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  • Written by Domnica Radulescu
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  • Written by Domnica Radulescu
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Written by Domnica RadulescuAuthor Alerts:  Random House will alert you to new works by Domnica Radulescu

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On Sale: August 05, 2008
Pages: 272 | ISBN: 978-0-307-27046-7
Published by : Vintage Knopf
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Synopsis|Excerpt

Synopsis

In the summer of 1977, seventeen-year-old Mona Manoliu falls in love with Mihai, a green-eyed boy who lives in Brasov, the romantic mountain city where she spends her summers. But under the Ceausescu dictatorship, paranoia infects everyone; soon Mona begins to suspect that Mihai is part of the secret police. As food shortages worsen and her loved ones begin to disappear, Mona realizes that she too must leave. Over the next twenty years, she struggles to bury her longing for the past, yet she eventually finds herself compelled to return, determined to learn the truth about her one great love.


From the Trade Paperback edition.

Excerpt

Orange Moons I have left the Black Sea, my skin golden and salty, and my tangled hair brighter from the sun, to take the train that crosses the land by the violet-blue waters and the sunflower fields near Bucharest, then cuts through mountains into resin-pungent forest.

I am seventeen. Every summer my parents and I leave the hot streets of Bucharest to spend two weeks on the beaches of the Black Sea, after which we spend two months of summer in my aunt’s house in Brasov, the city at the foot of the Carpathians. I always rush to the mountains, hungry for the cool, fragrant air and sparkling sunrises.

This time I have come only with my mother. The night I arrive from the Black Sea, I want to go out for a stroll around the neighborhood right away. My aunt Nina, my mother’s sister, tells me I should rest first and not go off like that, all heated up and sweaty. She always gives her advice in a timid, soft way, as if worried she might upset you, unlike my mother, who blurts out her judgments in shrill tones, demanding that you listen.

My younger cousins Miruna and Riri want me to stay and play with them. Miruna, who is almost ten years old now and has the bluest eyes I have ever seen, starts crying, and she says I never play with them anymore and that she hates me. Riri, only five, with dark eyes like blackberries, throws a wooden toy box at my head. I tell them I’ll play with them later. The only one who doesn’t care what I do is my uncle Ion, who is snoring loudly on the sofa in the kitchen, too exhausted from work to even go to bed.

I need to cool off my sunburned body in the fresh mountain air, and I fly down the marble staircase, out into the fresh night, before either my mother or her sister can say another word. By June, I desperately want to leave Bucharest, with its tired crowds and heated pavements, its French-style heavy gray buildings, and its slow-moving trolleybuses. The detour by the Black Sea is like a short leap into a fairy tale. The sight of the emerald-violet sea sparkling in the morning as I look at it through the perfect white columns at the edge of the beach always transports me to the times of Ovid, once exiled on these shores. I like to think of myself as a naiad walking dreamily on the burning sands and gliding slowly into the waters filled with lacy algae and pearly shells. By the end of the second week, my body aches from the sun and from the Bucharest crowds filling every square meter of the beaches with their improvised tents and colored sheets. That’s when I start longing for pine trees and cool shade.

Up here I finally feel at home, not in a fairy tale, not in a place I want to run away from, but in a place where my body feels whole and where my heart has a steady beat. There are children’s voices coming from behind the thick stone walls that line the streets. Blood-red poppies and orange marigolds grow in little beds along the sidewalks. Right around the corner there is a large open market, and I can hear faint echoes of peasants’ voices advertising tomatoes and radishes, watermelons and spring potatoes. The summer open market is the only place where you can still buy food without a huge line. In Romania, we eat better in the summer.

I run into my childhood friend Cristina. Her two chestnut braids are wrapped around her head, and she gives me the news breathlessly, without any word of introduction or a hello, as if she had been expecting to meet me in the street tonight.

“Did you hear about Mariana? Mihai killed her,” Cristina says. “The two of them went on a three-day trip at the end of April. They were coming down the Rock of the Prince, trying to get back to their tent before dark. He was walking behind her, and he accidentally kicked loose a rock. It hit her in the head and killed her, just like that.”

Cristina breaks into sobs. She was a good friend of Mariana’s and learned about kissing and lovemaking from her, which she would then tell me. I try to picture Mariana. I used to admire her. I envied her raspy voice and the way she blew rings of cigarette smoke. I loved the way she would throw herself carelessly into her boyfriend’s lap, swirling her Gypsy skirts. But mostly I picture her boyfriend, Mihai Simionu. He has green eyes and long lashes, and he would pluck the strings of his guitar and play melancholy songs. Cristina’s news of the accident horrifies me, but somehow I don’t feel sad for Mariana.

