Here is the 2016 list of books, which took us past 100 in total, and also saw the tenth anniversary of the group. Two original members remain (though we started small with only three of us).
98. Waiting for Sunrise by William Boyd
99. All the Light We Cannot See by Antony Doerr
100. Go Set a Watchman by Harper Lee
101. Year of Wonders by Geraldine Brooks
102. A Brief History of Seven Killings by Marlon James
103. The Goldfinch by Donna Tartt
104. The Big Sleep by Raymond Chandler
105. Restoration by Rose Tremain
106. The Reader on the 6.27 by Jean-Paul Didierlaurent
107. The Miniaturist by Jessie Burton
108. Longbourn by Jo Baker
Year of Wonders was my personal favourite this year, but actually, what a list. Only one dud, and I'm not mentioning any names.
Tuesday 6 December 2016
December 2016 Longbourn by Jo Baker
This meeting was our tenth anniversary, and took place in Billingshurst with a celebratory Christmas meal.
Generally members enjoyed the connections with Pride and Prejudice, and felt that after a not very engaging start the plot picked up and added some interesting new dimensions to interpretations of Austen, particularly in relation to Mr and Mrs Bennett.
Generally members enjoyed the connections with Pride and Prejudice, and felt that after a not very engaging start the plot picked up and added some interesting new dimensions to interpretations of Austen, particularly in relation to Mr and Mrs Bennett.
November 2016: The Miniaturist by Jessie Burton
We all agreed that The Miniaturist lacked something and the plot became a bit preposterous – but we liked the setting in 17th century Amsterdam. Thanks to Dawn for hosting the November meeting.
Compiled by Jessie Burton and Francesca Main, Editorial Director at Picador
1. How would you describe the sense of place in The Miniaturist, and how
does the novel present seventeenth century Amsterdam?
2. What does the gift of the cabinet house symbolise to Nella in terms of her
marriage to Johannes and her own status?
3. The Brandt household is full of secrets. Which made the biggest
impression on you and why?
4. Did your attitude to the characters remain consistent throughout the
novel, or did your loyalties shift as you kept reading? Which character
provoked the strongest reaction from you?
5. How would you describe Nella’s relationship with Marin? In what ways do
they conlict, and are they more alike than they think?
6. What do you think was the most signiicant cause of the Brandt’s downfall?
7. Do you think the miniaturist is a magical force or a human one? What is
the most important thing that Nella learns from her?
8. To what extent do you think Nella was in control of her own fate, or was
she at the mercy of those around her?
9. How did seventeenth century Dutch society view women, and how
different is life for women today?
Compiled by Jessie Burton and Francesca Main, Editorial Director at Picador
1. How would you describe the sense of place in The Miniaturist, and how
does the novel present seventeenth century Amsterdam?
2. What does the gift of the cabinet house symbolise to Nella in terms of her
marriage to Johannes and her own status?
3. The Brandt household is full of secrets. Which made the biggest
impression on you and why?
4. Did your attitude to the characters remain consistent throughout the
novel, or did your loyalties shift as you kept reading? Which character
provoked the strongest reaction from you?
5. How would you describe Nella’s relationship with Marin? In what ways do
they conlict, and are they more alike than they think?
6. What do you think was the most signiicant cause of the Brandt’s downfall?
7. Do you think the miniaturist is a magical force or a human one? What is
the most important thing that Nella learns from her?
8. To what extent do you think Nella was in control of her own fate, or was
she at the mercy of those around her?
9. How did seventeenth century Dutch society view women, and how
different is life for women today?
Thursday 27 October 2016
The Reader on the 6.27: October 2016
Our October meeting took place in Horsham. The Reader on the 6.27 was enjoyed unanimously. Particularly, we agreed that the characterisation and ending were especially good. It had the surreal feeling of the film Amelie, and it was enjoyable to read something where, for most of the time, you are disarmed by not knowing in what direction it is headed next.
Tuesday 6 September 2016
2013 Book Titles
A little out of chronological order, but in the interests of record keeping (and because I am trying to work out what would have been our 100th book!), here are 2013's book club books.
