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Posts Tagged ‘reading guides’

Reader’s Guide: Discussion Questions for Dean Koontz’s THE CITY

Wednesday, July 9th, 2014

Koontz_TheCity Diving into the latest Koontz this summer? Join us with these questions and topics for discussion. Happy Reading!

1. Jonah recounts his story beginning when he’s eight years old, but in present time, he’s an older man reflecting on and retelling the story of his childhood self. How do you think time and distance have affected Jonah’s retelling of his story? Do you find that the more time you are removed from experiences in your own life, your story—or your view of it—changes? If so, how? What advantages, and challenges, might telling the story from such a perspective bring to an author?

2. Jonah begins his story asserting: “The last thing I am is a closet pessimist. I’m an optimist and always have been. Life’s given me no reason to expect the worst.” As you read, you learn that Jonah’s life hasn’t exactly been easy and he’s experienced real tragedy. Why do you think he’s such an optimist? Which relationships in his life contribute to that? Do you find that your own difficult life experiences make you more optimistic, or conversely, more pessimistic?

3. Both Jonah’s grandfather and Mr. Yoshioka serve as father figures to him. How are their ways of relating to him similar? How different? What are the most important lessons and examples that each impart? What scenes best captured these central relationships? Describe Jonah’s relationship with his mother. What makes their relationship so special? What scenes between them did you find most telling? Most affecting? Do you see such a mother-child relationship reflected in other works of literature? In your experience?

4. Jonah calls his narration an “oral history,” as he’s recording himself “shooting off his mouth.” How do you feel about Jonah as a narrator? Did knowing that his recitation is meant to be more conversational than formal color your relationship with the story in any way? Do you feel more affected by a story told from such an intimate point of view, rather than a story told at a remove, say by an omniscient narrator? How would the story have changed, told from another perspective? Jonah also admits that he plans to edit his recording to “spare the reader all the you-knows and uhs and dead-end sentences, also to make myself sound smarter than I really am.” He says this in jest, but in what ways might we all be guilty of editing our own stories? Consider the way we present ourselves through social media and online profiles. Did this admission make Jonah any less trustworthy as a narrator, considering the things we might leave out of our own narratives? Or did it make him more authentic?

5. Music is such a powerful, pervasive, magical part of this story, and there’s a scintillating soundtrack in the background, transporting us to another time. How did this contribute to your reading experience? What types of music do you envision might reflect Jonah’s later life? Consider what music means to you. What songs or styles of music might comprise the score for the movie of your life?

6. Thinking back, Jonah says, “all children are prone to voodoo thinking because they’re essentially powerless and because they lack so much knowledge of how the world works….” Jonah, of course, believes in juju to some extent, deeming his pendant capable of providing the “ultimate protection,” and safeguarding treasured objects in the La Florentine box. Did you have any of your own superstitions as a child? Ones that may seem silly now or that you still cling to in whatever way? Did you have your own “La Florentine box” and if so, what are some of the objects you valued most dearly? How did Jonah’s beliefs play out thematically in the book? Is there a connection between these so-called “childish” beliefs and belief of a deeper nature, as reflected by Miss Pearl?

7. The “all-seeing eye” is a major theme throughout the novel. There’s the faux eye that must have sprung from a stuffed toy, which Jonah keeps, sensing it has “some ominous significance”; there’s the magazine clipping that Fiona Cassidy contributed to Jonah’s box, having drawn in the eyes with a color that matched her own; and there’s the Fabritius painting, The Goldfinch, the eye of which Jonah feels all of nature peering through, seeing all sides of him and all the lies he’s ever told. In each case, Jonah feels equally unnerved, as though these eyes are portals through which some presence can analyze and judge him. Does he seem to feel the same anxiety when being viewed through each set, or is there an important difference between them? In some ways, do you think he’s attributing his own self-reflection to these “artificial eyes?” Have you ever encountered a set of “eyes” that provoked something in you in the same way? That made you uncomfortable or brought you face-to-face with a truth you wouldn’t have seen otherwise? Can you name similar symbols in other works of literature?

