The Sense of an Ending by Julian Barnes

I'm looking forward to Monday's meeting in Crawley to discuss The Sense of an Ending by Julian Barnes, primarily because I didn't really get much sense of an ending from it.  A thoroughly compelling narrator, though.   Here are the discussion questions:

1.       What does the title mean?

2.       The novel opens with a handful of water-related images. What is the significance of each? How does Barnes use water as a metaphor?

3.       The phrase "Eros and Thanatos," or sex and death, comes up repeatedly in the novel. What did you take it to mean?

4.       At school, Adrian says, "we need to know the history of the historian in order to understand the version that is being put in front of us" (p. 13). How does this apply to Tony's narration?

5.       Did Tony love Veronica? How did his weekend with her family change their relationship?

6.       When Mrs. Ford told Tony, "Don't let Veronica get away with too much" (p. 31), what did she mean? Why was this one sentence so important?

7.       Veronica accuses Tony of being cowardly, while Tony considers himself peaceable. Whose assessment is more accurate?

8.       What is the metaphor of the Severn Bore? Why does Tony's recollection of Veronica's presence change?

9.       Why did Tony warn Adrian that Veronica "had suffered damage a long way back?" (p. 46). What made him suspect such a thing? Do you think he truly believed it?

10.    In addition to Adrian's earlier statement about history, Barnes offers other theories: Adrian also says, "History is that certainty produced at the point where the imperfections of memory meet the inadequacies of documentation" (p. 18), and Tony says, "History isn't the lies of the victors... It's more the memories of the survivors, most of whom are neither victorious nor defeated" (p. 61). Which of these competing notions do you think is most accurate? Which did Tony come to believe?

11.    Discuss the character Margaret. What role does she play in Tony's story?

12.    Why does Mrs. Ford make her bequest to Tony, after so many years? And why does Veronica characterize the £500 as "blood money"?

13.    After rereading the letter he sent to Adrian and Veronica, Tony claims to feel remorse. Do you believe him? What do his subsequent actions tell us?

14.    When Veronica refuses to turn over the diary to Tony, why doesn't he give up? Why does he continue to needle her for it?

15.    What is Tony's opinion of himself? Of Adrian? How do both opinions change by the end of the novel?

16.    How does the revelation in the final pages change your understanding of Veronica's actions?

17.    Discuss the closing lines of the novel: "There is accumulation. There is responsibility. And beyond these, there is unrest. There is great unrest" (p. 163).

The Scarlet Letter by Nathaniel Hawthorne

This month's meeting was in Billingshurst.

1. Our narrator goes through a lengthy (and frankly painful) description of the Custom’s House where he finds the actual Scarlet letter cloth and ‘unravels’ the story.  Is this frame device necessary?  Does it make an engaging start to the story?
2. What about the 3^rd person narrator?  How do you feel about him?  Is he self-conscious?  Does he create a tale you can engage with?
3. The text was published in 1850 but is set in Puritanical Boston between 1642 and 1649.  There are some very interesting colonial statements made.  Does this isolate readers outside of the US?
4. The text cannot be divorced from its Puritanical ideology.  Is that ideology so archaic that we can no longer engage with the narrative?
5. As a modern feminist, I have often struggled with this text.  Yet the text is about bringing a man to justice for his actions  (or at least torturing him for refusing to confess…).  Is the struggle again against the very ideology or the double standard through which women are judged?
6. To what extent are the characters merely stock players in a typical narrative format that develops no depth of feeling in the reader?
7. Can the reader feel any sympathy at all for Chillingworth?
8. The moralistic ending is to be expected; is it satisfying for a modern reader?
9. Does moralistic literature still find a place in modern fiction?

2012 Titles

2012 was another triumphant year for the South Down Book Worms.  Thank you to all who suggested titles, contributed to discussion, opened up their homes.  There were some surprise hits alongside a number of Booker prize winners in our eleven titles for the year. My stand out favourite was June's Freedom by Jonathan Franzen, which has made it on to my list of top ten books of all time!  I also really enjoyed Love and Summer in September.

