The Long Way to a Small, Angry Planet

Ha! The title of this book is, in effect, a super-simplified plot overview: our heroes wind up at what is indeed a small, angry planet in the end, and they definitely go a long, long way to get there.

Something Old, Something New

It's a fun journey for readers because Becky Chambers does such a nice job of creating an innovative future world with just enough familiarity to let us absorb it all without too much confusion. The tone of the book is playful, the plot and characters are entertaining, and the language is simple enough that it's a pretty quick read. That said, there are still many confusing and complex aspects to consider.

Wormholes, for instance, present a scientific challenge not only for Rosemary to understand, but for readers as well. And then, of course, there are the numerous and varied alien species included in the book: Sianat pairs, Harmagians, Grum, Aandrisks, and the like, each with their own political backstory and cultural norms.

A Complex and Intriguing Universe

One thing is for certain: when Chambers created this universe, she was thinking big. Big enough that she wrote a stand-alone sequel, A Closed and Common Orbit, so that she could continue to explore new characters and locations in this sci-fi world. (So if you enjoyed this read, you may want to delve into that book next.)

But back to Long Way...

People often consider genres such as sci-fi and horror somewhat lowbrow—as in, not terribly literary. We think of them as pulpy: quick reads, good fun, but not the stuff of serious scholarship. In creating the intricate world of the Wayfarer series, however, Chambers has packed her novel full of distinct characters, innovative technology, and complex social issues all ripe for investigation. Which brings us to...

Your Potential Assignments

Option #1: Becky's Future
In an interview with The Mary Sue, Becky Chambers said, "Anytime anyone’s writing science fiction, they’re writing the future they want to see." So... what does the future Chambers created say about the future she would like to see? Muse on that in a paragraph or two, a poem, a collage—anything that helps to illustrate the kind of future you think Becky Chambers was intent on creating when she wrote this novel.

Option #2: We Are Family
Family is a big theme in this book. So... what do all the various mentions of family add up to? Track down at least three instances in which the idea of family is discussed or alluded to. (Be sure to note page numbers so you can find them quickly during the discussion.) Examine these references and try to decide what, exactly, the novel says about family.

Option #3: Humans vs. Aliens
One interesting aspect of the novel is the vision we get of humans through the eyes of other species. Dr. Chef and Sissix in particular seem to frequently muse about the strange ways in which humans approach various issues and events. Find a couple of examples of this—instances in which we see humans through the eyes of an another species. For each example, identify both what is being directly said about humans (the actual dialogue) and what is being implied (the ultimate lesson about—or the new perspective of— humanity we are being encouraged to consider).

Option #4: Humans vs. Humans
There are at least three different subsets of humans mentioned in this novel, and they all have different backstories, beliefs, and political leanings. First, figure out what these subsets are (HINT: one of the subsets is the Exodans). Then briefly explain their origins. They all started on Earth, of course, so how did they become three separate factions? Finally, ponder Chambers' reasons for presenting humans in this way instead of just as one, unified species, like say, the Aandrisks. What was she thinking? What effect does it have on the story?

Option #5: Alien-palooza
Make a list of all of the different alien species that are mentioned in the book. From that list, choose a few to draw or describe in detail. You can create illustrations, give their political backstory, explain some of their social norms, highlight their main characteristics—whatever helps to best create a full portrait of them.

Option #6: Reader's Choice
As always, you are welcome to create and complete your own assignment. Have at it!

That's it for now. Happy reading!

The Good Braider

The Good Braider by Terry Farish is the story of a young girl from Sudan, but the bulk of the story takes place right here in Portland, Maine.

That's because Viola, the protagonist, is forced to flee Sudan amidst the violence of a civil war. After traveling many miles and spending time in a refugee camp in Cairo, Egypt, Viola and her mother finally get the papers they need to resettle as refugees in the United States—in Portland.

The Good Braider gets to the heart of what it was like for Viola to leave her home and adjust to life in a brand new place with a different culture, different people, different smells, tastes, and sounds. It's a journey that takes great courage and requires great resilience, and Farish's fictional character, Viola, tells it well.

As we discuss The Good Braider, we'll talk about what it means to be a refugee and how refugees come to be resettled in places like Maine. We'll also talk about the structure of the book, its themes, symbols, and motifs, the characters, and any questions or comments that arise. And, since Kennedy Park figures so prominently in the story, we may even step outside and take a look around the neighborhood to see what's what.

To prepare for our discussion, please complete one of the assignments below and come ready to share your thoughts with the group.

Potential Assignments

Option #1: Theme-o-rama
A theme is a central idea in a book, poem, short story, film, song, painting—essentially any creative work. The following themes are all prominent in The Good Braider:

• Cultural traditions and acculturation
• Family relationships, particularly between mothers and daughters
• Personal resilience
• The power of education
• Immigration and refugee resettlement
• Friendship
• Loyalty
• The importance of community

Choose one of these themes (or one of your own—there are others). Explain how your theme shows up in the book and what the book seems to say about it.

Option #2: What's up with the title?
Why "The Good Braider"? What do braids have to do with anything? Who is the good braider? What does it mean to be a good braider? Where do braids show up in the novel? Focus in on the title and dig deep to uncover its meaning and how it is woven into the story. (You see what I did there?)

Options #3: Life is an Obstacle Course
Viola and her mother flee violence, war, and poverty in Sudan. They overcome many obstacles to get to America, but in America they find new obstacles. Think about the obstacles Viola and her mother (and other characters from Sudan) face in their new home. Then write an essay, a poem, a couple of paragraphs; draw a picture; make a collage; create a poster; do something to explain, illustrate, or highlight the obstacles they face in establishing themselves in Portland, Maine.

Option #4: Inter(al)lude
Sorry. I couldn't come up with a better name for this one. In any case, there are many allusions to other books, songs, and poems in The Good Braider. (Psst! A lot of them, in my book at least, are on page 85.) Choose one of more of these allusions and find the book, poem, hymn, or author in question. Learn about your chosen allusion and try to determine why Farish chose to include a reference to it in her book.

Option #5: Reader's Choice
As always, if this book inspires you to write, create, craft, or ponder anything in particular, do that! And come to the discussion ready to share your musings with the group.