8. What did you make of the haikus strewn throughout the novel? Were you surprised by how moments of great joy and sorrow are captured so sparingly? How did this help put order and simplicity in Jonah’s world, as he was coming of age during a time of such turmoil? What lessons did they instill? Was there one poem in particular that stood out as especially inspirational or beautiful?

9. Jonah remarks on the fact that there weren’t many heroes for him to emulate growing up, as most prominent African Americans in pop culture were either sports stars or musicians, never the champions who took down the bad guys, and “taking down bad guys is fundamentally what you want in your model of a hero.” That definition changes for him over time, and the everyday heroes he comes to worship include his mother, his grandfather, Mr. Yoshioka, and Vermeer, to name a few. How do these figures influence the person he becomes, enabling him to persevere in the face of hardships and ultimately inspiring him to maintain his optimism where others might have given up under the circumstances? Do you have your own unsung heroes who’ve inspired you to do the same? In what ways does the influence of such individuals ripple outward, extending beyond their immediate circles to the wider world, in the novel and in reality?

10. Consider the role of race and identity throughout the narrative, and what it means to different characters. Think about Jonah’s narration as an African American boy coming of age during a time of national unrest, when race riots were the norm. What special insights into the era did you gain from Jonah’s unique perspective? Did anything about his attitude or his family’s attitude about race surprise you? What did you make of Mr. Yoshioka’s Manzanar “posse” and the relationships among them? How did the core values of the various characters inform their approach to this element of their lives?

11. The question of fate versus free will takes center stage in this novel, with Jonah coming to believe that “There is no fate, only free will.” Consider the instance in which he decided to see for himself who Tilton was eating lunch with at The Royal, and wondered what course his life would have taken if he had followed his instinct to run instead. Have you ever been at a crossroad in your life where events could have gone very differently had you taken the road untraveled? Do you consider the outcome of these instances fate, or like Jonah, do you believe that it was one of the times that you listened to the “small voice” that “wants only what is best for us?” What are other critical moments of decision in the novel? How did you feel about the fates of the various characters? What did you make of Miss Pearl’s special relationship with Jonah and her actions toward him at the end of the novel in terms of the question of destiny?

12. On the interpretation of art, Amalia says, “when it comes to what it means, no stuffy expert in the world has a right to tell you what you should think about a painting. Art is subjective. Whatever comfort or delight you get from a painting is your business.” Do you agree with this? Do you think there’s a tendency for people to find art intimidating or prohibitive because they’re supposed to take a specific meaning away from it, or arrive at it with some type of context? Is it liberating to embrace this idea that art should stand on its own and that we gravitate toward certain pieces for a reason? Are there works that you’ve found particularly evocative or moving based on your own experience at any given time? Has there been someone in your own life responsible for introducing you to beauty in the same way that Amalia does for Jonah? Do you see the world of art, or music, or architecture, or other forms of artistic expression, any differently because of this story?

Author Spotlight: Robin Black and J. Courtney Sullivan

Monday, July 7th, 2014

Black_Life DrawingJ. Courtney Sullivan joins Robin Black to ask her a few questions about her upcoming novel, Life Drawing, on sale next week!

Courtney: Robin, I first fell in love with your work while reading your nonfiction essays about the writer’s life. In the novel, you extend these observations on the indecision, inspiration, and doubt that all artists experience. Was it therapeutic in a way to write about these ideas through your characters?

Robin: I’m so glad you’ve liked the essays. Thank you! I love writing about the creative process in essays, and blog posts, and also in fiction. And you’re right that in a way it is therapeutic to describe what it feels like to be consumed by a creative project or abandoned by one. Those states—both of them, the exhilarating and the depressing—are lonely ones. It’s been important for me to find ways of sharing the sensations since they so often define my daily life.

Courtney: The novel begins with two powerful epigraphs–one from Victor Hugo and one from George Eliot. How did you choose them? Were they part of the inspiration for the story, did they come first, or did you find them a fitting start to a tale you’d already created?

