Water for Elephants by Sara Gruen

The dual narrative of the young and old Jacob Jankowski and his adventures with the circus past and present had me turning the pages at speed.  The ending is also strangely captivating. Looking forward to some good discussion!

We are meeting this week for our Christmas meal in Billingshurst.  Questions for discussion:


1. What is the impact of the dual narrative?

2. Does the ‘twist’ of the ending work?  What happens when you compare the prologue and final chapters in relation to the murder?

3. To what extent was the ‘contemporary’ ending satisfying?

4. Are faithfulness and loyalty rewarded in Water for Elephants?

5. Jacob begins his story by announcing his virginity. From the cooch tent to the erections the older Jacob gets when being bathed, sexuality is woven into the whole story. Why?

6. ‘A canvas balance between beauty and violence?’ What did the circus setting contribute to the narrative?

7. Jacob's veterinary knowledge saves him initially, and gains him a place near the top of the hierarchy in the circus.  How does the gulf between performers and working men contribute to the narrative?

8. How credible were the main protagonists, and the depiction of August's illness?

9. How are women represented in the novel?

10. What is the significance of the title?

11. What is the genre of the novel? Does it fit with other recent reads where the protagonist is a nonogenarian?

The Poisonwood Bible by Barbara Kingsolver

Entirely accidentally we seem to have read several novels with African settings of late.
This was not what I had expected at all, and it was terrifyingly clear about the nature of dangers in the Congo.

Discussion Questions
1. What are the implications of the novel's title phrase, the poisonwood bible, particularly in connection with the main characters' lives and the novel's main themes? How important are the circumstances in which the phrase comes into being?
2. How does Kingsolver differentiate among the Price sisters, particularly in terms of their voices? What does each sister reveal about herself and the other three, their relationships, their mother and father, and their lives in Africa? What is the effect of our learning about events and people through the sisters' eyes
3. What is the significance of the Kikongo word nommo and its attendant concepts of being and naming? Are there Christian parallels to the constellation of meanings and beliefs attached to nommo? How do the Price daughters' Christian names and their acquired Kikongo names reflect their personalities and behavior?
4. The sisters refer repeatedly to balance (and, by implication, imbalance). What kinds of balance—including historical, political, and social—emerge as important? Are individual characters associated with specific kinds of balance or imbalance? Do any of the sisters have a final say on the importance of balance?
5. What do we learn about cultural, social, religious, and other differences between Africa and America? To what degree do Orleanna and her daughters come to an understanding of those differences? Do you agree with what you take to be Kingsolver's message concerning such differences?
6. Why do you suppose that Reverend Nathan Price is not given a voice of his own? Do we learn from his wife and daughters enough information to formulate an adequate explanation for his beliefs and behavior? Does such an explanation matter?
7. What differences and similarities are there among Nathan Price's relationship with his family, Tata Ndu's relationship with his people, and the relationship of the Belgian and American authorities with the Congo? Are the novel's political details—both imagined and historical—appropriate?
8. How does Kingsolver present the double themes of captivity and freedom and of love and betrayal? What kinds of captivity and freedom does she explore? What kinds of love and betrayal? What are the causes and consequences of each kind of captivity, freedom, love, and betrayal?
9. At Bikoki Station, in 1965, Leah reflects, "I still know what justice is." Does she? What concept of justice does each member of the Price family and other characters (Anatole, for example) hold? Do you have a sense, by the novel's end, that any true justice has occurred?
10. In Book Six, Adah proclaims, "This is the story I believe in..." What is that story? Do Rachel and Leah also have stories in which they believe? How would you characterize the philosophies of life at which Adah, Leah, and Rachel arrive? What story do you believe in?
11. At the novel's end, the carved-animal woman in the African market is sure that "There has never been any village on the road past Bulungu," that "There is no such village" as Kilanga. What do you make of this?

Igboland and Other Discussions

January to June this year have been a little disrupted at book club with lots of last minute changes to books, locations and dates; let's hope that normal service is resumed for the start of the new academic year in September.