That's it for now. Happy reading!

Mummies, Winged Men, and Carnival Drama...

... all in one book!

Ray Bradbury's book of short stories, The October Country, is packed full of... interesting content. Indeed, most of the stories in this compilation were originally published in the horror and fantasy magazine Weird Tales in the 1930s. And many of them are just that: weird.

Bradbury is perhaps best known for his 1953 dystopian novel Fahrenheit 451 and his sci-fi short story collection The Martian Chronicles, but weird or no, his books and stories have enjoyed worldwide popularity. His work, which spans the genres of sci-fi, horror, fantasy, mystery, and realistic fiction, has been translated into 36 languages, and more than 8 million copies of his books have been sold.

Bradbury's work is commonly studied in schools and at universities, and in 2007 Bradbury received a special citation from the Pulitzer Prize Board for "his distinguished, prolific and deeply influential career as an unmatched author of science fiction and fantasy."

So, yeah. Ray Bradbury is a pretty big deal. If you need more convincing, you can check out his 2012 obituary in the New York Times, which gives an extensive overview of his writing career.

Potential Assignments

Please complete one of the following for our group on Friday.

Option #1: Discussion Leader
Create discussion questions for at least one story in the book and lead a discussion of that story for the group. Don't freak out. When I say "lead a discussion," I just mean walk us through your questions. Ask the questions, ask follow-up questions if you like—just give us a few things to think about as we talk about the story you've chosen.

Tip for creating good discussion questions: Read your question. If it can be answered with a "yes" or a "no," reword it. The goal is to make the questions open-ended so that they require more than one word answers. Check out the examples of open-ended questions at Your Dictionary to get a feel for how to ask them.

Option #2: Common Themes
Think about the stories that are included in this compilation. Do any of them share common themes? Try to identify a few themes that run through more than one story and be prepared to explain how the theme shows up in each story that you highlight.

Option #3: The Parts Make the Whole
Take the theme exercise one step further. What is it that holds all of these stories together in one compilation (aside from the binding of the book, of course)? Bradbury was a prolific writer. By the time this set of short stories was published in 1955, he would have had many stories to choose from to create the collection. So why these? Wow us with your theory.

Option #4: Top Ten
Bradbury lived to the age of 91 and he did a great many things during his nine decades on this earth. Put together a Top Ten List including some of your favorite facts about Bradbury. Try to surprise us and tell us a few things we don't know.

Option #5: Something Clever of Your Own Design
Inspired to write a song or poem? Draw, paint, or sculpt? Make a costume, create a diorama, write an essay, do a dramatic interpretation of a particular scene? Bring it. You can always reflect on the novel in your own way and share it with the group.

That's it for now. Happy reading and responding.

 

To Understand this Book...

...You're Going to Need to Understand Iran

Actually, that's a bit of an overstatement.

You can get a lot out of this book without knowing much about Iran at all. But to read this book well—and really: why wouldn't you want to read it well?—some understanding of Iran's history is necessary.

Thankfully, this is the age of the Internet, and such information isn't difficult to find. In fact, I found a great summary of the last 100 years in Iran written by Tara Ann Carter, a teacher at John Bartram High School in Philadelphia. So, for your edification, before you read the book, please take 15-20 minutes to read Carter's "An Abbreviated History of Modern Iran," which I've placed on our links page.

If you finish Carter's piece and you're thirsty for more, I've also included a timeline that I constructed from various sources and a link to a timeline that places events from the book in historical context. So... there's a lot of info that will be useful as you read this graphic novel. Peruse some of that information first, and then...

Enjoy the Pictures!

That's right. This one is a graphic, which—for many people—will make it a faster and "funner" (not a word—or is it?) read. So go ahead. Enjoy it. But don't go so fast that you don't appreciate the art.

In fact, one of your assignments below is all about the art, so be sure to stop and smell the pages every once in a while. No, not really. You don't have to smell them. Just make sure you slow yourself down enough to contemplate the images and what they communicate.

Assignments

As promised, here are a few potential assignments to choose from. Please come prepared to offer your ruminations on at least one.

Option #1: From Pictures to Words
Obviously, the manner in which Satrapi tells her tale—as a graphic novel—affects the way the story is perceived. That begs the question: how would Persepolis be different if it were written as a traditional novel? Let's find out. Choose a scene from Persepolis and rewrite it in prose. Bring your rewrite to group and bookmark the scene you rewrote so we can compare the two versions.

Option #2: From Words to Pictures
Choose a scene in another coming of age novel—one that is written in traditional a chapter format—and represent it in pictures, a la Persepolis. Bring your drawings and the book you took your scene from (with the scene bookmarked, please) to group so we can compare and contrast.

Option #3: The Symbolism in the Symbols
There are several items that act as symbols in Persepolis: the plastic key painted gold, the veil, cigarettes, the bread swan. Choose two of these symbols and analyze them. At what point in the story do we see these symbols? What is going on when they appear in the story? What do these symbols seem to represent?

Option #4: It's an Illusion
Actually, it's an allusion. Allusions are references that appear in a literary work, usually to call to mind an event or image that helps to illuminate some aspect of the text. Persepolis contains A LOT of allusions. Head on over to Shmoop.com and take a look at the list of allusions they provide. Choose at least five of these allusions and explain when they are used in the book... and why. What is accomplished by making the allusion? What purpose does it serve?

Option #5: Persepolis and You
(I stole this question from Knopf Doubleday Readers' Guide)

In an Associated Press interview, Satrapi said, “The only thing I hope is that people will read my book and see that this abstract thing, this Axis of Evil, is made up of individuals with lives and hopes.” And in her introduction to Persepolis, she explains that she wrote this book to show that Iran is not only a country of “fundamentalism, fanaticism, and terrorism.” How does Satrapi go about challenging this myth? How doesPersepolis dispel or confirm your views on Iran? In what ways does reading this book deepen your understanding and knowledge of Iran, and the current situation in Iraq?

Option #6: Cool During Wartime
In the midst of a war and bombings and crazy edicts, the teens in Iran still just want to look cool. This is most evident in the chapter "The Cigarette," but you can find it elsewhere, too. Find some examples of teens being teens in this book, regardless of the fact that their country is in a volatile time... and then explain it. Why are kids willing to risk arrest to be "hip"? How do you think you would behave in this situation. 