January - The Girl Who Kicked the Hornet's Nest by Steig Larsson

February - Wolf Hall by Hillary Mantel

March - The Little Stranger by Sarah Waters

April - Three Cups of Tea by Greg Mortensen

May - Case Histories by Kate Atkinson

June - Freedom by Jonathan Franzen

July - Northanger Abbey by Jane Austen

August - SUMMER BREAK - NO MEETING

September - Love and Summer by William Trevor

October - A Week in December by Sebastian Faulks

November - Cold Comfort Farm by Stella Gibbons

December - Possession by AS Byatt

The Stranger's Child by Alan Hollinghurst

Meetings have continued...even if the blogposts have not!  This month's meeting takes place in Horsham where we will be discussing Alan Hollinghurst's epic, generation-crossing novel, The Stranger's Child. This seems to me to be a novel about World War I, even though the narrative action spans 1913-2008 and no part is set during the war.

1. What is the significance of the title?
   
   
2. In what ways does World War I cast a shadow over the entire novel? Several characters are said to have had "a bad war". How has the war affected Dudley Valence and Leslie Keeping in particular?
   
   
3. Discuss the narrative structure and the interplay between the different parts of the novel. What important generational changes in English life does the novel trace?
   
   
4. What role does keeping secrets play in the The Stranger's Child? Why do so many characters feel compelled to lead secret lives?
   
   
5. "He was asking for memories, too young himself to know that memories were only memories of memories". In what ways does the novel suggest that memory, of both facts and feelings, is an extremely unreliable method of recovering the truth?
   
   
6. “What do you think, Ralph?" said George. "For or against the egregious grotesqueries of the Victorians?" How are divergent attitudes towards Victorianism, manifest in the discussions of architecture, explored in the novel?
   
   
7. How do English attitudes towards homosexuality change over the period the novel covers, from 1913 to 2008? Is it important that Cecil’s sexuality and the true recipient of his famous poem "Two Acres," be revealed?
   
   
8. The Stranger's Child is, among many other things, a wonderfully comic novel. What are some of its funniest moments and most amusing observations?
   
   
9. What is the effect of mixing real and fictional characters?
   
   
10. Is Paul a sympathetic character? How does Paul's own secret past shed light on his motivations and tactics as a biographer?
    
    
11. In what ways does A Stranger's Child critique English manners and morals? In what ways might it be said to celebrate them - if at all?
    
    
12. What is Hollinghurst suggesting by bookending his novel with different readings of Tennyson?
    
    
13. What does the novel say about how literary reputations are created, preserved, revised? How does it compare with Possession in this?
    
    
14. Why do you think Hollinghurst ends the novel with Rob's unsuccessful attempt to recover Cecil's letters to Hewitt before they go up in smoke? Is this conclusion satisfying? 

The Little Stranger by Sarah Waters

Next week's meeting is in Crawley. Thank you very much to Dawn for sourcing our discussion questions.

1. Do you think Dr. Faraday is a reliable narrator? Why? Or why not?

2.What do you think is responsible for the disturbances at Hundreds Hall? Is it something supernatural or the effects of mental illness?

3.What do you think about Dr. Faraday’s relationship with Caroline? Are his feelings for her genuine? What about hers for him?

4.The Ayres family had land, wealth, and power for generations--while their neighbors lived in relative destitution-- before their post-war decline. Given this history, did you sympathize with them when it became clear they were passing out of favor?

5.How does Mrs. Ayres’ attitude toward Dr. Faraday change over the course of the novel? Why?

6.What you think of the decision to commit Roderick to an institution? Is it justified? Do you think it spared his life?

7.Were the Baker-Hydes correct in insisting that Gyp be put down? Or was their reaction to their daughter’s injury unjustified?

8.It is Betty’s unease living at Hundreds that causes her to feign illness and bring Dr. Faraday back to Hundreds for the first time since his youth? Do you think she was unusually prescient, sensing something ominous was about to take place at Hundreds?

9.How is Dr. Faraday's role as a country doctor in the 1940’s different from practicing medicine now? Given these changes, do you think a story like his could take place today?

10.Caroline’s decision to sell off her family’s land so that council houses could be built is just one of the ways The Little Stranger speaks to the changes happening in Britain at the time. How else does the book reflect the reconfiguration of post World War II British society?

