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?
Tuesday, 6 December 2016
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.
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