Bonus: Can you think of a time when you maybe-probably shouldn't have done something particularly teenager-ish because of the circumstances, but did it anyway? Tell us that story and explain your thinking. 

Option #7: Your Choice
Seriously. If you find yourself inspired to write a poem, paint a picture, craft an essay, put together a collage, create a playlist, or respond to the book in any way at all, go for it. And bring in your work to share with the group. 

That's it. Happy reading! See you on the 21st.

Marcia, Marcia, Marcia!

I know. You're all too young for that reference. Here's a little help. And here's a little reality check: this book has nothing to do with the Brady Bunch. (Or Steve Buscemi.)

This book is about The Martian, a.k.a., Mark Watney and his struggle for survival on the red planet—which, incidentally, you can see in the night sky this week. How serendipitous!

Martian, Martian, Martian!

Originally self-published, The Martian became a bestseller when author Andy Weir offered a Kindle version at the lowest possible price and people began downloading it like crazy.  A week later he was offered a movie deal, and we all know how that turned out.

But what did you think of the book? It's a classic survival tale, but instead of taking place on a desert island a la Robinson Crusoe or Castaway, our hero is stranded on another planet. We'll talk about how that twist changes things up when we meet for our last discussion of the year. We'll also talk about the potential assignments below, so come prepared to offer your ruminations on one or more of them.

Assignments

Option #1: The Hab
Mark Watney spends a lot of the book (and over a year of his life) in this structure. So... what does it look like? Use your mad research skills and your mad reading comprehension skills and create your best representation—2D, 3D (4D?)—of Watney's home away from home away from home. No pictures from the movie! We only want pictures (or models) that come from your mind.

Option #2: POV
The Point of View (POV) shifts multiple times throughout the narration. Identify the various points of view that are used to tell this story and discuss why the author may have chosen to tell the story in this way. How does each POV affect the overall story? What about the individual storylines? Could they be told from different POVs? Why or why not?

Option #3: Space Oddities
A couple of times in the narration, Mark refers to something scientific sounding (medium flexible sample container) and then provides a simpler title for the object ("Ziploc bag"). Look around your house and find some everyday, ordinary items that most people would be familiar with. Come up with scientific sounding names for each of these items, and bring your list of items to our discussion. You'll give us the scientific name, and we'll try to guess what the everyday item is.

Option #4: Survivors
What is is about Mark Watney that makes him a survivor? What particular qualities help to get him through his 549 Sols? Think about the rest of the Ares 3 crew: Lewis, Vogel, Johannsen, Beck, Martinez. Do you think any of them would have made it? Why or why not?

Option #5: Lights! Camera! Action!
We know this book has been made into a movie. From having read the novel, what do you think the major challenges would be in translating it to the big screen? What adaptations might need to be made? What, in particular, might a director, actor, or screenwriter need to think about in the process of turning this book into a movie?

All right. That's enough to start. Happy reading and I'll see you on Wednesday.

The Count of Monte Cristo...

... is a really long book. So what I have to say to you is: Read, Forrest, read!

Seriously. If you haven't yet finished, do your best to get there. But even if you haven't finished, come to group tomorrow ready to chat. There are a lot of topics we can cover regardless of whether or not everyone (or anyone?) has finished. (And I, myself, am struggling to get there, just so you know.)

I'm going to post assignments, as usual, but the main priority is to read. If you haven't finished reading, let the assignments wait. We'll have plenty of time to think about them and discuss them tomorrow.

Potential Assignments

Let it Go?
Vengeance. Forgiveness. Vengeance. Forgiveness. Like a game of “she loves me, she loves me not,” Dumas alternates between these two themes throughout the book. In your opinion, where does he ultimately land? Support your claim with evidence from the book.

Tick Tock Goes the Clock
There are stories within stories within stories in this book, which makes the linear timeline somewhat difficult to follow. Choose a character other than Dantes and reconstruct his or her timeline from 1815 forward. 

Symbols, Motifs, and Themes
See a symbol? Notice a motif? Have an idea about a theme the author seems to be riffing on? Name it and explain it to the rest of us.

Isn't it Byronic?

There are so many references to Byron, particularly with the idea that Dantes—as Monte Cristo— possesses the traits of a Byronic hero. But what does that mean? Spell it out for us. With or without references to Alanis Morrisette. 

All right. That's it, folks. Happy reading, and I look forward to seeing you all in about 30 hours. 

Crispin: The Cross of Lead

Mmmm... Crispin

Okay. That's inappropriate. But the title of this book (minus its subtitle, of course) kind of makes me think of potato chips.

Like I said: inappropriate. Still, we should take a minute (or two, or three) to think about the name of our title character—especially since he begins the book without a name.

"Asta's son." That's the only identity our protagonist has until he's nearly 14 years old.

What's in a Name?

It's hard to imagine what it would be like to be known only in relation to someone else. Clearly, there's a great deal of symbolism in the transformation of our title character from "Asta's son" to "Crispin."

And that transformation is appropriate (unlike my first subheading, above), because Crispin: The Cross of Lead is a classic coming-of-age story, or a bildungsroman, which is a much cooler term that means essentially the same thing.

We'll be talking about Crispin's transformation over the course of the book when we meet on Wednesday, so be sure to give it some thought. And, as usual, please peruse the potential assignments below and choose one to complete and be ready to discuss with the group.

Potential Assignments

#1: History Will Teach us... Something
Avi has set his tale in medieval England, and he's been very conscientious about giving us specific dates as well as making references to real historical events. Identify as many of these specific dates and events as you can and give us a primer. What is the Feast of St. Giles? What was going on in England in 1377 A.D.? Who is John Ball? There's a lot more where those came from. See what you can find.


#2: Bear's Words of Wisdom
It's hard not to like a singing, juggling, red-bearded giant with a heart of gold, but it's Bear's words that really win us over. He's full of philosophical gems like, "Living by answers is a form of death. It's only questions that keep you living" (Ch. 24, par. 23). Locate a few of Bear's gems and be ready to share  and discuss them. Be sure to note the chapter and paragraph where they appear so we can all find them in our editions.