Robin: I found the epigraphs after writing the book. I hadn’t titled it yet and was cruising through quotations looking for relevant phrases, partly to spark title ideas, possibly to use a quote as the title. I think of these two quotations as representing the two gravitational centers of Life Drawing: one being about “our dead,” the ghosts and shades we all carry, and the other being relevant to the evolution and survival of long-time romantic relationships, what it means for a person to be loved in a clear-eyed, realistic way rather than idealized. When I found those two lines and they dovetailed so perfectly with these two aspects of the work, I just had to use them.

Courtney: Novelists have so many choices when it comes to structure. I’m intrigued by the decision-making that goes into such choices. We know about a very big plot point that comes much later from the first sentence of the book. Why did you choose to tell us about that up front? I think it’s a brilliant choice. Did you ever consider doing it differently?

Robin: Strangely enough, the first paragraph was originally the start of another piece of fiction about entirely different people, with a completely different plot. But seventy pages in, I had hit a wall, big time. A writer friend asked me what, if anything, I liked about the work and I said: “Just the first paragraph. ” So I lifted it and started all over. Then, as I was writing the novel that became Life Drawing, I forbade myself to change those lines or take out the plot disclosure. I liked the challenge of finding my way back to it, and I liked what I think of as the tautness of a circular plot. I’m hearing from readers now that many of them forget about opening, and I’m delighted that the early disclosure hasn’t seemed to limit the suspense or surprise of the book, because that was a risk.

Stay up to date with Robin Black on Facebook and Twitter!

Reader’s Guide: ISLAND GIRLS by Nancy Thayer

Thursday, June 19th, 2014

Thayer_IslandGirls Kick back and relax with a Random House Reader’s Circle classic! Nancy Thayer brings us another entertaining tale from Nantucket. If this is on your summer reading list, then be sure to check out our questions and topics for discussion below! And feel free to connect with Nancy on her Facebook and Twitter.

QUESTIONS AND TOPICS FOR DISCUSSION

1. Arden, Meg, and Jenny come from what can be called a “blended” family. Do you know any families like this?

2. Do you think the relationship of sisters in a family whose parents never divorce is easer/less complicated/more loving than that of sisters in blended families?

3. The flap copy of Island Girls says: “. . . the push and pull of family altercations make us whole.” Do you agree?

4. Did you identify with any of the three young women? If so, which one? Why?

5. Did you identify with any of the three older women? If so, how?

6. How would you match these qualities to these mothers:
Nora Justine Cyndi
Romantic Martyred Practical

7. Towards the end, the mothers get together at the Nantucket house and end up being friends, or at least friendly. Is this realistic or idealistic?

8. Was Justine justified in exiling the two girls? Was she right to keep the information about Jenny’s natural father from her? Would you have done the same?

9. One of the themes in the book is that of self-esteem. Meg’s lack of self-esteem prevents her from believing Liam could love her. On page 238, Justine’s lack of self-confidence made her want to get Meg and Arden out of her life. Do you think women let the lack of self-esteem influence crucial life choices more than men do?

10. Do you think the women of the Rory Randall fan club made the right decision about helping Marcia? What would you have done?

11. Arden, Meg, and Jenny all have work they love. Which woman do you think is most likely to have children? Which woman is least likely?

12. If you had three months—or even one week—to vacation on Nantucket, away from work, home, and everyday worries, lying on a beach in the sun or walking on the beach looking at the stars, would it change anything in your life?

A Letter to Readers from Darcie Chan, author of THE MILL RIVER RECLUSE

Monday, June 16th, 2014

Chan_MillRiverRecluse Author Darcie Chan writes a letter to readers to share her experience moving from self-publishing her e-book to hitting the New York Times bestseller list to scoring a book deal with Random House. She also reminds us that you should always expect the unexpected,” and we couldn’t agree more! Her sensational story certainly reminds us of that.

Dear Reader,

The Mill River Recluse is my first novel. For most authors, writing a first novel is a learning experience and a labor of love. Trying to get a first novel published is quite another matter. Frustration and disappointment abound. The paths to traditional publication are paved with rejection letters from agents and publishers. Self-publishing these days also presents a host of difficulties. Producing a quality story on one’s own is just the first step; an author must then get that story noticed in an ever-expanding ocean of content. The Mill River Recluse has taken me down both paths, culminating in an amazing, roller-coaster ride that I never expected to experience.