Mihai and Mariana are four years older than Cristina and me, and we were fascinated with them and their love. We sometimes followed them and spied on them. I used to watch Mihai from the corner of my eye as he walked holding Mariana’s hand and whistling. Now I picture him walking like that, but there’s no one holding his hand.

Instead of heading toward the boulevard, we turn back to our neighborhood. Cristina doesn’t want to be seen crying by the whole world. We pass a row of neatly lined-up yellow, peach, and blue stone houses toward the park at the end of the street and see Mihai walking circles in the shadows around the wooden bench where he and Mariana used to kiss and sing until late at night. He is unshaven and wears checkered mountain pants, boots, and a wrinkled short-sleeve shirt. Cristina starts crying again at the sight of him, and I tell her to go home and leave me alone with him.

I watch him smoking those unfiltered Romanian cigarettes called Carpati, Carpathians, almost like a cruel joke. I never got it why such stinking cigarettes are named after our most beautiful natural assets. Romanian cigarettes are the worst cigarettes in the world, bitter and sour. Suddenly my heart aches for him as he smokes and walks furiously, hurting from his loss. I go straight to him, cross his path shamelessly so he can’t avoid me. He has to look at me. And he does. He gives his anger a rest and smiles a little, squinting his green eyes in the smoke. I ask if he wants to walk with me. He nods.

The moon is full, hanging low. He has his head down and walks fast. I can’t keep up with him. My face is still burning from the Black Sea sun and from the summer night, from the full moon and his green eyes. I am burning like embers. I am glowing in the dark.

There is no meat in the stores and no toilet paper. Flour, oil, and sugar are rationed. People say it’s about as bad now in 1977 as it was during Stalinism. The worst of it is that there are men in black leather jackets with small eyes who watch at every corner, on every floor of every building, and who listen on every telephone line. They want to know if you are complaining, if you make jokes, if you speak with foreigners, if you plan to leave the country, and where you got your Kent cigarettes. Somehow, many people manage to escape the country. There is news almost daily about so-and-so who left on a tourist trip to Germany and never came back or who went to Yugoslavia and then somehow ended up in Italy. Lucky them, we always say. Smart people, good for them, we also say.

In school, between our organic chemistry classes and our comparative literature or Western philosophy classes, we study the five-year Socialist plans of the cooperative farms and the production of tools and tractors, and about the utopia of Socialist happiness in a not-too-faraway future, where people will give only according to their ability and receive according to their need. We seem to find ourselves in some kind of a transitional moment, when, except for the important Party leaders and secret police who shop at special, secret Party stores, nobody is really that close to getting even the most basic needs met. The grocery stores are empty, and the steel shelves are shiny and clean to the point that you can see your face reflected in elongated shapes in the metal surface of those shelves. If you are lucky, at the most unexpected times of the day there might be a transport of cheese or chicken wings in your neighborhood, with long lines formed instantaneously. The last people in line generally look demoralized: there won’t be anything left on the shelf, they know, by the time their turn comes. They will leave with their empty bags and try to find other lines throughout the city, where they might have the chance of being the first in a line for butter or sardines or toilet paper. The running joke is that Romanians don’t need toilet paper any longer because they have nothing to shit.

This summer I am seventeen, I am bursting into being a woman, and I don’t care about empty stores and sugar and flour rations. My blue eyes are blazing. My long limbs are taut and restless. I have wild wheat-colored hair that flies in all directions and a great hunger in my flesh. All I care about is that this man who is grieving for his dead lover turn his eyes on me, notice my sun-bleached hair, my burning face and shoulders, and play one of his melancholy guitar songs for me. For me alone. The smell of earth and death turning through his heart makes me wild with desire. I want to be there in the center of his heart where it smells like raw earth. I want him to be my first lover: bitter, raging, smelling of unfiltered Romanian cigarettes, and hurting for a dead girl.