#3: Symbolism
As I mentioned above, there's some definite symbolism in the protagonist's transformation from being known as "Asta's son" to fully embracing his given name, "Crispin." Be ready to offer your thoughts on that instance of symbolism in the book, or choose another example of symbolism that you've found and walk us through that one. What's the symbol? What happens with/to the symbol? What does it all mean?

#4: Motifs
Motifs are different from symbols. Symbols are specific. Think "Piggy's glasses" or "the conch" in Lord of the Flies. Motifs, on the other hand, are recurring images, objects, words, phrases, actions, or ideas that pop-up throughout a book. Again, from Lord of the Flies, think "shadows," "masks," or "Christian imagery." Motifs help to unify a story and are often used to suggest greater meaning. So.... do you see any motifs in Crispin: The Cross of Lead? See if you can come up with one and figure out what it's all about.

#5: Imagery & Road Trips
Um... those two things don't necessarily go together perfectly, but I wanted to make sure I gave you an assignment tailored toward creating some kind of picture. So, for this assignment, you can do one of the following.

• 5A: One thing you may not have known about this book (unless you read the author interview), is that Avi originally wrote it in verse format, like Chaucer's Canterbury Tales. Some of that structure is still evident in the ample imagery that is included in Avi's language. Find an example of this imagery (in Avi's poetic descriptions of characters or places) and use his words to help you create a sketch (painting, drawing, collage).
  
  OR

• 5B: Make us a map that illustrates Crispin's travels through England. Be sure to highlight places where significant events take place. 

All right. That's it. Happy reading and I'll see you on Wednesday.

What is the Question?

The question, according to Hamlet at least, is whether to be or not, but when I Googled "to be or not to be," this cartoon is exactly what I was looking for.

The phrase from Shakespeare's Hamlet is arguably one of the best known and most often quoted lines in literature, so I figured someone had to have created a comic based around a fictional Apartment 2B (or not 2B) at some point. And I wasn't wrong.

There were, in fact multiple renditions of this take on the Bard's existential question, but this version, from the  New Yorker, was the best.

We'll be discussing Hamlet's famous soliloquy when we gather this month, and we'll also be discussing your take on the potential assignments below.

As usual, please choose one to pursue in earnest and come ready to offer your thoughts, illustrations, PowerPoint presentations, sculptures, poetry, essays, or whatever else you create in order to share your views. Anything is fair game, really... except for presidential debate-style diatribes littered with lazy insults and factual errors. We've had enough of those in our lives at this point. :)

Potential Assignments

Option 1: Age-ism

Hamlet's age has been in debate for, well... ages. The gravedigger twice says the Dane is 30, which would seem to settle the matter, but other aspects of the play call these lines into question. So... what do you think? 

First, focus on how old Hamlet seems based on your reading of the play (and ignoring the gravedigger's lines). Pick an age that seems fitting and explain how you came to that conclusion. Then, see if you can come up with an explanation for the gravedigger's lines. Feel free to conduct some research on this one, and be ready to share your thoughts and anything else you find. (Though I'll tell you right now, I'm not going to buy the idea that Hamlet is actually a 40 year old Klingon, so save that theory for the next Trekkie convention, please.)

Option 2: The Heavy Stuff

Suicide is an important theme in Hamlet. Discuss how the play treats the idea of suicide morally, religiously, and aesthetically, with particular attention to Hamlet’s two important statements about suicide: the “O, that this too solid flesh would melt” soliloquy (I.ii.129–158) and the “To be, or not to be” soliloquy (III.i.56–88). Why does Hamlet believe that, although capable of suicide, most human beings choose to live, despite the cruelty, pain, and injustice of the world?

Option 3: Crazy is as Crazy Does

Throughout the play, Hamlet claims to be feigning madness, but his portrayal of a madman is so intense and so convincing that many readers believe that Hamlet actually slips into insanity at certain moments in the play. Do you think this is true, or is Hamlet merely play-acting insanity? What evidence can you cite for either claim?

Option 4: Rosencrantz and Guildenstern Are Dead

There's actually a 1990 movie by this title that's worth a watch if you have an hour and fifty-seven minutes to spare, but for now... 

Consider Rosencrantz and Guildenstern’s role in the play. Why might Shakespeare have created characters like this? Are they there for comic relief, or do they serve a more serious purpose? Why does the news of their deaths come only after the deaths of the royal family in Act V, as if this news were not anticlimactic? Is it acceptable for Hamlet to treat them as he does? Why or why not? 

That's a lot of questions, I know, but you don't need to answer them all—just use them to help you think about the characters and then let us know what you come up with.

Option 5: Laugh it Up

PART A: Analyze the use of comedy in Hamlet, paying particular attention to the gravediggers, Osric, and Polonius. Does comedy serve merely to relieve the tension of the tragedy, or do the comic scenes serve a more serious thematic purpose as well?

PART B: There are plenty of Hamlet inspired comics apart from the whole 2B or not 2B schtick. Find your favorite, bring it in to share with us (you can email me the URL before class if it's online and you want it on the big screen), and explain:

• what scene, theme, or line in the play it relates to; 
• what you like about it/why you chose it; and 
• what makes it funny or clever, or witty, or insightful, or... [insert adjective here].

CLARIFICATION: You can do A, B, or both for this one. Your call.

All right. That should give us more than enough to talk about when we get together. See you all soon, and until then, happy reading.

Dandelions are Bitter...

This is the cover (and back) from my book. What does
yours look like? Bring it with you and we'll compare. 

... so bitter, in fact, that I can't imagine drinking dandelion wine. I do, however, like the metaphor as it's expressed in Ray Bradbury's novel of the same name. We'll be talking about the title of Bradbury's novel and how it relates to the content when we meet on Wednesday, February 3rd.

Typical Bradbury?

Having read some Bradbury in the past, I must say I was surprised by this story. Unlike many of Bradbury's works, which (in my experience) tend to have a Dystopian sci-fi bent, this novel is a classic coming-of-age tale set in an idyllic small town in Illinois.

Of course, there are some trademark Bradbury bits: references to time travel and happiness machines, a feeling of isolation among various characters, and—at times—a sense of suspense and terror. I'm anxious to see what you all think of this title and whether or not it will receive a collective thumbs up, down, or sideways.

