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  • Written by Renee Manfredi
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Above the Thunder

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A wary, middle-aged widow numbed by loss and disappointment. A preternaturally intelligent little girl who eavesdrops on the dead. A charming, sybaritic gay man torn between his love for his partner and the anarchy of his desires.These are the charged poles of Ren?e Manfredi’s gorgeously written first novel, a book that explores the currents of tenderness, responsibility and chance that turn strangers into a family.

Anna Brinkman meets her ten-year-old granddaughter Flynn when the girl appears on her doorstep, desperate for a love more steadfast than any she has received from her parents. She meets Jack when he shows up in an AIDS support group she is running and does his best to get kicked out. What ensues in a house on the coast of Maine will be the great journey of all their lives. Filled with humor, sadness, and wisdom, Above the Thunder is a magical achievement.




Staring at specimens of the Ebola virus was not how Anna had envisioned spending her birthday. It was already early evening, and she'd wasted the entire day in this dingy office looking at slides of diseases. She wanted challenging exam questions--these were her advanced students--though of course nothing as obscure as this hemorrhagic fever. Most of the medical assistants this junior college graduated would be funneled into plush suburban offices in Massachusetts, not the Ivory Coast. Still, Anna had never been able to resist a visit with cell pathology.

She looked through her chosen slides: Six diseases of white cells and two of red-sickle cell anemia, and the good old-fashioned pernicious kind. That ought to do it. For the sheer beauty of the cytology, she added acute lymphocytic leukemia as the last and final question--an easy one. She peered at this slide, adjusted the focus for the lens. Microscopically, this was one of the loveliest illnesses around, the cells plentiful and shapely, as festive as confetti from a burst piñata.

She turned off her desk lamp, started to pack up, but got sidetracked again by the rare specimen box. Why not? Better to look at Rift Valley Fever than fifty-plus candles on a cake. Her friend Greta had tried to talk Anna into a party, but Anna had never allowed a celebration in her honor, and certainly didn't want one now, three years past the half-century mark.

Anna supposed she'd had more than her fair share of what made for a wonderful life, although she'd never have imagined this--an instructor at a junior college, widowed, estranged from her only child, living in a townhouse that was, as of yesterday when the Goodwill truck came, completely empty except for a desk, her cello and chair, and a bed. She didn't have so much as a saucepan or a throw cushion now.

When Anna moved into the townhouse a year ago, the previous owner had abandoned all of her belongings and moved to Korea. The realtor promised to have everything cleared out and cleaned if Anna took the place, but Anna wanted everything left exactly as it was, down to the dead hyacinths and tacky collections of pirate cookie jars and clown figurines. At the time, she couldn't bear to have her things there, the beautiful china and furniture that had filled the Tudor home she'd shared with her husband on the North Shore. After Hugh died, Anna stored nearly all her household goods and rented a series of furnished apartments.

The townhouse was full of cheap and tacky things, which Anna had found comforting at first; everything here was expendable and replaceable, and nothing around her carried the burden of memory. Nobody she loved had ruined the finish on the coffee table with a hot mug. The stray socks behind the dryer would never be paired to anything in her drawer. Even the photographs were of strangers, clumps of women in self-conscious groupings at a ski lodge, and--Anna guessed--the previous tenant herself with a man probably a brother-in-law, or husband of a friend. She had the uncertain smile of someone asked to a party at the last minute.

Two weeks ago, when she remembered her upcoming birthday, it seemed even more depressing to be fifty-three with paint-by-number velvet clowns and pirate cookie jars that declared, Aye, aye matey! every time the lid was opened. She'd called in the Goodwill truck.

"Now what?" Greta had asked when she walked into Anna's empty apartment after it had been cleared. "What are you going to do about this?" The kitchen was absolutely and completely bare. Not so much as a salt shaker. "You can't live this way, either."

Anna shrugged. "We'll see." But Greta was right, of course, and for the past two weekends she'd been dragging Anna out to estate auctions, though Anna didn't want cat-clawed sofas or scratched-up tables.

She opened her desk drawer and found the hairpins she bought with Greta last Saturday. Twelve of them, morbid brooches made of the deceased's hair to adorn the dresses of the living. She didn't want them, certainly, and bid on them only out of suspicion that the hair of all twelve pins was from the same DNA pool. That interested her most of all: how the woman who wore them bore such prodigious loss. Most women would have stopped at one brooch, letting the first death stand in for all the others. Anna admired this long-dead mother, the fact that each death was particularly commemorated and not swept under one general heading of grief.