This is the year of the big earthquake, and blood and pink flowers seem to bloom all at once out of the cracked earth. The greedy, unforgiving black earth! I wonder if Mariana had any time to think, to worry, to gasp at the thought of her own impending death. I wonder if Mihai was just careless when he kicked that rock downhill or whether there was anything else that Cristina hasn’t told me or that she doesn’t know herself. I know other men were in love with Mariana. I know they all went in big groups on their mountain trips. Maybe Mariana had flirted with Mihai’s best friend, Radu, a little too much, as she sometimes had the habit of doing. Maybe Mihai flew into a jealous rage. Maybe this was a crime of passion. I remember their fiery fights late at night at the edge of the park where all the kids in the neighborhood gathered. Mariana always broke into tears and smoked one cigarette after another and swirled her colored skirts in a move to leave. Then Mihai would grab her violently, and in a second his mood changed from angry to tender and they would start whispering and kissing. I used to watch them with fascination and with an intimation of delicious pain.

As I walk beside Mihai, I am thinking that there never has been such a full orange moon and such a fresh, raw-smelling place in someone’s heart for me to install myself like a greedy queen.

“They shaved off her hair,” he is saying. “She had a big hole in the back of her head. They shaved off her beautiful brown curls to look at the hole in the back of her head. Why did they have to do that?” He crushes his cigarette on the ground and stares in the distance. We walk some more, and the moon is swelling in front of us, orange, round, wicked. I want to take his hand and make him look at me.

I stumble in my flimsy, worn-out sandals. My feet are blistered from the sand and the salt that had gathered in my sandals at the beach. My feet burn with every step as if the earth were boiling. I steady myself by holding on to him and making him stop. His fingers on my arm burn my skin.

“Let’s go get something to drink,” I say. “Today is August fifteenth, Saint Mary of the Assumption. It’s my name day.”

“I thought you were a pagan,” he says. “I am. I just like to drink on my saint’s day. I celebrate my name.”

“Your name is Maria? Your aunt Nina always calls you Mona.”

“My aunt Matilda, my father’s sister, prayed to Virgin Mary during my birth, so I had to have her name, too, for protection. Mona Maria.”

“Mona Maria.” He smiles and says he finds the alliteration amusing. He says it’s like a movie star’s name.

We pass by my aunt’s house. I hear my mother call me from the balcony, saying it’s late and that I have to come home. I shout up to her to leave me alone; I am old enough and I can stay out as long as I want. We keep walking.

Mihai says there’s a liquor store next to the railway station. We walk for a long time without talking. We see a train smoking its way out of the station and a couple kissing at the street corner. I’m jealous of all lovers, dead or alive. I am thirsty and giddy and I fall in love with every step I take at Mihai’s side, as I watch his profile. His thick black eyelashes and sad green eyes. Tonight, on my saint’s name day, I don’t care about sugar and flour rations, so long as the store has vodka, and it always does.

We buy cheap vodka, tuicå, made from fermented plums, and walk back to our neighborhood. But just as we are about to cross the street toward my aunt’s building, I take Mihai’s hand and pull him onto a side street. The darkness smells of my special flower, regina noptii, queen of the night. We drink from the bottle in the middle of the street to celebrate my name saint.

I laugh so hard that tears burst out of my eyes. The moons are multiplying. It’s wonderful to have moons scattered like stars above your head and to smell the queen of the night and to hold the hand of this sad man who is already thinking about how he will kiss me. I am alive. I am here, laughing in front of him, ablaze and golden and seeing many moons in the sky. I lie down on the strip of grass at the edge of the sidewalk, under a line of poplar saplings, next to the iron fence that separates the street from the park in front of my aunt’s building. The neighbor who lives below my aunt’s apartment walks past me carrying a bag of potatoes. She shakes her head and mutters something about “city girls.”


From the Hardcover edition.
Domnica Radulescu

About Domnica Radulescu

Domnica Radulescu - Train to Trieste
Domnica Radulescu was born in Romania and came to the United States in 1983. She holds a Ph.D in French and Italian Literature from the University of Chicago, and is currently a Professor of Romance Languages and Chair of the Women's Studies program at Washington and Lee University in Lexington, Virginia. She has written and edited books and scholarly articles on European and Eastern European literature, and has also worked in theater for two decades, directing plays by Eugene Ionesco, Samuel Beckett, Fernando Arrabal, and Jean Tardieu. She is a recipient of National Endowment for the Humanities and Fulbright grants. Train to Trieste is her first novel.
Praise