January - The Stranger's Child by Alan Hollinghurst
February - The Scarlet Letter by Nathaniel Hawthorne
March - The Sense of an Ending by Julian Barnes
April - The Pregnant Widow by Martin Amis
May - Arthur and George by Julian Barnes
June - Half of a Yellow Sun by Chimamanda Ngozi Adichie
July - The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows
October - March by Geraldine Brooks
December - We Need New Names by Noviolet Bulawayo
January - The Stranger's Child by Alan Hollinghurst
February - The Scarlet Letter by Nathaniel Hawthorne
March - The Sense of an Ending by Julian Barnes
April - The Pregnant Widow by Martin Amis
May - Arthur and George by Julian Barnes
June - Half of a Yellow Sun by Chimamanda Ngozi Adichie
July - The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows
October - March by Geraldine Brooks
December - We Need New Names by Noviolet Bulawayo
Friday 2 September 2016
Restoration by Rose Tremain September 2016
As the summer holiday draws to a close, at least book club is on the horizon - and an interesting character, Merivel, in Restoration by Rose Tremain is up for discussion. This month's meeting will be in Horsham on Monday September 12th; thank you to Hazel for sourcing the questions.
1. Merivel says that he “no longer lives in an honourable age. What has dawned instead is the Age of Possibility.” What does he mean by this?
2. Merivel’s discovery that the human heart itself does not have any feeling troubles him throughout the book. How does this idea of the heart as unfeeling influence him? How do his thoughts about the heart change?
3. Why does Merivel start his story five times? What is the effect?
4. Merivel claims to be “a man of his time,” but in many ways he seems ahead of his time—from his idea of evolution to his impressionist style of painting. What do you make of this?
5. There are multiple cases where Merivel compares the King to God. In what ways is the King a god-figure for Merivel? Do his ideas about the King change?
6. Merivel prays to “no longer be Merivel, the Fool, but to be Merivel, the proper man.” What is his definition of a proper man? What inspires this change of heart?
7. In his quest to be “useful,” Merivel tries many different occupations, from artist to Overseer of the poor to physician at Whittlesea. What does he gain from each of these occupations?
8. Why does Merivel pursue Katherine? Does he truly love her? How do his feelings for her change as the relationship progresses?
9. Merivel is a committed womanizer, but in a twist of fate he is given a daughter instead of the son he thought he would have. Do you think Margaret will change his ways?
10. Rosie Pierpont warns Merivel of seeing the King again, lest he live his life in a circle. Yet at the end of the novel he is again installed at Bidnold, back in the King’s graces. Has he made any progress or has he fulfilled Rosie’s fears?
11. Merivel believes himself to be in love with Celia, but might we argue that perhaps the deep loves of his heart are in fact for Pearce and the King? What set of values does each of these two men represent for Merivel, and in what ways does he find himself caught between them?
1. Merivel says that he “no longer lives in an honourable age. What has dawned instead is the Age of Possibility.” What does he mean by this?
2. Merivel’s discovery that the human heart itself does not have any feeling troubles him throughout the book. How does this idea of the heart as unfeeling influence him? How do his thoughts about the heart change?
3. Why does Merivel start his story five times? What is the effect?
4. Merivel claims to be “a man of his time,” but in many ways he seems ahead of his time—from his idea of evolution to his impressionist style of painting. What do you make of this?
5. There are multiple cases where Merivel compares the King to God. In what ways is the King a god-figure for Merivel? Do his ideas about the King change?
6. Merivel prays to “no longer be Merivel, the Fool, but to be Merivel, the proper man.” What is his definition of a proper man? What inspires this change of heart?
7. In his quest to be “useful,” Merivel tries many different occupations, from artist to Overseer of the poor to physician at Whittlesea. What does he gain from each of these occupations?
8. Why does Merivel pursue Katherine? Does he truly love her? How do his feelings for her change as the relationship progresses?
9. Merivel is a committed womanizer, but in a twist of fate he is given a daughter instead of the son he thought he would have. Do you think Margaret will change his ways?