She turned the microscope back on and slid a few strands of what was surely baby hair under the lens. Blond and feathery, the cuticle smooth as a quill. Definitely infant down. The child had either died at birth or shortly thereafter; this was hair that had never been exposed to the sun. Not one telltale pit in the shaft or cuticle. She looked at the remaining eleven. Nine of the samples undoubtedly came from one family, and all twelve, she hypothesized from the minimal UVA damage, were under the age of ten. Illness, probably, a devastating turn-of-the-century disease that took all of this woman's children.

She swept the pins into the trash, then feeling guilty, fished them back out. She'd take the collection to an antiques store later.

Someone knocked and opened her door. Nick Mosites, an internist at the hospital who was occasionally a guest speaker here at the junior college. "Hi," she said.

"Sorry to bother you, Anna, and tell me no immediately if you want."

"Okay. No, and thanks for stopping in."

He smiled, perched on the edge of her lab chair. "I'm coordinating a support group for AIDS patients and their families at the hospital, and I need to start a second group. I had someone lined up, but she backed out at the last minute. I was hoping you could find me one of your brightest students to run the event. There would be an honorarium and experience, no real salary."

"Oh," she said, relieved that he hadn't asked her to run it. Anna didn't believe in such things as support groups. She followed Nick's glance to the nest of brooches on her desk. "Hairpins," she said, when she saw his baffled stare. "Brooches made with the hair of the dead. I bought them at an estate sale because I couldn't bear to buy a couch."

"Interesting," he said, but she could see that he wasn't in the mood for banter.

"Support groups are outside my area of expertise." She picked up the most beautiful of the brooches, a wreath of silver forget-me-nots interlaced with strands of impossibly soft chestnut hair. "I'm a med tech. I know pins and needles."

He nodded. "Exactly. And they tell me you also teach a class in medical ethics."

"Not really. It's just a one-credit class on office and hospital procedures. Glorified bedside manner. How to calm a patient who's afraid of needles. How to reassure parents when you're doing a needle-stick on their screaming baby."

"Perfect. I want someone with a working knowledge of virology. Basic medical skills and an unflappable manner. What this group will be is just overflow from the meetings at the hospital. Most of these patients know each other and just need a place to gather on a Saturday afternoon."

"Oh," Anna said. "So, it's not really a support group."

"Well, yes and no. I need someone to be there to run interference, and I'd like it to be someone who has a basic grasp of immunology and can also handle a few temper tantrums. I know you're turning out exemplary clinicians. The two you put in my office on externships were outstanding." He picked up one of the pins, Anna's second favorite. This one was smaller than the others, unadorned except for a thin blue ribbon that held the strands together. It was made from the hair of two people. From the near identical similarities in texture and shade, Anna guessed that this brooch marked the death of twins.

"And what about the running interference part? What does that mean?"

"Just that most of these patients know each other well, and can get into...well, dysfunctional family dynamics. Anyway," Nick said, "there's a psychiatric resident who will drop in when he can. All your student will need to do is commit to one hour on Saturdays, and write up a few notes about who was there and general topics discussed. The student will get a small honorarium, and of course, something to put on a résumé."

"You don't think you should ask one of your residents? Or a med student?"

"I did ask, but they're so overworked I can't in good conscience make them do it. Look, I'd run the thing myself, but Saturdays are the only day I have with my family." He paused. "I promise it's only temporary."

"I'll see what I can do," Anna said.

"Great. I really do appreciate it." He turned to go."Oh, one more thing. I know anybody you send over will be an excellent student, but I hope you'll be able to find one who is compassionate and patient."

Anna looked back at him, but before she could ask him anything further, he was out the door.

She looked through her class roster after he left. How would she gauge something like compassion from the contact she had with these kids? Compassion, in Anna's view, was a personal thing, a quality that emerged in a case-by-case basis only; what moved you about one person left you cold with the next. At least that was her experience. She circled two names in her grade book. She'd call these students tomorrow.

But enough today. She reboxed the slides. It was her birthday, after all, and what she wanted suddenly was to get a little drunk--a good sign, she thought, since that meant she wasn't too old to enjoy the finer pleasures of a good Scotch with a good friend. She picked up the phone to call Greta.

"What are you doing?" she said when Greta picked up.

"Well, I was about to make dinner, but Mike called and said he's working till nine, so not to bother."