Praise

“Vivid. . . . . Alive with the youthful awareness of the texture of the old world. . . . Suspend all cynicism and believe in the possibility of this love story.” —Los Angeles Times“Deeply moving and deeply felt. . . . An unforgettable story that introduces a new and astonishingly fresh voice.” —Arthur Golden, author of Memoirs of a Geisha “Sweeping, gorgeous. . . . Every page in this elegant, sophisticated novel drips with detail.” —The San Diego Union-Tribune“Radulescu's novel, sprung from an autobiographical impulse, powerfully combines the intensity of first love, the confusion of politics, and the melancholy of exile.” —The Boston Globe“I was swept away by Domnica Radulescu’s debut novel. It’s at once a haunting journey to a faraway country, beautiful and terrifying, and an odyssey straight to the heart of a young girl and the remarkable woman she becomes. Deeply moving and deeply felt, Train to Trieste is an unforgettable story that introduces a new and astonishingly fresh voice.”–Arthur Golden, author of Memoirs of a Geisha“A spirited, passionate, funny look at the world in the time of the new millennium. Domnica Radulescu is a remarkable writer enriching American letters with her Romanian perspective. We are lucky to call her ours.”–Sandra Cisneros, author of The House on Mango Street“Richly poetic . . . Mona, an impulsive Bucharest teen, falls in love with Mihai, a boy from the mountains. He’s just lost his longtime girlfriend to a violent accident, and Mona’s drawn to the rawness of his grieving. Her youth in Romania is a flurry of sensual pleasures, despite the fear and want endemic to life under a Stalinist regime. . . . Though Mona grapples with secret police and with scarcity, her evocations of the pleasures of youth and love are indomitably joyous, almost synesthetic in their sensuality. . . . Mona’s story spins out over years, as she builds an American life that’s forever overshadowed by the one she left behind. Fittingly, the novel ends in Romania, on her first trip back. Radulescu beautifully evokes the timelessness of spaces, as Mona’s middle-aged self attempts to fit into landscapes she moved in as a young woman. The book’s final pages raise as many questions as they answer, but Radulescu is happy to leave something to the imagination.”–Melissa Albert, Time Out Chicago “A must-read thriller. Radulescu writes with intensity and urgency and pulls readers along with her first-person account of escape, survival and love. . . . Mona Manoliu is a student and blossoming beauty of 17 when she meets Mihai while vacationing in the beautiful foothills of the Carpathians. Radulescu’s descriptions of this region speak volumes about her intimate knowledge of her home country. Innocent love risks discovery back home in Bucharest as Mona’s father pursues hidden agendas, and even best friends are suspected enemies. Savagery and starvation prevail as Ceausescu and cohorts bleed the country of food and money. Mona’s family urges her to flee . . . [After living in America for years,] Mona makes the return to her homeland and her first love. What she finds is a revelation that is both unsettling and satisfying. Mona Manoliu lives her life in rapid, staccato bursts of action and emotion. Readers will page through her adventures with precisely the same feelings.” –Barbara Dickinson, The Roanoke Times (October 12, 2008)“Unique . . . Like an oven on fire, with a typewriter and love letters, Train to Trieste bursts forward with a novel definition of woman, family, and instantaneous decision. Mona Maria Manoliu is a protagonist who captivates through sheer boldness and endless adventure. [She is also] a feisty woman who is in love during dangerous political divisions. . . . Daring with words, Radulescu narrates the political tensions that Ceausescu throws upon Bucharest and Romania. . . . The power of now, the necessity of the present, and a woman’s decisive intuition explode from every page.”–Kimberly Gilmour, Seven Times (September 10, 2008)“It’s a long way from Romania to Lexington [Virginia], but Domnica Radulescu has made the transition with grace. . . . Train to Trieste tells the story of Mona Manoliu, who’s 17 when the story begins in the late 1970s. A relationship with a young man she comes to believe is a member of Romania’s secret police makes her flee to America via Italy. Years later, she returns to Romania and discovers the truth. More than a coming-of-age story, the novel is an exploration of a brutal regime and the new life Mona finds in the United States. Radulescu is a Virginia author with a fresh perspective who gives voice to both her native and adoptive lands.”–Jay Strafford, Richmond Times-Dispatch (August 31, 2008)“True love is hard to find, but it’s priceless–a lesson it takes feisty and vivacious Mona Manoliu decades to learn. A 17-year-old student in late 1970s Romania, Mona has fallen hard for the charismatic Mihai, whom she meets when summering with her family in the foothills of the Carpathians. Back home in Bucharest, her father pursues clandestine activities, and the family barely eats, but Mona is starry-eyed about Mihai–until she sees him in a black leather jacket, the favored outfit of the secret police, and encounters a crazed woman who asks her whether she really knows who he is. Then her family persuades her to flee to the West, and she’s off to America via Italy via Bucharest. Years later, Mona returns to Romania and discovers the truth about Mihai–a revelation that, against all expectations, is both startling and satisfying. . . . Engaging, evocative, intensely sensual, and sharply perceptive, conveying both the horrors of the Ceausescu regime and the ironies of Mona’s experiences in America. A strong first novel.”–Barbara Hoffert, Library Journal“A page turner: I read Train to Trieste with multitudinous gasps of delight, breathlessly and quickly.”–Andrei Codrescu, author of The Blood Countess and commentator, “All Things Considered”“Startling . . . a passionate narrative, intertwining political and love intrigues in the most thrilling ways. Train to Trieste is seductive and suspenseful, shimmering with linguistic brilliance and marvelous images.  Lovers seem to be spies, and informants fall in love, in this story full of intelligence and beauty.”–Josip Novakovich, author of April Fool’s Day“Magnificent . . . Dominica Radulescu writes the incredible journey of seventeen-year-old Mona Manoliu and her struggles with the basic need for a woman–love–in a time of hunger, fear, and death. . . . The resolution [of Mona’s story], although shocking and riveting, brings a satisfaction and happiness; the true mark of a great writer. This was perhaps one of the most touching stories that I have ever read. The sensuous language and the artistry, in which the words are woven to tell the tale of Mona, connected me greatly with the character. I felt her love, passion, and anguish throughout the story. . . . I felt a great connection to [Radulescu], as if she were speaking to me, almost in a luring way. Enchanting and beautiful, at the same time chaotic and strong, Mona was a girl that I could envision and almost touch as if she were real. Train to Trieste [is] fantastic in every way, I just simply loved it.”–Beatriz C., Bookdivas.com (October 2008)
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

