In The Telling Room, Michael Paterniti showcases his storytelling craft to tell the tale of the world’s greatest piece of cheese.
Questions and Topics for Discussion
1. This book starts in a deli in Ann Arbor, Michigan, and leads to a small village in Spain, all in a quest for some cheese. What do you make of the author’s impulsivity, and does it resemble a seemingly random decision in your own life that somehow led to an unexpected result?
2. Do you agree with the author’s assessment of modern society as TK? If so, what might be a solution, short of moving to a small village in Spain?
3. When Mike first meets Ambrosio in the telling room, the cheesemaker expounds on the importance of taking time to cultivate food, to prepare it, to enjoy it, and — finally — to pass that food from our bodies as waste. How much do you agree with Ambrosio’s way of living? Do you believe that what we consume and the way we consume it has such a pronounced effect on our lives?
4. Ambrosio’s slow-food style of living proves deeply seductive to the author—carrying him back again and again to Spain. Would you say such a lifestyle is equally feasible in our convenience-oriented society? How might it be achieved?
5. Do you have a place that you return to, and if so, what is it that you find there?
6. On page 71, the author includes the following footnote: “I would soon find out that digression was a national pastime in Castile, that to get to the crux of any matter you had to listen for hours, weeks, months, years.” What do you think is his intention by including this note to the story? How did it affect the way that you read the footnotes that followed?
7. Ambrosio has a phrase, “the disability of memory,” which he defines by saying, “Everything is rushing forward, so I must go back.” In what ways is Ambrosio’s story emblematic of this idea? Why do you think this idea captured Mike’s imagination so completely?
8. Can you name some more of the many conflicts in the book?
9. When Mike first returns to Guzman, he writes that “[I didn’t] care to hold myself to the normal journalistic standard, for I wasn’t entirely playing a journalist here. I was playing myself for once.” Do you think that, by entering the story simply as himself, different opportunities were open to Mike than if he had maintained his journalistic distance? What issues might have been avoided had he been more of an objective observer? How might a more objective book about Ambrosio feel different than the one Mike ultimately wrote? Have you ever started something as your job that ultimately became something deeply personal?
10. In THE TELLING ROOM the idea of memory takes many forms, such as Luis’s keys, or the cheese itself. Why do you think memory becomes such an important theme as the book goes on?
11. When Ambrosio gives Mike a key to the telling room, he says that it’s where Mike will write “their” book. Who do you think the book ultimately belongs to? In what ways is the story more Ambrosio’s, and in what ways Mike’s? What does it mean to own a story?
12. What obligation does the writer have to his or her subject?
13. At the outset, Ambrosio is portrayed as a mythic figure, and is later revealed to be, simply, a man. How does this shift occur? What parts of Ambrosio the man have to be cloaked so that we can believe in Ambrosio the myth? Why does the author slowly pull back the curtain like this?
14. The idea of fatherhood is another recurring theme, and particularly the ways that children carry on the traditions, ideas, and lives of their parents. On page 195, Paterniti writes, “This was one form of enlace, too, the attachment of the child to the father, and with the passing of time the father to the child, so that even in death one lived on, carrying the ghost of the other like a baby inside.” How are Ambrosio and Michael each defined by their roles as fathers? As sons?
15. The whole of Castile shares a fascination with the legend of El Cid, a story that likely glosses over some harsher truths. How does the story of El Cid relate to Paterniti’s relationship to Castile? How does it relate to his relationship with Ambrosio?
16. On page 204, Paterniti describes a scene in which the mistranslation of a word – barber for sheep shearer – leads him to “float away with the myth,” imagining a barbershop for animals. What are some other instances of “floating away with the myth” in this book?
17. Sara, Mike’s wife, describes the idea that some people see the world as being clearly delineated (1 + 1 = 2), while other see it as a web of possible connections and fruitful contradictions. Do either of these outlooks match up with your own worldview?
18. Towards the end of the book, Paterniti describes the act of telling stories to his children as one that unites them as a family, and as “some way of saying, ‘History repeats.’ And: ‘You’re going to be alright.’” Do the stories you remember hearing as a child and the stories you tell now have a similar impact on you? What other ways do stories – and the act of storytelling itself – affect us?
19. Ultimately, what do you think of Ambrosio, the myth and the man? Do you think that the author finds what he’s looking for?
Are you planning a book club discussion for The Telling Room? Invite Michael Paterniti to join your chat. Email rhrc (at) randomhouse (dot) com to request a Skype visit from the author! Scheduling depending.
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