Anna could sense her friend's mood immediately. Six months ago Greta had quit her job as vice-president of a software firm to devote herself full-time to the business of trying to get pregnant. Her tripartite obsession these days was conception, making elaborate dinners with ingredients she drove all over Boston to find, and coordinating a music and dance group for deaf children. Greta called the ensemble The No-Tones, and had already been written up twice in the Boston papers. Both of Greta's parents, German immigrants, were deaf. Anna was awed by Greta's childhood stories, the way, without a trace of self-pity or bitterness, she described leaving the silence every morning and moving slowly into sound, "like I was the light on water, and had to reach one shore in the morning, and the opposite every evening."

Greta's moods these days, Anna knew, were a rope bridge, swaying this way and that with emotion of even the slightest weight. She spoke softly. "So, anyway, since my wayward husband is missing dinner yet again, why don't you let me cook for you?"

"Better yet, meet me in the city. Let's go get drunk."

Greta laughed. "You paranoid thing, you. You don't believe me when I said I called off the surprise party?"

"Yes, I do. Mostly. But I just don't want to go home right now." Greta's townhouse was right next to Anna's.

Greta agreed to meet her at a working-class bar in Back Bay, a place she'd never been but had noticed on one of her drives. "It's across the street from a Korean Deli," Anna said. "I'll meet you there in an hour."

By the time Anna was on her second martini, Greta still hadn't shown up. She got out her cell phone to call Greta's house, but the battery was dead. Anna ordered a San Pellegrino, to sip along with the drink, though she was less afraid of drunkenness than she was of maudlin emotion.

A little more than a decade ago, she turned forty at the summer home in Maine. Hugh had arranged for a surprise dinner party--the one and only time Anna didn't mind, since he'd invited only people she truly loved. He had taken her for a two-hour walk on the beach and when they returned, there on the front porch were their friends at tables set with snowy linens and pink roses. There was a string quartet on the lawn, and hired servers to fill champagne flutes. Sometime during that evening Anna wondered where she would be for future birthdays and vaguely imagined that it would be right in the same place, with Hugh beside her, maybe just the two of them drinking wine on the beach after a quiet dinner in town. This, this sticky-floored bar with its torn vinyl booths and damaged-looking characters--of which she supposed she was one--was the last place she would have guessed.

Greta walked in finally, grabbing two pool cues on her way over to Anna's booth. "Sorry I'm late."

"Is everything all right?" Anna said, noticing Greta's bloodshot eyes.

"No, but I'm not talking about my problems right now. This is your night." She gave Anna a pool cue. "Follow me, Fifty-three."

Anna laughed and walked with her friend over to the pool table, then watched as Greta racked the balls. The look on Greta's face was precisely the reason Anna was done with relationships.

Other than Greta, she didn't even especially want friendships. The older she got, the more any successful human relationship seemed impossible. There were men around when she needed or wanted them--Anna thought of them as white cells; whenever she felt a little low, the monocycles and leukocytes attacked the virus of loneliness until she felt better. She'd had a few dalliances in the years since losing her husband, but no one had truly held her interest.

"Your turn," Greta said. "You're stripes, and we're playing slop."

"Naturally," Anna said, and her shot sent two balls thumping off the table. "Oops."

Greta gave her an exasperated look, then signaled to the waiter for another round.

"I shouldn't," Anna said. "I teach tomorrow and I still have quizzes to grade."

"Oh, bull. It's your birthday. You need to be self-indulgent. If you were a man in mid-life you'd be buying supersized SUVs with equipment racks for sports you don't even play."

Anna studied the table for a decent shot. "I need to do something out of character. I think I'm in a rut." The third martini was a mistake: Alcohol never had the mellowing effect on her that it seemed to on others. She didn't need to be stirred up, didn't want to think about regrets or mistakes. She didn't get the career she'd wanted, but she got an unexpected bonus in her husband who made her life just as fulfilling--more, probably--than if her plan to become a surgeon had worked out. She had things in her life now that satisfied her--her music, her teaching--and if her world was smaller and more lightly made than it had once been, it was also easier to let things go and let small pleasures step in for any epic striving after happiness, whatever that was.
Renee Manfredi|Author Q&A

About Renee Manfredi

Renee Manfredi - Above the Thunder
Renée Manfredi is the author of Above the Thunder and the story collection Where Love Leaves Us, which won the Iowa Short Fiction Award. She received an MFA from Indiana University, an NEA fellowship, and was a regional winner of Granta’s Best American Novelists Under Forty. She teaches creative writing at the University of Alaska in Fairbanks.