“Vivid. . . . Alive with the youthful awareness of the texture of the old world. . . . Suspend all cynicism and believe in the possibility of this love story.”
Los Angeles Times

The introduction, questions, and suggestions for further reading that follow are intended to enhance your group's conversation about Train to Trieste, a thrilling, evocative story about a young woman's passionate first love, her flight from her native country, and her struggle to make a new life alone in America.

About the Guide

Mona Maria Manoliu is born in Bucharest in 1960 into a family struggling with the difficulties of life in Romania, with its constant food shortages and atmosphere of paranoia. In the summer of 1977, Mona falls madly in love with handsome, elusive Mihai, a boy who lives in the city in the beautiful Carpathian Mountains where Mona spends her summers. She can think of nothing, and no one, else. But life under the dictator Ceausescu is difficult. Hunger and fear infect everyone. And one day Mona sees Mihai wearing the black leather jacket favored by the secret police. Could he be one of them? Mona's father, a university professor and political dissident, is involved in an opposition movement; his activities mean that the family is under constant surveillance.

As food shortages worsen, as more and more of her loved ones disappear in "accidents," it becomes clear that Mona herself could be in danger. After she is threatened by a member of the secret police, who suggests to Mona that some fates are worse than death, Mona's parents decide that she must leave immediately, in secret. Following a last anguished night with Mihai, Mona is smuggled out of the country by an ex-student of her father's. She escapes through Yugoslavia to Italy, and while in Trieste she learns that the most likely place to accept a political refugee is the United States. And so Mona moves to Chicago, where she finds a job, attends graduate school, marries and has two children—without ever forgetting Mihai, who she hasn't seen since leaving. Decades later, she journeys back to Romania, determined to learn the truth about her one great love, bringing the novel to an intense and unforgettable conclusion.

About the Author

Domnica Radulescu was born in Romania and came to the United States in 1983. She is a Professor of Romance languages and literature and chair of the women's studies program at Washington and Lee University. She has written and edited books and scholarly articles on European literature and theater, and is a founding director of the National Symposium of Theater in Academe. She lives in Lexington, Virginia, with her two sons.

Discussion Guides

1. Mona falls in love with Mihai despite having learned that he "killed" his girlfriend, Mariana, in a mysterious hiking accident. "All I care about is that this man who is grieving for his dead lover turn his eyes on me. . . .The smell of earth and death coursing through his heart makes me wild with desire" [p. 7]. Does the association of Mihai with death resonate with Mona throughout the novel? How does the element of the unknown influence her feelings for him?