10. Rosie Pierpont warns Merivel of seeing the King again, lest he live his life in a circle. Yet at the end of the novel he is again installed at Bidnold, back in the King’s graces. Has he made any progress or has he fulfilled Rosie’s fears?
11. Merivel believes himself to be in love with Celia, but might we argue that perhaps the deep loves of his heart are in fact for Pearce and the King? What set of values does each of these two men represent for Merivel, and in what ways does he find himself caught between them?
Tuesday 12 July 2016
July 2016: The Big Sleep by Raymond Chandler
July's book is Raymond Chandler's The Big Sleep. We are scheduled to meet next week in Littlehampton by the sea. Come on the sunshine.
Here are the discussion questions, as sourced by June:
Questions composed by MPPL Staff:
1. What did you think of Chandler’s constant barrage of setting details?
2. Do you think General Sternwood had given up on being a parent? What would you have done differently?
3. Vivian visits Marlowe’s office to try and figure out if he is looking for her husband. Why doesn’t she just go to her father?
4. Vivian tells Marlowe, “People don’t talk to me that way.” (p. 19) What does this tell us about Vivian? What does this tell us about Marlowe?
5. Marlow comes in contact with thugs, lowlifes, cops and the rich. Does he speak to everybody the same?
6. Marlowe seems almost unmovable. Almost. What are some examples of Marlowe being human?
7. Do you count The Big Sleep as a classic of American literature? Why or why not?
8. What are the charms of Marlowe?
9. Do you think Phillip Marlowe has an equal in crime fiction?
10. Is Carmen not very smart or does she have health issues that can account for her behaviour?
11. Rusty Regan, the missing, bootlegging husband, always carried 15 grand on his person. What does that say about him?
12. Why do you think Chandler never lets us see Rusty Regan, alive or dead?
13. What does it say about Phillip Marlowe that he carries a gun and a bottle of rye in his glove compartment?
14. Why would Vivian “loath masterful men?” (p. 20)
15. Did Carmen getting the drop on Marlowe surprise you? (p. 210)
16. Eddie Mars’ wife says she still loves her husband, even knowing what a criminal he is. (p. 196) Were you bothered by her stance? Why?
17. What does it say about Marlowe that he is a private investigator instead of a police officer?
18. Did the slang ever bother you?
19. Is everybody (men and women) a smooth talker in The Big Sleep?
20. There ended up being a good number of characters and quite a few of them dead. Did you ever have trouble following along?
21. Think of characters and their status levels. Is there any social critique within The Big Sleep?
22. Do women have power in this story? If so, what kind?
23. How does Marlowe see women?
Here are the discussion questions, as sourced by June:
Questions composed by MPPL Staff:
1. What did you think of Chandler’s constant barrage of setting details?
2. Do you think General Sternwood had given up on being a parent? What would you have done differently?
3. Vivian visits Marlowe’s office to try and figure out if he is looking for her husband. Why doesn’t she just go to her father?
4. Vivian tells Marlowe, “People don’t talk to me that way.” (p. 19) What does this tell us about Vivian? What does this tell us about Marlowe?
5. Marlow comes in contact with thugs, lowlifes, cops and the rich. Does he speak to everybody the same?
6. Marlowe seems almost unmovable. Almost. What are some examples of Marlowe being human?
7. Do you count The Big Sleep as a classic of American literature? Why or why not?
8. What are the charms of Marlowe?
9. Do you think Phillip Marlowe has an equal in crime fiction?
10. Is Carmen not very smart or does she have health issues that can account for her behaviour?
11. Rusty Regan, the missing, bootlegging husband, always carried 15 grand on his person. What does that say about him?
12. Why do you think Chandler never lets us see Rusty Regan, alive or dead?
13. What does it say about Phillip Marlowe that he carries a gun and a bottle of rye in his glove compartment?
14. Why would Vivian “loath masterful men?” (p. 20)
15. Did Carmen getting the drop on Marlowe surprise you? (p. 210)
16. Eddie Mars’ wife says she still loves her husband, even knowing what a criminal he is. (p. 196) Were you bothered by her stance? Why?