Author Q&A

Reading Groups love discovering a great book, and Renée Manfredi’s captivating novel offers all the elements for exciting discussion. Here, she talks about the rich characters and provocative themes in Above the Thunder.

All your characters struggle with loss, yet they all in their own way refuse to surrender to it. Did that come as a surprise to you?

RM: Every fictional character I can think of is defined by loss; there’s no novel in which all the characters have plenty of everything. Yet some of the writers I most admire—Jane Austen, Michael Cunningham, Anne-Marie MacDonald—provide hope in equal measure with loss. This is what I wanted for my characters.

Your eleven-year-old heroine is such an independent and captivating girl. Where did Flynn come from?

RM: In the early drafts of the novel, Flynn was a fairly typical child. Because she was so hyperattuned to her environment, though, she began to draw in the other characters’ strong emotions, and she became the one who always spoke the truth, even if the truth was more emotional than factual. Her eccentricity emerged in part from her tendency to say what the others were unable or unwilling to express.

Your novel isn’t a comic one, yet a few of your scenes are extremely funny. How do humor and tragedy co-exist so comfortably in your writing?

RM: I think humor is a survival strategy. Some of my characters get through tragedy in moments of high comedy: Jack has his moments of giddiness; and Anna turns to an eccentric neighbor when grief becomes too much.

The four main characters constitute one of the most unconventional families in fiction. Is this a subject that has especially interested you?

RM: The theme of family and belonging evolved naturally from the characters. I didn’t know when I started the novel that the characters would become so vital to one another.

Do you feel your work explores any subject that doesn’t get much attention in fiction?

RM: What may be a departure is having characters that deal with grief, loss and love in unconventional ways. My work may be more sympathetic to spirituality than most contemporary American fiction. In other literary traditions, spirituality, the mystery of what can’t be measured or seen, is more of a given–Isabel Allende’s House of the Spirits is a case in point. One of the characters in Above the Thunder explores grief, loss, and love by talking to the dead, reviewing other lives, and having visions.



“Manfredi might be the next must-read novelist. . . . Full of characters who whisper in the memory long after the book has been closed.” —The Plain Dealer

“Renee Manfredi has crafted a world that is as at once beautiful and authentic, recognizable and richly imagined. Every character who graces the pages of this stunning first novel left me nodding my head in recognition. Pure and simple, Above the Thunder is a terrific book.” --Chris Bohjalian, author of Midwives and Before You Know Kindness

“Renee Manfredi [writes] with the calm assurance of someone who believes she has a subject and a story to tell.” — Francine Prose, author of Blue Angel

“Renee Manfredi has created a gripping fable about a self-made family of complex, vivid, and haunting characters. They make their way through loss and grief by the use of strange and everyday varieties of magic: goggles that shut out the world, white blood cells on glass slides, almond cherry galette, sex, and even, at times, the help of the dead. --Sarah Stone, author of The True Sources of The Nile

“This beautiful, original novel’s characters have the heft and complexity of real people in all their maddening contradictions, rough edges, and hidden secret selves. Manfredi goes boldly, with effortless grace and confidence, into places where thinner-blooded novelists might fear to tread.” --Kate Christensen, author of In the Drink and The Epicure’s Lament

Above The Thunder is passionate, wise, and piercingly beautiful. Readers drawn to books with rich, memorable characters and contemporary stories will find this remarkable debut novel not only irresistible but impossible to put down.” --Tony Ardizzone, author of In the Garden of Papa Santuzzu

“Tragic, dramatic, romantic, inspiring, and devastating . . . Manfredi demonstrates the skill and talent of a novelist with many books under her belt” --Smallspiralnotebook.com

“Manfredi might be the next must-read literary novelist . . .full of characters who whisper in the memory long after the book has been closed.” –Chicago Tribune

“Ren?e Manfredi [writes] . . . with the calm assurance of someone who knows she has a subject and a story to tell.” –Francine Prose, author of Blue Angel

“A stunning debut novel . . . To describe [it] as a brilliant, issue-oriented drama shortchanges Manfredi's accomplishments; the medical writing recalls the early works of Ethan Canin, and the combination of smooth storytelling, compassionate and probing narration and imaginative plotting makes for a heady blend. . . . Amazingly accomplished.” –Publishers Weekly (starred)