My central story idea for The Mill River Recluse had a real-life origin. The basic concept for the book was inspired by a gentleman named Sol Strauss who lived in Paoli, Indiana, the small town in which I lived during high school and where my mother was born and raised. Mr. Strauss, a Jewish man who fled Nazi Germany, operated a dry goods store in Paoli in the 1940s. Even though Mr. Strauss lived quietly alone above his shop and never seemed to be fully embraced by the town’s predominantly Christian population, he considered Paoli to be his adopted community. When he died, the town was shocked to learn that he had bequeathed to it a substantial sum, which was to be used for charitable purposes to benefit the people of Paoli.

The Sol Strauss Supporting Organization Fund is still in operation today. Among other things, it provides clothing and other necessities for needy children and an annual supply of new books for the high school English department. Residents of Paoli may also apply to the fund for assistance in carrying out a project that would benefit the town. The fund is the legacy of Mr. Strauss, who continues to be remembered for his extreme and unexpected generosity.

I remembered what Mr. Strauss had done when I was brainstorming ideas for a first novel. I thought it would be interesting and challenging to build a story around a character who is misunderstood or different in some way, and to show that even someone who is seemingly far removed from his or her community may in fact be more special and integral than anyone could imagine.

I began writing for a few hours after work most evenings, and it took two and a half years to complete a first draft. I polished the manuscript as best I could, and I was ecstatic when Laurie Liss, an agent with Sterling Lord Literistic in New York, agreed to shop it around for me. Despite Laurie’s valiant efforts, though, my novel didn’t sell. I put the manuscript in a drawer and resolved that someday, I would write a second book and try again. Life went on.

I didn’t write much during the next several years. My job grew increasingly demanding, my husband finished his residency and accepted a position necessitating a move to a different state, and we had a baby. (I’m still trying to catch up on sleep missed for all those reasons!) But, when my son was a toddler, I started reading articles about how e-books had exploded in popularity. Even more interesting was the fact that apparently it had become very easy for an individual writer to self-publish a book in electronic form. I thought of The Mill River Recluse languishing in my drawer. I figured I had nothing to lose and released it as an e-book in May 2011.

Soon, I realized that no one would find my novel among all the other e-books out there unless I did some sort of marketing for it. After all, publishing companies invest in marketing and publicity for their books. As an individual with a modest budget, there was no way I could fund a major marketing campaign, but I arranged for a few inexpensive online ads to get my novel on readers’ radar screens. I kept the price of my book very low, to encourage people to take a chance on a story by a completely unknown writer. I also set up a website, Twitter account, and Facebook author page. And then, I waited.

Sales started to trickle in. During the first month, I sold around a hundred copies. I was so thrilled! To think, a hundred people had bought my book! My husband, Tim, and I grabbed up our little boy and did a happy dance in the kitchen. “Wow, maybe you’ll be able to sell a thousand,” I remember him saying. I doubted that, but I thought perhaps a few hundred more sales might be possible.

In late June, a feature of my novel popped up on a large website that recommends e-books to readers. Within two days, another six hundred copies sold! After the feature ended, the pace of sales accelerated. Reviews from readers started coming in—and most of them were the kind of glowing, positive reviews that authors dream of receiving. I was hearing directly from those readers, too.

One gentleman sent me an email to tell me that he loved the book, but that he had had to wait until his wife had left the house to read the last few pages. The reason? He didn’t want his wife to see him become “a blubbering mess.” Another woman wrote to tell me that she had read my book aloud to her mother in the hospital, and it brought her mother great comfort during her last days of life. Both of those messages, as well as many others I received, left me in tears. And the emails and Facebook messages kept coming from readers of all ages throughout the United States and the rest of the world.

By mid-July, I knew something extraordinary was happening. I kept my agent in the loop, of course, but I was shocked when she called me in mid-August and left a cryptic message on my answering machine.

“Darcie, it’s Laurie. Check your email.”

I scrambled around and got to my computer. She had sent me an advance copy of the latest New York Times bestseller list.

The Mill River Recluse appeared on it at #12.