2. Mona's mind often turns to family members whose life stories were even more desperate than her own—and who managed to survive—during the years of famine, wars, and Soviet rule in Romania: her grandmother, Paraschiva, floated down a river during a flood holding a mirror and a music box, surviving to marry the man who rescued her; her great-uncle Ivan disappeared during World War II, only to reappear twenty-five years later. What does Mona's story share with these family stories "handed down and retold many times over the years, to the point where they have become vague and misty like fairy tales" [p. 21]? How is her particular story different?

3. Mona describes her birth as follows: "I was born in the morning to the smell of linden trees, to the sound of my mother's sobs. I was born in the wild disorder of pain and mourning in my family, greedy for life and for my mother's breast" [p. 23]. What is the effect of the style of narration here? What moods and images do pages 22-29 present as Radulescu sets up the life story of the narrator?

4. What does it mean, for Mona, to be Romanian? What seem to be the special characteristics of her culture and its people? How does she differ in her attitude toward her country from both Mihai and her father?

5. Mona's immigration to America is sponsored by evangelical Christians who seek to convert her to their way of thinking and want her to help them spread their faith [pp. 182-83]. How is this ironic? Compare their way of practicing charity, and its effect on Mona, with that of the people who help her in Trieste, Italy [pp. 156-75].

6. Mona leaves her sponsors and gets a job at a convenience store; Marta, her co-worker from Mexico, becomes a loyal friend. Later, as she works on her doctorate, Mona teaches English as a second language to students from many other countries. How does living in Chicago shape Mona's feelings about becoming an American? As a novel of the immigrant experience, how does Train to Trieste compare with others you have read?

7. After a brief period of happiness, Mona's marriage to Tom goes badly wrong: she has an affair with Janusz, a Serbian man, which only ends when she becomes pregnant with her first child. Later, after she and Tom have reconciled and she is pregnant again, she realizes that she must get a divorce [pp. 247-49]. Why has Mona's marriage become unbearable to her? Does her situation reflect the difficulties of cross-cultural relationships, or is it a simple matter of incompatibility? Does the ghost of Mihai have any affect on Mona's subsequent relationships?

8. When necessary, Mona can be a creative talespinner: she tells her evangelical sponsors, Gladys and Ron, that she is Jewish and has become pregnant by the black postman [p. 184], and she later tells the social worker who comes to observe her and her children that she made the packaged Alfredo sauce herself [p. 258]. How does humor help Mona not only survive, but thrive, first in Romania and then in America?

9. Mona's sensibility, her way of describing experience, is extremely sensual. To what degree do these powerful aspects of her character tend to determine what happens in her life?

10. After emigrating, Mona spends many years without her parents. When her parents finally join her in Chicago, it seems that her father feels somewhat lost in America. What is it like for the family to be reunited? Does her father lose his identity and purpose, in a sense, by not having to fight the fascist regime at home, and by coming to America [pp. 217-18]? When Mona's cousin, Miruna, comes to America, they make their first stop at the zoo [pp. 239-241]. What does the sight of pink flamingos—in winter—signify for Mona and her family?

11. Mona is on State Street in Chicago when she sees a television in a shop window broadcasting the execution of Ceausescu and his wife. Remembering her own fantasy of killing him, Mona thinks, "How odd—instead of the bone—deep satisfaction, the limitless joy, I always thought I'd be feeling when this moment came, all I feel is pity and disgust" [p. 231]. Why is this moment so strange for Mona? Why is the relationship between dictators and their subjects so personal?

12. Mona is astonished and confused when she learns the truth about Mihai. Her visit to Mihai's close friend, Radu, in Romania gives her some closure, but it also brings up new questions about her history [pp. 283-301]. How does Mona's visit to Radu reorient her sense of the past, of Mihai, and even of her own father? Were you surprised by the conclusion—and, what do you think happens next?

Suggested Readings

André Aciman, Out of Egypt; Sandra Cisneros, The House on Mango Street; Edwidge Danticat, The Dew Breaker; Junot Díaz, The Brief Wondrous Life of Oscar Wao; Marguerite Duras, The Lover; Nathan Englander, The Ministry of Special Cases; Ha Jin, Waiting; Milan Kundera, The Unbearable Lightness of Being; Jhumpa Lahiri, The Namesake; Lara Vapnyar, Memoirs of a Muse; Markus Wolf with Anne McElvoy, Man Without a Face.

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