In preparation for our meeting, please take some time with one of the Potential Assignments below and come ready to share your thoughts.

Potential Assignments

Option #1: The Lonely One
First: Eeeeeeek! Second: What's up with this storyline? If you read the introduction (does anyone read introductions?) Bradbury claims that there was a Lonely One in his childhood in Waukegan. So... was there? Do a little research and see if you find any record of such a criminal in or around Bradbury's childhood town back in 1928. Beyond that, though, see if you can figure out what role this psychokiller plays in the narrative. Is there a reason for this character's inclusion? How does this storyline affect the others?

Option #2: The Ravine
One location that pops up repeatedly in the book is the ravine. How is the ravine described? Where is it located in town? What happens there? And the million dollar question: what does it represent?

Option #3: Old Age
For a book about a twelve-year-old boy's summer, there are sure a lot of old people in this novel. What purpose do these characters serve? Choose at least two of the older characters and explain how they help to illuminate Douglas's story.

Option #4: Pick a Theme, Any Theme
Death. Aging. Family. Friendship. Time. Happiness. Change. Choose one of these or one of your own and try to figure out what Bradbury's novel is saying about it. Be ready to support your assertion with a few examples from the book.

Option #5: Quote-o-Rama
Choose a favorite quote (or two), write it down (or mark it in your book so you can find it quickly), and give us your .25-cent analysis of it. Why did you choose it? What made it stand out? What do you think it means? Does it relate to a larger theme in the book? How so? (By the way, we're talking .25-cents in 1928, so that's a $3.50 analysis in today's terms.)

What's In a Name?

September Lights

That's what the original Spanish title of The Watcher in the Shadows—La Luces de Septeimbre—translates to. So... why the complete title change for us Americans?

If you remember, the first Harry Potter book, although written in English, also received an "American" title. In the UK it was Harry Potter and the Philosopher's Stone. Here in the good ol' U.S. of A. we read Harry Potter and the Sorcerer's Stone. What gives?

You probably have your suspicions, but see if you can find any facts to back it up. This will be one of the first things we discuss when we meet on January 13th to talk about Carlos Ruiz Zafon's novel.

We'll also be talking about all of the Potential Assignments below, so please choose one to complete like a champ so you can wow us with your intellect and preparedness.

Potential Assignments

#1: Only the Shadow Knows
Shadows are a big deal in this novel, and in many others. In Lord of the Flies, for instance, you may recall that there was a chapter titled "Shadows and Tall Trees," and that much shadows were used symbolically. Take a look at how Ruiz Zafon uses shadows in general (as well as THE shadow), and see if you can come up with a theory of what shadows in general and THE shadow represent in this novel.

#2: What's in a Name, Part 2
Check out the names of the various characters in the novel and see if any of them have significance. Hint: Some do. I wouldn't ask if I didn't already know that much, but see what you can come up with.

#3: One Day at a Time
We know in what year the novel starts. We know the approximate dates when many of the big events happen. And we know the exact date of Irene's final letter. The question is... why? Why is Ruiz Zafon so specific with his timing? Find as many references to specific dates and see if you can figure out why the author is being such a fanatic about it.

#4: Spatially Challenged
That's me. I was trying really hard, particularly as I read the initial descriptions of Blue Bay, to put all of the locations in perspective, but like I said: I'm kind of spatially challenged. If you're not, create a map of Blue Bay with all of the significant landmarks. You can even add a legend to highlight the locations where the main events take place.

Okay. I have about a bajillion other questions for you, but we'll tackle these first and then discuss the rest as time allows next week.

Happy reading!

A Dream Deferred

WORD CHOICE

If you examine the first pages of Raisin in the Sun, namely the dedication and the epigraph, you'll see where it's title came from. (Or, if you're a stickler for good grammar, from where its title comes.)

The poem Harlem by Langston Hughes asks a profound question about dreams, encouraging the reader to contemplate what happens not just when a dream is not realized, but when a dream is deferred.

As you read A Raisin in the Sun by Lorraine Hansberry, keep this word choice in mind. Is deferred the best word simply because of the alliteration, or is there another reason Hughes chose it?

• What does it mean to defer? 
• What does it mean for a dream to be deferred? 
• How would the meaning or tone of the poem change if Hughes had asked instead, "What happens when a dream doesn't come true?" or "when a dream dies?"

We'll check in on this during our discussion next week, and we'll also talk about the relationship between Hughes' poem and the play, especially Hansberry's choice to take her title from Hughes' poem.

We'll also check in on the assignments below, so please choose one to tackle and come prepared to discuss your thoughts, show your work, or defer your dreams, whichever is most appropriate.

ASSIGNMENT OPTIONS

Option #1: Dream Collage
What are your dreams? Not the ones you have at night while you're asleep—the ones you think about during the day. Such as... what you plan to do after high school or college, what you hope to do for your life's work, where you want to live, what kind of house, car, or lifestyle you hope to have, whether or not you want a family. That stuff. Come up with at least one dream you have for you future and create a collage (or go ahead and sketch, draw, or paint) to illustrate it pictures and words. Bring your collage with you and be prepared to pass it around and talk about it a little bit.

Option #2: Dream Essay, Poem, or Song
See #1 above, but instead of creating a collage, write an essay, poem, or song about your dream—what it is, why it is important to you, and when (or how) you hope to make it happen.

Option #3: Raisin Dreams
What do raisins dream about? Actually, forget that. Instead, take some time to consider the depiction of dreams in the play and answer the questions below—in writing, in an essay, with bullet points, with pictures. Whatever works. Creativity is always encouraged. Ready? Here you go:

• Why do you think Lorraine Hansberry took the title of her play from this poem? 
• Which characters in A Raisin in the Sun have their dreams deferred? Explain.
• What would it be like to work toward a goal but never actually accomplish it? 
• Which of Hughes' similes do you think is most accurate? Would a "dream deferred" be more likely to dry up, fester, or explode? Why?
• Finally, do any of the characters' experiences suggest one simile more than another? Explain.