17. What does it say about Marlowe that he is a private investigator instead of a police officer?
18. Did the slang ever bother you?
19. Is everybody (men and women) a smooth talker in The Big Sleep?
20. There ended up being a good number of characters and quite a few of them dead. Did you ever have trouble following along?
21. Think of characters and their status levels. Is there any social critique within The Big Sleep?
22. Do women have power in this story? If so, what kind?
23. How does Marlowe see women?
Thursday 30 June 2016
The Goldfinch by Donna Tartt
Thank you to Gill for hosting June's meeting in Brighton. Here are the discussion questions:
1. Donna Tartt has said that the Goldfinch painting was the "guiding spirit" of the book. How so—what do you think she meant? What—or what all—does the painting represent in the novel?
2. David Copperfield famously says in the first line of Dickens's book,
Whether I shall turn out to be the hero of my own life, or whether that station will beheld by anybody else, these pages must show.
Because of the many comparisons made between Dickens's work and The Goldfinch, that same question could rightfully be asked by Theo Decker. What do you think—is Theo the "hero" of his own life? What, in fact, does it mean to be the "hero" of a novel?
3. Tartt has said that "reading's no good unless it's fun." A good book should propel readers from page to page, in part because they care about the characters. Has Tartt accomplished that in The Goldfinch? Did you find yourself rapidly turning the pages to find find out what happens to the characters? Does the story engage you? And do you care about the characters? If so, which ones?
4. How convincingly does Tartt write about Theo's grief and his survival guilt? Talk about the ways Theo manifests the depth of his loss and his sense of desolation?
5. What do you think of Andy's family: especially Andy himself and Mrs. Barbour? Are we meant to like the family? Is Mrs. Barbour pleased or resentful about having to take Theo in? What about the family as it appears later in the book when Theo re-enters its life? Were you surprised at Mrs. Barbour's reaction to seeing Theo again?
6. Talk about the ways in which the numerous adults at his school try—to no avail, as it turns out—to help Theo work through his grief. If you were one of the grown-ups in Theo's life, what would you do or say differently to him. Is there anything that can be said?
7. Many reviewers have remarked on Boris as the most inventive and vividly portrayed character in the book. How do you feel? Are you as taken with him as both Theo and book reviewers are? Talk about his influence over Theo—was it for better for worse?
8. Readers are obviously meant to find Theo's father negligent and irresponsible, a reprobate. Are you able to identify any redeeming quality in him? What about his girlfriend?
9. Talk about Hobie and how Tartt uses his wood working and restoration as a symbol of his relationship to Theo. How does Theo disappoint him...and why? Theo fears he will, or already has, become like his father. Has he?
10. Tartt asks us to consider whether or not our world is orderly, whether events follow a pattern (which could indicate an underlying meaning), or whether everything that happens is simply random—like the explosion that killed Theo's mother. What does Theo's father believe...and what does Theo believe? Do Theo's views by the end of the story?
11. The book also ponders beauty and art. Why is art so important to the human soul? What are its consolations...and what are its dangers? In what ways can we allow ourselves to be trapped by art or beauty? And HOW does this relate to the Goldfinch, the painting at the heart of this story— a painting of a bird chained to its perch and a painting that Theo clings to for 14 years.
12. What do you think the future holds for Theo? Why do you think Tartt left the book's conclusion open as to whether he will end up with Pippa or Kitsy?
13. If you were to cut portions of the book, where would you make those cuts? *
14. If Tartt were to write a sequel of 700+ pages, would you read it? *
1. Donna Tartt has said that the Goldfinch painting was the "guiding spirit" of the book. How so—what do you think she meant? What—or what all—does the painting represent in the novel?
2. David Copperfield famously says in the first line of Dickens's book,
Whether I shall turn out to be the hero of my own life, or whether that station will beheld by anybody else, these pages must show.
Because of the many comparisons made between Dickens's work and The Goldfinch, that same question could rightfully be asked by Theo Decker. What do you think—is Theo the "hero" of his own life? What, in fact, does it mean to be the "hero" of a novel?