But, what have I missed on the blog?

June - Igboland by Jeff Gardiner

I'm very sorry to have missed discussion of this book by our friend, Mr Gardiner, and here are the discussion questions:

1. How important is it that the narrative voice is that of an English woman?What does the novel have to say about female identity? Can a man really write a novel from a woman’s perspective?
2. How is Protestant Christian faith explored? How do you feel about Christian missionaries going to other countries?
3. What do you feel you have learned about Igbo culture and ‘Odinani’? Does it have anything to teach us?
4. How important is the cultural and geographical setting to the narrative? Have you ever experienced a culture shock? How did you feel?
5. The Biafran War continues throughout the novel in the background. Simplistically put, it was a civil war between the northern Muslim states and the Igbos in the south. Is the war typical of any other war? Is it an integral part of the novel or not? Does it symbolise anything?
6. How are the themes of marriage and family explored in ‘Igboland’? Is there a moral or message being offered, or is it left ambiguous?
7. Which of the characters are sympathetic or otherwise? What is their purpose in the novel? (Consider: Clem, Grace, Kwemto, Matthew, Mr Okadonye, Charlotte)
8. Is the ending satisfactory? What feelings did you have while reading the novel?
9. Do you have any questions you’d like to ask the author? 

April - Toby's Room by Pat Barker

March - May We Be Forgiven by AM Homes

February - The Song of Achilles by Madeline Miller

January - Seventy Two Virgins by Boris Johnson

Boris's book was not popular in advance of the evening, though it did prompt some lively discussion!

1.  Do you care about the characters?  Is there anything to attach to as far as developing a feeling for the characters?

2.  Do you think the farce is carried on too long?  Why or why not?

3.  Is the text like many modern parodies; does it parody everything and everyone, is nothing sacred?

The Lacuna by Barbara Kingsolver

I'm looking forward to discussing this book in Littlehampton next Wednesday, particularly since it is not what I thought it was at all.  There I was, judging a book by its cover again.  In fact, I was totally unprepared for this historical 'saga' with a twist, caught off guard by suddenly meeting Leon Trotsky, and bowled over by the captivating start and exotic settings. I loved the ending, which I can't really talk about in advance of our discussion and whilst some people are still reading; but, since we shall be on the coast for our next book club meeting - swim, anyone?

Here are the discussion questions:

1. What does Shepherd mean when he says, "The most important part of the story is the piece of it you don't know." And how does this oft stated remark relate to the book's title?

2. What is the significance of the book's title? What does it mean within the context of the novel?

3. Do Shepherd's diaries feel realistic to you? Does he sound like a 12-year old at the beginning...and later a mature man?

4. What prompts Harrison to begin his journals? Why does he write? What does he mean by referring to his notebook as "prisoner's plan for escape"?

5. Describe Shepherd, first as a 12-year-old and, later, as a mature adult. What kind of character is he? How does he change over the course of the novel?

6. How about Shepherd's mother? In what way does her profligate life affect how Shepherd decides to lead his own life?

7. Describe the Riviera/Kahlo household. How does Shepherd see Riviera's influence over Kahlo? Have you seen the movie Frieda? If so, does that film influence your reading of The Lacuana?

8. How does Kingsolver portray Leon Trotsky in this work? Were you aware of his background and the history of the Russian Revolution before you read the novel? If so, did your prior knowledge color your reading—or did your reading affect your knowledge?

9. Do you find the second-half of the novel, in the US, evocative of a time and place that no longer exists? If so, is that a good or bad thing? If not, what has remained the same? How does Kingsolver present those years?

10. What is Shepherd's relationship with his secretary, Violet Brown? What kind of character is she? Why does she want to preserve Shepherd's memory?

11. What role do the media play in this novel? Is it a fair or realistic portrait? What are the benefits of fame...and what are its costs?

12. Does this book enlighten you about the era of the Red Scare and the McCarthy hearings? Or do you feel this ground has been well tread by many others?