Option #4: Sacrifice (this one comes directly from Shmoop.com)

In A Raisin in the Sun, incredible sacrifices are made for the benefit of the family. Some family members are more willing to shoulder sacrifice than others, however, which leads to conflict. Accepting sacrifice for the benefit of the family is a recurring theme throughout the play, culminating in its final scene. So... riddle us this:

1. Who sacrifices the most in A Raisin in the Sun?
2. Is sacrifice seen as a positive, admirable attribute? Why? By whom?
3. What are people willing to sacrifice? What aren’t people willing to sacrifice?

Those are your choices, although you are always free to come up with something of your own. See a symbol or theme you want to explore further, write about, depict in an artistic creation of your choosing? Go for it. 

Whatever you do, be ready to share it on Wednesday. Until then, happy reading. 

From the Lord to the Prince

Sovereign Insects

Last month, we read about the Lord of the Flies, and this month we're delving into The Prince of Los Cocuyos.

What is it about royalty and bugs around here?

And what is it about authors with colors in their names?

You may recall that Lord of the Flies was written by William Golding. Interestingly enough, the author of our next book is Richard Blanco (blanco being the Spanish word for white). Strange, right? But all of these coincidences aside...

A Lot of Boxes

There are a few reasons you may recognize the name Richard Blanco.

For one thing, Blanco is from Maine. Well, not from Maine exactly, but these days he does split his time between Bethel, Maine and Boston, Massachusetts, so you may know his name because he's a well known local poet and author.

More likely, though, you've heard his name because he is the United States' fifth inaugural poet, having written and read his original poem "One Today" at President Barack Obama's second inauguration on January 21, 2013.

When Blanco was chosen to read at he 2013 inauguration, much was made of the fact that not only was he the youngest inaugural poet to date (see the list of other inaugural poets at right), but also the first Latino and the first openly gay inaugural poet. And he was speaking, of course, at the inauguration (albeit the second) of the nation's first black president.

That's a lot of firsts, and, as Blanco himself said, his selection as inaugural poet "checked a lot of boxes." That box-checking is directly related to issues of identity, belonging, ethnicity, sexuality, and immigration—all of which are prominent themes in The Prince of Los Cocuyos.

As you read—or after you read, as the case may be—consider these themes as well as the potential assignments below.

Choose one assignment to complete for our next meeting on November 18th and be ready to discuss your ideas.

Assignment Options

Option #1: Abuela
The book starts with Abuela and she is a dominant character throughout. Why do you think that is? Take some time to deconstruct Blanco's grandmother. Is she a good person? A bad person? Does she nurture young Riqui? Is she abusive? What role does she play in Riqui's life, and overall, how would you characterize her influence? Is it positive or negative? How does the author seem to view her? Is this different at all from how the character, Riqui, views her?

Option #2: Poetry
Blanco is first and foremost a poet. Take a look at some of his work. You can find four poems here, or you can seek out some other poems on your own. (Check the library for one of these titles.) choose a poem to analyze, and bring it with you along with your interpretation of what it is about and, if applicable, how it relates to the book.

Option #3: Identity
Throughout the novel. Riqui struggles with his identity. Is he Cuban? Is he American? Is he Cuban-American? An American gringo? Is he macho? Is he effeminate? Is either of those a problem? Think about your identity. What are the various roles you play in life? What identifiers or labels could you apply to yourself? Which ones make you most proud? Which ones cause you concern or make you wonder? Think this over and create an identity chart for yourself. You can model it after the one at right or create your own version. Feel free to use pictures or colors if you like.

Option # 4: Your Favorite
Of all of the stories Blanco relates from his childhood, which is your favorite and why? Ahem: This is probably the easiest assignment to relate to right away, so if you choose this one, dig deep. Go over your favorite story again and try to figure out what it is about it—the plot, the characters, the emotion, the tension, the humor, a particular pop culture reference—that appeals to you. Can you relate to this story? Or do you find it intriguing because it's so different from your life experiences? Really. Get. In There.

Option #5: The Epigraph
Read the epigraph—the quotation at the beginning of the book by Cesare Pavese—and examine its relationship to the book. Why do you think Blanco chose this particular quote to open the text? How does it relate to Riqui's character development or the themes of the book?

Option #6: The End
Consider the end of the book. Is it satisfying? Did Blanco pick a natural stopping point? Why or why not?

Phew. That's a lot of assignment options. Have fun completing yours. And, as always, happy reading!

LOTF: No rings in sight, but we've still got a Lord

Belinda's Joke Corner

Q: What do you call an alligator that's been roughed up in a fight? 

A: An allegory! 

Okay. That's not true at all, and it's not a very good joke, either, but Lord of the Flies, (like Animal Farm by George Orwell for those of you who have read that one), is an allegory. 

An alle-what? 

An allegory is a story in which objects and characters within the story also have meanings outside of the story. Because of this, an allegory typically tells two stories at the same time: a literal story, a.k.a, what's actually happening from moment to moment, and a bigger picture story that can be figured out by determining what the specific characters and objects represent.

This is exactly what's going on in Lord of the Flies—it tells two stories. First, there is the literal story: the plane crash that strands a group of private school boys on an island and all of the events that follow. Second, there is the “bigger picture” story that can be understood when we look more deeply at what various characters and objects symbolize.

Symbolism in the Shadows

As you read Lord of the Flies, be on the lookout for symbolism. A symbol is something that stands for something else. For instance, the American flag is our national symbol—it stands for the United States; it can also be seen as a symbol of “freedom” or “patriotism.”

In Lord of the Flies, you will find several symbols. Piggy’s glasses, for instance, are symbolic, though I’ll let you try to figure out what it is they represent. 

You will also find many motifs in this book. A motif is an object, image, word, phrase, or action that is repeated throughout a story. 

Two motifs in Lord of the Flies—images that arise over and over again—are shadows and masks. 

Motifs help to unify a story, and are often used to suggest greater meaning. See if you can figure out what Golding is doing with the motifs of shadows and masks in Lord of the Flies. Why does he repeat them so often? Is there something he is trying to tell us or make us think about? 

It’s okay if you don’t come up with an answer. I just want you to be thinking about it. If you notice other symbols or motifs (and yes, there are more), be sure to make a note of them so we can talk about them when we meet in November. 