3. Tartt has said that "reading's no good unless it's fun." A good book should propel readers from page to page, in part because they care about the characters. Has Tartt accomplished that in The Goldfinch? Did you find yourself rapidly turning the pages to find find out what happens to the characters? Does the story engage you? And do you care about the characters? If so, which ones?
4. How convincingly does Tartt write about Theo's grief and his survival guilt? Talk about the ways Theo manifests the depth of his loss and his sense of desolation?
5. What do you think of Andy's family: especially Andy himself and Mrs. Barbour? Are we meant to like the family? Is Mrs. Barbour pleased or resentful about having to take Theo in? What about the family as it appears later in the book when Theo re-enters its life? Were you surprised at Mrs. Barbour's reaction to seeing Theo again?
6. Talk about the ways in which the numerous adults at his school try—to no avail, as it turns out—to help Theo work through his grief. If you were one of the grown-ups in Theo's life, what would you do or say differently to him. Is there anything that can be said?
7. Many reviewers have remarked on Boris as the most inventive and vividly portrayed character in the book. How do you feel? Are you as taken with him as both Theo and book reviewers are? Talk about his influence over Theo—was it for better for worse?
8. Readers are obviously meant to find Theo's father negligent and irresponsible, a reprobate. Are you able to identify any redeeming quality in him? What about his girlfriend?
9. Talk about Hobie and how Tartt uses his wood working and restoration as a symbol of his relationship to Theo. How does Theo disappoint him...and why? Theo fears he will, or already has, become like his father. Has he?
10. Tartt asks us to consider whether or not our world is orderly, whether events follow a pattern (which could indicate an underlying meaning), or whether everything that happens is simply random—like the explosion that killed Theo's mother. What does Theo's father believe...and what does Theo believe? Do Theo's views by the end of the story?
11. The book also ponders beauty and art. Why is art so important to the human soul? What are its consolations...and what are its dangers? In what ways can we allow ourselves to be trapped by art or beauty? And HOW does this relate to the Goldfinch, the painting at the heart of this story— a painting of a bird chained to its perch and a painting that Theo clings to for 14 years.
12. What do you think the future holds for Theo? Why do you think Tartt left the book's conclusion open as to whether he will end up with Pippa or Kitsy?
13. If you were to cut portions of the book, where would you make those cuts? *
14. If Tartt were to write a sequel of 700+ pages, would you read it? *
A Brief History of Seven Killings by Marlon James
Our Booker- prize winning book choice for May 2016.
Friday 15 April 2016
Year of Wonders by Geraldine Brooks
Thank you to Dawn for hosting this month's meeting and to June for sourcing the questions:
1. All of the characters in this novel have their failings and as a result they are all fully human. Are you surprised by the secrets Elinor and Michael Mompellion each reveal to Anna about their marriage? How do they change your feelings about each character? Do they make either seem weaker in a way?
2. The Bradford family bears the brunt of Mompellion's rage when they leave town to save themselves. However, weren't they only doing what every other noble family did in those days: run because they had the means to run? Setting aside the events near the end of the novel (which make it clear that one would be hard-pressed to find a redeeming quality in any of them), can you really blame the Bradfords for running?
3. How much of Mompellion's push for the quarantine had to do with the secrets he shared with Elinor? Did his own dark side and self-loathing push him to sacrifice the town or was he really acting out of everyone's best interests?
4, Keeping in mind that this story takes place a good twenty-five years before the Salem witch trials in Massachusetts, what is the role of the Gowdie women in the novel? What is it about these women that drives their neighbors to murderous rage? How does their nonconformity lead to their becoming scapegoats?
5. How would you explain Anna's mental and spiritual unraveling? What are the pivotal experiences leading up to her breakdown and her eventual rebirth?
6. Discuss the feminist undertones of the story. How does each female character—Anna, Elinor, the Gowdies, and even Anna's stepmother—exhibit strengths that the male characters do not?
7. In a story where the outcome is already known from the very beginning—most of the villagers will die—discuss the ways in which the author manages to create suspense.