Wolf Hall by Hilary Mantel

Please find below discussion questions for next Tuesday's meeting in Horsham.

1. What does Holbein's portrait capture about Thomas Cromwell's character that even Cromwell, himself, recognizes? What kind of man is Cromwell? In the rapacious world of Wolf Hall, do you find him a sympathetic character, or not?

2. What effect did Cromwell's upbringing have on his character and his later views about the privileged society that permeates the court? How does he feel about the aristocracy and its insistence on ancient rights?

3. What does Cromwell mean when he tells his son that "it's all very well planning what you will do in six months, what you will do in a year, but it's no good at all if you don't have a plan for tomorrow"?

4. Comment on Cromwell's observation regarding an earl that "The world is not run from where he thinks. Not from his border fortresses, not even from Whitehall. The world is run from Antwerp, from Florence, from places he never imagined." What does Cromwell mean...and in what sense is his statement a very modern view of the world?

5. Why does Cromwell dislike the Catholic clergy? What are his motives for helping Henry marry Anne Boleyn and sever ties to the Pope? What larger goals does he hope to achieve in helping ? Are they selfless...or selfish?

6. If you are familiar with Thomas More, especially through A Man for All Seasons, were you surprised by this book's treatment of him?

7. How does Cromwell perceive Anne Boleyn? How does she come across in this book? Consider his observation when she is in the presence of the king's friends: "Anne is brittle in their company, and as ruthless with their compliments as a house-wife snapping the necks of larks for the table." Also talk about the danger he sees for Anne as he thinks, "Any little girl can hold the key to the future."

8. Do you know the fate of Cromwell, some years after the book's ending? If you don't know, can you surmise? If you do, how does it colour your reading of Wolf Hall?

9. Mantel is writing a sequel to Wolf Hall—The Mirror and the Light. Do you think you'll want to read it when published?

The Girl Who Kicked the Hornet's Nest

Happy New Year to all Book Worms! Here are the discussion questions for the first book of 2012, Stieg Larsson's The Girl Who Kicked the Hornet’s Nest: the final novel in his Millenium Trilogy. Our meeting is in Crawley on 10th January.

1. To what do you attribute the literary sensation surrounding this trilogy?
2. What is the “hornet’s nest” of the title?
3. Each part of Hornet’s Nest begins with a brief history lesson about women warriors. What was Larsson trying to say? Is Salander a modern-day equivalent of these women? Is Berger?
4. What is the appeal of Salander as the protagonist?
5. Many characters in Larsson’s trilogy have some good and some bad in them. Can you name a few? What makes them different from the clear heroes or villains?
6. Can you imagine a group like the Section operating in this country? Why/not?
7. On page 168, Larsson writes about Salander, “She wondered what she thought of herself, and came to the realization that she felt mostly indifference towards her entire life.” What has made her feel this way? Do her feelings change by the end?
8. Again and again, men underestimate Salander because of her size. Why do they make these assumptions? How does she turn this into an advantage?
9. On page 295, Salander discovers a gruesome fact about Teleborian. “She should have dealt with Teleborian years ago. But she had repressed the memory of him. She had chosen to ignore his existence.” When did she decide to stop letting people get away with things?
10. Discuss the notion of revenge in this novel, and throughout the trilogy. Who, besides Salander, exacts revenge? What motivates them?
11. What role does Annika play in the novel? And Ekström?
12. On page 359, Salander reaches out to Berger and offers to help. Why?
13. What is the significance of the subplot about Berger’s stalker?
14. During his interview with She, Blomkvist agrees with the host’s suggestion that the Section’s behavior is akin to mental illness. Do you agree with that idea? How are accusations of mental illness wielded elsewhere in the trilogy?
15. “When it comes down to it, this story is not primarily about spies and secret government agencies; it’s about violence against women, and the men who enable it.” So says Blomkvist on page 514. What else is it about?
16. If she’s not in love with Miriam, why does Salander go to Paris?
17. When deciding what to do about Niedermann, Salander thinks of Harriet Vanger. Where do their stories diverge?
18. The very last sentence of the trilogy is, “She opened the door wide and let him into her life again.” How do you imagine things proceed from here for Salander? For Blomvkist?