And, as usual, here are a few assignments for you to choose from. Please come prepared with a thoughtful answer for at least one of them.

The Assignments

Option #1: Symbols & Motifs

Focus on one of the symbols or motifs mentioned above—or one of your own—and locate as many quotes as you can pertaining to that symbol. Use these quotes to help you determine what, exactly, the purpose of this particular symbol or motif is. What is Golding using this symbol or motif to suggest to us? Be ready to point to your quotes to support your assertions. Feel free to create a visual illustration of a symbol or motif to aid in your explanation.

Option #2: What's up with Simon? 

Scrutinize the passages in which he is featured. Look at his physical description, pay attention to his actions, and try to figure out what his role is in both the literal story and the allegory. Put together some notes, bullet points, a collage, or a brief essay in which you answer the initial question: What's up with Simon?

Option #3: Be the timekeeper! 

How long are the boys on this island? A ballpark figure is fine, but be sure to be ready to show us how you came to your answer. How does Golding show us that time is passing? 

Option #4: Title Track

Who or what exactly is the “Lord of the Flies” and what is the significance of the book's title? Find the passage where the title appears in the text of the book and explain the significance of this scene.

Happy reading!

Belinda

"It's alive!"

If those two words conjure the image of a mad scientist throwing his head back and bellowing toward the heavens, it's probably because of this:

But it's certainly not because of this:

This is the cover of an 1882 edition of the novel.

That's because the 1931 film version of Frankenstein—like so many movies based on books—takes a few liberties with Mary Shelley's original characters and storyline.

Alas, Victor Frankenstein is not exactly exhilarated when his creature comes to life. In fact, his response is decidedly different from the performance given by Colin Clive in the scene above. And that's just one difference you'll find between the original story (crafted by Shelley circa 1816) and its many modern retellings.

AS YOU READ...

Make mental notes (or written notes, if you prefer) of what surprises you about the book. Certainly, we all come to this one with a bit of baggage. It would be hard to live in a western culture that celebrates Halloween and not have some knowledge of Frankenstein. It will be interesting to hear what surprised (or didn't surprise) people during the reading. 

GET HELP IF YOU NEED IT

Shelley's sentence construction tends to be long and involved, and sometimes (often) her characters speak in paragraphs without interruption. This can result in a difficult reading experience at times, for sure. 

If you find yourself struggling with the narrative at any point, feel free to head on over to Shmoop's Frankenstein learning guide and check out the chapter summaries to make sure you understand what's happening.

While Shmoop's summary is no substitute for reading the actual text, it can be a big help if you need a little nudge along the way to keep things moving.

OUR ASSIGNMENTS

Please complete one of the following and be ready to share your work when we meet on the 23rd.

Option #1:

Head over to Flavorwire and check out their 15 vintage book covers of Frankenstein. Choose your favorite cover and do a little analysis for us.

• What scene or character is portrayed on the front? 

• What impression of the story does this cover convey? 

• Is there anything on the cover that seems symbolic? If so what and how? 

• How well do you think the cover represents the story? Explain.

Option #2:

People disagree over just how well written Frankenstein is and whether or not it deserves "classic" status. Germaine Greer calls it downright bad, while monica45 and literaturenerd (two contributors at enotes) speak glowingly of Shelley's approach. Take a look at their comments and decide who you think is right. Then, regardless of what you think of the quality of Shelley's writing, tell us why you think it is that this story has endured for 200 years.

Option #3:

The alternate title for Frankenstein is "The Modern Prometheus." Read up on the myth of Prometheus and be ready to explain to us why this title fits. Who, in the novel, is Prometheus? What parallels do you see? 

Option #4:

What side of the nature vs. nurture debate does the story of Frankenstein seem to support? How do you know? Find at least three quotes from the books that support your opinion. 

Option #5:

(Psst! This question is taken directly from Shmoop.)
You might have noticed some Christian influences in this text. To start off, there's the creator/creation paradigm. And, of course, the monster is compared to Adam. But the monster is also compared to the fallen angel—Satan—and Victor takes on comparisons to God. You could even go so far as to call Victor's death a sacrifice that makes him a Christ figure. What might Shelley be saying about religion, and Christianity in particular? (Keep in mind that, while we're not sure how Mary Shelley felt about religion, both her father and husband were big, honking atheists in a time when atheism could get you into serious trouble.)


Okay. That should give you plenty to think about between now and our discussion on the 23rd. And please, just do your best with these assignments. For those of you who are new to the group, don't be intimidated

Happy reading!

Avast Ye, Mateys!

Argggghh!

Yo ho ho and a bottle of rum!

Now that we've got all of those pirate cliches out of the way, let's talk about this month's book: Pirate Cinema by Cory Doctorow.

OFF TO A SLOW START

I'll admit it took me a while to really get into this book (somewhere around page 100), but even before I started enjoying the story, I found plenty of interesting issues to consider.

• Squatter's rights, for instance. 

• And the simultaneous proliferation of homeless people and abandoned buildings.

• And of course the whole idea of how being booted off the internet for a year would affect my life and the lives of my family members. 

BIG ON IDEAS

That's the thing about Cory Doctorow. This is the third novel of his that I've read, and regardless of what I've thought of the plots (which, overall, have been good), they've all been full of fascinating ideas.

Ian, Evan, Ward, and I all went to hear Doctorow speak at a little bookstore in New Hampshire a few years back, and he was impressive. It is clear that he is a progressive thinker with a firm grasp on not only the technologies that currently shape our lives, but on the likely technologies of the future and the importance of  staying on top of the laws and policies that seek to influence the way we interact with these technologies.

For a sample of Doctorow's insight on such issues, check out this 4-minute clip about the role of technology in our lives--as George Orwell imagined it and as Doctorow sees it.

DISCUSSION TIME 

We'll likely be talking a bit about tech when we get together (for our last meeting!) on May 28th, and I'll have my usual list of questions, but for this discussion (our last one!), I'd really like it if each of you could come with one issue to discuss. 

You can...

• pose a question to the group (about issues raised in the book; its symbols, themes, or characters; the language or style of writing--anything!).
• create something inspired by the book--an essay, drawing, sculpture, collage, photograph, video, or whatnot. 
• pull out a quote or two that you liked and get input from others on them. 
• link the themes of the book to modern issues and current events. 

