorstep. Then young Flavia awakens in the dead of night to hear her taciturn father, who normally saves his passion for his stamp collection, arguing with someone. Creeping out to the cucumber patch below her window to see more, she finds a man who breathes out the word "Vale," then expires. When Inspector Hewitt arrests her father, Flavia decides that her confession will save him. Hewitt doesn't believe her, of course, and she is forced to solve the crime between making trips to her attic sanctum, poisoning her sister Ophelia's lipstick and ignoring her sister Daphne, who always has her nose in a book. The one person she trusts is the family factotum, Dogger the gardener, a shell-shocked war comrade of her father the Colonel. Her snooping leads her to an ancient episode involving her father, the corpse and another former alumnus of Greyminster who has few qualms about killing her. Brilliant, irresistible and incorrigible, Flavia has a long future ahead of her. Bradley's mystery debut is a standout chock full of the intellectual asides so beloved by Jonathan Gash readers. It might even send budding sleuths to chemistry classes.
Kirkus Reviews
Discussion Questions
1. With her high level of knowledge, her erudition and her self-reliance, Flavia hardly seems your typical eleven-year-old girl. Or does she? Discuss Flavia and her personality, and how her character drives this novel. Can you think of other books that have used a similar protagonist?
2. The Sweetness at the Bottom of the Pie falls within the tradition of English country house mysteries, but with the devilishly intelligent Flavia racing around Bishop’s Lacey on her bike instead of the expected older woman ferreting out the truth by chatting with her fellow villagers. Discuss how Bradley uses the traditions of the genre, and how he plays with them too.
3. What is your favorite scene from The Sweetness at the Bottom of the Pie?
4. With her excessive interest in poisons and revenge, it’s no surprise that Flavia is fascinated, not scared, as she watches the stranger die in her garden. In your view, is her dark matter-of-factness more refreshing or disturbing?
5. Flavia reminds us often about Harriet, the mother she never knew, and has many keepsakes that help her imagine what she was like. Do you think the real Harriet would have fit into Flavia’s mold?
6. Flavia’s distance from her father, the Colonel, is obvious, yet she loves him all the same. Does their relationship change over the course of the novel in a lasting way? Would Flavia want it to?
7. Through Flavia’s eyes what sort of a picture does Alan Bradley paint of the British aristocracy? Think as well about how appearances aren’t always reality, as with the borderline bankruptcy of Flavia’s father and Dr. Kissing.
8. Discuss the meaning (or meanings) of the title The Sweetness at the Bottom of the Pie.
9. What twists in the plot surprised you the most?
10. Buckshaw, the estate, is almost a character in its own right here, with its overlarge wings, hidden laboratory, and pinched front gates. Talk about how Bradley brings the setting to life in this novel—not only Buckshaw itself, but Bishop’s Lacey and the surrounding area.
11. What does Flavia care about most in life? How do the people around her compare to her chemistry lab and books?
12. Like any scientist. Flavia expects her world to obey certain rules, and seems to be thrown off kilter when surprises occur. How much does she rely on the predictability of those around her, like her father and her sisters, in order to pursue her own interests (like solving the murder)?
(Questions issued by publisher.)
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