“Ren?e Manfredi’s voice is sassy, compassionate, electric.” –Tony Ardizzone, author of In the Garden of Papa Santuzzu

“In this moving, engrossing family drama about journeys taken willingly and, for the most part, not, relatives' and acquaintances' lives intersect, and tests of family loyalties and friendships spur growth and insight. Meanwhile, Manfredi handles each character confidently and credibly.” –Booklist

“Read any paragraph of Ren?e Manfredi and you will hear a voice of rare authority and verve. What is even more rare, and worth celebrating, is her compassion for her characters, her willingness to reach out into lives quite different from her own, her honesty in dealing with loss, loneliness, and grief.” –Scott Russell Sanders, author of Hunting for Hope and Secrets of the Universe

“Tragic, dramatic, romantic, inspiring, and devastating . . . . Manfredi demonstrates the skill and talent of a novelist with many books under her belt.” –smallspiralnotebook.com

“Manfredi’s disciplined command of language combined with her intricate plot and compassion toward her characters make [Above the Thunder] an absorbing read.” –Rocky Mountain News

“Thoughtful and complex. . . .The reader is transported through the truly significant emotions that govern our days: joy, grief, compassion and love.” –curledup.com
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

“Manfredi might be the next must-read novelist. . . . Full of characters who whisper in the memory long after the book has been closed.” —The Plain Dealer

The introduction, discussion questions, suggested reading list, and author biography that follow are designed to enhance your group’s discussion of the unforgettable Above the Thunder, an astonishing debut novel which explores the subtle, treacherous line between living and dying and captures in gorgeously rendered language the unexpected entanglements of the heart that can transform a life forever.

About the Guide

Devastated by the loss of her beloved husband and numb over the callous disappearance of her drug-addicted daughter, Anna has buried her grief in her medical work and wants nothing more than to be left blissfully alone. Yet when her son-in-law and the ten-year-old granddaughter who she has never met arrive on her doorstep, bereft and hoping to stay awhile, Anna’s world shifts irrevocably. Despite her attempts to maintain a protective distance from the newcomers, Anna is hopelessly beguiled by the child Flynn, whose dark and fanciful imagination thinly veils the scars of a damaging childhood.

Anna’s life takes another unforeseen trajectory when she meets Jack, an AIDS patient reluctantly participating in a discussion group Anna is coordinating. Engaged in a brutal, private struggle with his mortality—and the questionable choices that have landed him with the virus—Jack recognizes in Anna a conflicted soul and a kindred spirit. Soon the unlikely duo, with Flynn in tow, set up a makeshift home in rural Maine, in search of peace, renewal, and the opportunity for healing. Heartbreak hovers close, however. As Flynn’s obsession with death and reincarnation spirals toward a dangerous brink, Anna, Jack, and the friends they call family discover both the limits of devotion and the transformative power of tragedy.

Funny, wise, and often chilling, Above the Thunder offers an utterly unique take on loyalty, survival, the various incarnations of faith, and the ultimate search for home that drives us all.

About the Author

Renée Manfredi holds a fellowship from The National Endowment for the Arts and was named a regional winner of Granta’s Best American Novelists Under Forty. Her story collection, Where Love Leaves Us, won the Iowa Short Fiction award. Her short stories have appeared in The Mississippi Review, The Iowa Review, The Georgia Review, and the Pushcart Prize anthology and have been featured in NPR’s Selected Shorts series. Above the Thunder is her first novel.

Discussion Guides

1. As the novel opens, Anna doubts her own capacity for compassion: “Deep down she suspected that this trait, along with the maternal one, had never been activated in her. She doubted if it was possible to understand someone else’s suffering. Even her beloved husband whose pain had become a private geography on which she couldn’t trespass” [p. 21]. Is this cynicism or honesty at work in Anna? Do her relationships with Flynn and Jack change her aptitude for compassion and/or her ability to recognize it?

2. Above the Thunder is rich in symbolism, particularly surrounding Anna’s voyage to self-knowledge. What is the symbolic significance of her collection of antique hair pins? Her cell pathology slides? What does it mean when she randomly buys a collection of books about female hunters? Why does she have a penchant for dropping things? What other symbols does the author weave into Anna’s story?

3. What complex facets of motherhood—or the desire for it—does the author explore through the characters of Anna, Greta, Poppy, Leila, and Jane? What distinction does Anna draw between “maternal instinct” and “motherhood” [p. 116]? What different aspects of the concept of fatherhood are represented by Marvin, Mike, Jack, and Stuart?