In essence, you can do anything!

Just do your best to bring something that will generate a minute or two of discussion or contemplation, which, given how smart you all are, could be (yep, that's right) just about anything.

See you in a week!

The Arrow

No, not that Arrow. 

Time's Arrow, by Martin Amis. The book we'll be discussing when we meet on Thursday, April 30th at 10:45am.

To that end, please take a look at the assignment options below and come prepared to weigh in.

We'll be discussing all of the assignment options, but everyone is expected to have completed at least one in order to be ready to offer some insight—or perhaps more questions, which could, in turn, lead to insight.

Ready? Set? Go!

(Or perhaps I should say "Go! Set? Ready?")

Assignment Options

Number 1
"Uncle Pepi" is Joseph Mengele, but who is Joseph Mengele? Do a little research and come prepared to enlighten us with what you find. Be thorough, please. Don't just tell us he was a Nazi doctor. Give us some information we couldn't necessarily glean from the text of Amis' novel—information that helps to explain references in the text; information that goes beyond what the text offers.

Number 2
Examine the structure of the novel. Obviously, Amis put a lot of thought into the organization of the story's details. Go beyond the idea of the "reverse narrative" and take a look at how the story is divided into chapters and parts. What information is covered in each chapter and part? Why do you think Amis divided the information in this way? And what do you make of the phrases used to title the various chapters? What purpose do they serve?

Number 3
We get a lot of things in reverse in this novel. Everything, really. Choose one particular event or action (the break-up of a relationship, courtship/dating, eating, domestic violence, aging, a city's economic development/regression, a taxicab ride, "doctoring," etc.) and explain what we learn by viewing this process in reverse.

Number 4
Examine one of the following symbols or motifs featured in the novel and try to figure out what it represents or what we can learn by examining its repetition.

• stars
• mirrors
• dreams
• fashion
• chess
• doctors
• time's arrow

Number 5
Delve into the issue of war crimes, particularly as it relates to Nazis and the Holocaust. How should perpetrators of war crimes be punished? Does the punishment change according to when the perpetrator is "brougth to justice"? For instance, were Tod Friendly convicted of a war crime at his advanced age, how should he be punished? Has he suffered, made amends, or been rehabilitated at all in the 50 years since the war? Does the time that has elapsed matter, or should a 95 year old, say, be put to death or sentenced to life in prison for crimes committed 65 years ago?

Number 6
As always, you are welcome to choose your own issue to explore in whatever way you so choose. Draw, write, paint, sculpt, question, answer, pull out a quote and analyze it. Anything.

A NEW APPROACH 

I'm going to try something a little different this month. Instead of giving you some background and then segueing into the assignments, I'm going to give you the background IN the assignments. Exciting, eh? (Try to contain yourselves.)

As you read each assignment, you'll be given a little information and something to think about with regard to this month's selection, The Great Gatsby by F. Scott Fitzgerald.

Then, after reading all of your assignment choices and considering them carefully (gleaning brilliant bits of insight all the while), you'll choose one assignment to prep for our meeting on April 9th.

Ready? Go!

THE ASSIGNMENTS

#1 - Cover Art 

What's up with that ghostly disembodied face floating over the city on the novel's cover? Believe it or not (your choice), this cover art has been praised for its artistic and symbolic qualities. Created for the original publication by Spanish artist Francis Cugat, those eyes—and that glowing city—have graced the majority of The Great Gatsby covers printed over the last 90 years. But... why? You tell us. Why is this cover so perfect for the novel? What are its artistic merits? In what ways it symbolic? Give us everything you've got: color theory, thematic analysis, a biography of Cugat—anything that explains why this cover is one of the most enduring and iconic book covers ever. Ev-er.

#2 - Living Will

Here's the situation. You're in the hospital. You have to undergo a procedure that may leave you unable to make your own medical decisions for a period of time, and you need to appoint someone else to make those decisions for you. For some inexplicable reason, your only choices to fill this role are the characters of The Great Gatsby: 

• Nick Carraway
• Jay Gatsby
• Daisy Buchanan
• Tom Buchanan
• Jordan Baker
• Myrtle Wilson
• George Wilson
• Owl Eyes
• Klipsringer 

For this one, you have to answer two questions: Who's your first choice, and who's your last choice? Back up each of your choices with specific evidence from the book. For instance, if you choose Nick because he's the most conscientious, find some evidence from the book that proves you're not just making things up. Not that you would. But still. Textual evidence, please.

#3 - The Great American Novel

Of course Gatsby is great, it's right there in the title. But what is it that makes Fitzgerald's book a contender for the title Great American Novel. Try to come up with more than reason to support your answer to this one. In fact, let's say three. And if you don't think it's particularly great or particularly American, you can come up with three reasons why Gatsby doesn't deserve the GAN title. 

Ooh! Here's a crazy thought—a third option for #3: Come up with another book that deserves the Great American Novel title more than Gatsby and explain your choice. (Wow. We're up to like, nine assignment choices now. Crazy.)

#4 - Autobiographical Nature of Book

You've probably heard the advice often offered to writers: write what you know. Whether it's good advice or not, it's pretty clear that Fitzgerald took it. There are several elements of The Great Gatsby that appear directly related to Fitzgerald's life experience. Do a little digging into F. Scott's biography and see what you can find in terms of characters, experiences, or events that may have gone directly from Fitzgerald's life to the page.

#5 - Poetry

One of the things I really enjoyed about reading Gatsby this time around was the language. Possibly because I already knew the story, I found myself highly focused on his writing style, his word choice, and—in particular—his very poetic descriptions. Scan through the text of The Great Gatsby and pick out words and phrases that you find particularly poetic. Once you have a good list going, start rearranging these words and phrases to create a Gatsby-inspired poem constructed from Fitzgerald's language. (You can insert a few word and phrases of your own if you like.) Give it a title and bring it to group to share. 

#6 - Something Clever of Your Own Invention

You're all brilliant and you know it, so feel free to create your own Gatsby inspired something-or-other and show it off when we meet on the 9th. 

Happy reading, everyone! I can't wait to see what you all come up with.