8. The author creates an incredible sense of time and place with richly textured language and thoughtful details—of both the ordinary (everyday life in Eyam) and the extraordinary (the gruesome deaths of the villagers). Discuss some of the most vivid images and their importance to the story and to your own experience reading it.
9. Can we relate the story of this town's extraordinary sacrifice to our own time? Is it unrealistic to expect a village facing a similar threat to make the same decision nowadays? What lessons might we learn from the villagers of Eyam?
(Questions issued by publisher.)
And some others which might be interesting:
In what ways did Elinor and Michael Mompellion become parental figures to Anna?
How and why did the people become divided as the plague devastated the village?
What supernatural beliefs surfaced as a result of the plague, and how did those beliefs conflict with religion?
What about Anys Gowdie appealed to Anna?
How did women in the novel show greater strength than the men possessed?
Lust is one of the sins explored in this novel through Elinor, Jane Martin, Anys Gowdie and Anna. What was the motivation and result of lust for these women?
Anna and Michael Mompellion experienced a loss of faith by the end of the novel. How did they each cope with this loss?
Sunday 20 March 2016
Go Set A Watchman by Harper Lee - March 2016
The sad news of the death of Harper Lee last month has prompted us to make Go Set A Watchman our focus this time round. I'm looking forward to tomorrow evening's discussion of this controversial novel.
Here are the discussion questions
Here are the discussion questions
- What is the significance of the title?
- This book represents one of the most emotive publishing coups in living memory (comparable with Harry Potter releases, perhaps?) What is your position on To Kill A Mockingbird, and what do you know of the circumstances surrounding the writing, publication and reception of Go Set A Watchman?
- To Kill A Mockingbird and Go Set A Watchman are separated by two (fictional) decades. Do they map onto each other happily?
- The novel begins with Jean Louise's fifth return journey to Maycomb having 'succeeded in folding herself up into the wall' half-naked and having to be rescued by a porter on her train journey. How does this establish the tone?
- What was your reaction to page 13's 'nightmare'?
- Some readers have complained that the wide sociopolitical allusions as well as the contemporaneous popular culture references make the novel difficult to read in the UK in 2016. Did these detract from your enjoyment of the novel?
- What are the narrative strengths of the novel?
- And its weaknesses?
- And the inevitable Atticus question: is he a racist and have your views of him changed?
Thursday 3 March 2016
All The Light We Cannot See by Anthony Doerr
February's book was by Anthony Doerr:
We unanimously loved All the Light We Cannot See and it provoked much discussion about the compelling narrative structure. Definitely one we’ll all be recommending.
Thanks to Rosanna for hosting.
Sunday 17 January 2016
Waiting for Sunrise by William Boyd
An intriguing start to our reading year with William Boyd's difficult to genre-alise WW1 novel set in Vienna, England and Switzerland. It deals with relationships, sexuality, psychology and espionage. (And one or two other things as well.)
Thank you to Dawn for hosting and for providing this month's questions:
1. The opening of the book has similarities with Atonement. In your opinion should more of this thread of the story be developed?
2. Parts of the story are built on espionage and intrigue; how well are those developed?
3. Lysander struggles with the guilt of killing the men as he tried to get to the French lines of battle; he also uses Psycho-analysis how did you respond to the ways this part of the text is presented.
4. How do you respond to the presentation of Lysander’s relationships in the text, particularly with Hettie?
5. How did you find the presentation of the story as a whole?
6. What is the significance of the title?
7. Was Lysander’s mother presented as a sympathetic character? Why or why not?
Thank you to Dawn for hosting and for providing this month's questions:
1. The opening of the book has similarities with Atonement. In your opinion should more of this thread of the story be developed?
2. Parts of the story are built on espionage and intrigue; how well are those developed?
3. Lysander struggles with the guilt of killing the men as he tried to get to the French lines of battle; he also uses Psycho-analysis how did you respond to the ways this part of the text is presented.
4. How do you respond to the presentation of Lysander’s relationships in the text, particularly with Hettie?
5. How did you find the presentation of the story as a whole?
6. What is the significance of the title?
7. Was Lysander’s mother presented as a sympathetic character? Why or why not?
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