4. Flynn’s point of view is introduced abruptly at the end of the fifth chapter. What does the reader glean about Flynn from this short, powerful passage? What foreshadowing does it contain?

5. The AIDS support group brings Anna into contact with Stuart and Jack. Is there more significance to the group than serving the plot? How does Anna’s involvement with the group affect her?

6. As Jack grapples with the mystery of who has given him the AIDS virus, he muses: “Mysteries and miracles, miracles and destinations, weren’t that far apart, in his view. The stricken and the blessed both followed the same path, faith the common point of origin. In the end, there was no difference between Bethlehem and the bathhouses” [p. 79]. What does he mean by “destinations” here? What sort of faith has led him to his dilemma?

7. How does the author weave subtle hints about reincarnation into the text to make Flynn’s prophecies more sinister and suggestive? What is Flynn’s vision of herself, Marvin, Poppy, and Anna in the next life? What behavior does Anna exhibit that seems to corroborate Flynn’s prediction about her?

8. Jack does not fear death but rather fears the possibility of continuing in the beyond: “Spirit without body was repugnant, desire no longer limited by the boundary of skin, expanding to fill the universe, love like sound waves going on forever, not stopped by the density of flesh. How could he ever keep track of himself when his margins were infinite?” [p. 198] In what way does this same fear plague Anna, as well as Flynn? Can it be argued that this is, in fact, the theme of the novel? How does each of these three characters handle this fear?

9. During a particularly alarming episode of Flynn’s irrational behavior, Anna begs the girl to always tell the truth: “You should never hide. Never hide the things that make you who you are” [p. 158]. Yet asking this promise of the child fills Anna with an inexplicable sense of dread. “The truth—whatever Anna meant by it, and she didn’t quite know now—was likely to deliver her granddaughter into the hands of the enemy” [p. 159]. What are the possible meanings of the word “enemy” in this context?

10. What is the significance of the Mahatma Gandhi epigraph, “We must be the change we wish to see in the world”? Which of the novel’s characters yearn for change, and which ones achieve it?

11. Why does Greta insist that “Poppy had nothing to do with what Flynn did. She’s not responsible”? Is it possible to separate Flynn’s propensity for depression from her abandonment by her mother? Does Anna find Poppy culpable?

12. What role does the late Hugh play in the way Anna approaches her new life in Maine? How does the memory of him act as a conduit between her and Flynn? What finally allows Anna to let go of Hugh to the extent that she is open to the possibility of romance?

13. Are the adults in the novel too self-absorbed to realistically see how troubled and endangered Flynn is, or are they earnestly trying to allow her the freedom of eccentricity? Why does Anna muse only half-heartedly about Flynn’s possible need for professional help? Is the consequence of Flynn’s action an avoidable tragedy or an instance of fate?

14. During a game of “would you rather” with Flynn, Anna chooses to be a fig tree rather than a whale, stating, “I would always prefer to bear fruit” [p. 139]. How can this conviction be reconciled with her apparent distaste for motherhood? Does this moment mark a turning point for Anna, or is she simply accessing her real feelings on the matter?

15. What is the significance of the birch log fire Anna smells the morning of the tragedy?

16. Jack imagines infection with the AIDS virus as a kind of pregnancy, giving him a sense of being rooted, or caught up in a continuum. He envisions “the lineage of all those he’d ever loved and his lovers’ loved ones, through this virus, a kind of terrible, merciless child who gestated over and over” [p. 40]. What does this odd reflection reveal about Jack? Is he a likeable character despite his patent untrustworthiness? How does Jack’s character evolve over the course of the novel?

17. What does Anna mean to convey when she tells Marvin, “Mourning is easier than worry. Or any of those emotions you feel for the living” [p. 116]? Has she closed herself off to the possibility of love and relationships? Or is she entering another phase of dealing with them?

Suggested Readings

Majgull Axelsson, April Witch; Julia Glass, Three Junes; Brian Hall, The Saskiad; Kent Haruf, Plainsong; Ann Napolitano, Within Arm’s Reach; Mark Spragg, An Unfinished Life; Miriam Toews, A Complicated Kindness; Tim Winton, The Riders.

  • Above the Thunder by Renee Manfredi
  • May 10, 2005
  • Fiction - Literary
  • Anchor
  • $13.95
  • 9781400078509

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