To this day, there are no words that are adequate to describe everything I felt in that moment. My novel remained on the New York Times and USA Today bestseller lists for the next several months, and the wonderful notes from readers kept coming. I thought that surely, finally, things had peaked, but I was wrong.

In late November 2011, I was contacted by Alexandra Alter, a book reporter for The Wall Street Journal. She wanted to interview me for a feature story about my writing journey up to that point. Alexandra was cheerful and pleasant when she came to my home on the Friday after Thanksgiving. I didn’t feel at all nervous or odd about speaking with her until she told me that, during the previous week, she had gone up to Maine to interview Stephen King.

I am still mortified when I envision how far my mouth must have dropped open before I regained control of it.

The Wall Street Journal ran Alexandra’s article on December 9, 2011. It appeared on the front page of the Friday magazine, with a full-color photo spread inside and additional teasers on the front page of the whole paper. By late afternoon, the online version of the story had been picked up by Yahoo! News, and my photo was among those circulating on the Yahoo! homepage. Pandemonium ensued.

My phone began ringing off the hook. Other writers were calling, wanting advice or simply to get together for coffee. Other reporters were calling, wanting interviews. (I changed my number to an unlisted one immediately!) My website email inbox was accumulating emails faster than I could scroll down the page. My colleagues were incredulous, as most of them had no idea I’d written a novel years before and had recently, casually decided to self-publish it. Several of my clients emailed, sending me links to the article and saying things like, “Oh my God, is this you?” Laurie was fielding phone calls from publishing companies and film studios. My family and my closest friends, scattered in a half dozen states across the country, were calling and emailing ecstatic messages of support.

I was a quivering mess. All I could do was sit and hug my son. I knew that things had changed permanently for me at that point.

Within a few weeks, I received an offer from Ballantine Books, a division of Random House, to write two new novels. It was an offer to make my childhood dream a reality. The question was, could I continue to work as an attorney and write books in my spare time? Or, did I have to choose between the two?

I loved my legal career and the many colleagues with whom I’d worked for more than a decade. But I knew that I couldn’t live the rest of my life wondering whether I could have had a successful career as a writer, and there was no way I could give writing my best shot if I was constrained by the restrictions that applied to me as an employee of the federal government. It was a difficult decision, but I resigned my attorney position to write full-time in March 2012.

To date, The Mill River Recluse has sold more than 700,000 electronic copies and has been or will be published in nine foreign languages, in addition to its publication in English. The story of its self-publication as an e-book was featured in a documentary film called “Out of Print,” which was directed by Vivienne Roumani-Denn and narrated by Meryl Streep. But now, finally, I feel as if the roller coaster has slowed, and my life is returning to normal. A new normal.

In the short time that I’ve been a writer—which is a description of myself that I’m still getting used to—I’ve learned a few things. First, you should always expect the unexpected. And, there is sometimes more than one path that will enable you to achieve a dream. For me, being able to get my first novel in front of readers changed my career and my life. I will always be grateful for every person who reads The Mill River Recluse, especially those first e-book readers who gave it a chance and took the time to review it, mention it to a friend, or send me a note of encouragement. Those readers—my readers—made my dream of being an author come true. I only hope that this first novel and my future books return to them—and to you—the same great happiness and enjoyment I have experienced in writing them.

My very best wishes,
Darcie Chan
May 2014

Author Spotlight: Susan Vreeland, author of LISETTE’S LIST

Monday, June 2nd, 2014

Vreeland_Lisette's ListGetting a glimpse behind the story of a novel and an author’s inspiration is always a special treat for us. We love learning about the voyage of a novel. New York Times bestselling author Susan Vreeland gracefully combines her travels, research, and pure passion for her subjects. Her latest novel, Lisette’s List, is on sale August 26, 2014. Today she would like to share some “Inklings of Inspiration for Lisette’s List.”

You may wonder how I came to write this book, so different from my others.

It began with a feeling that in terms of my development as a writer, I must not write another novel centered on one artist, bringing to literary life part of a biography, and expanding into the artist’s friendships and associations. That approach has given me much joy for a decade, but recently I began to feel that it was too constraining. The new book came of a need to outgrow that mode and completely invent for myself, and to devote my imagination to creating characters whom I wanted to embrace.

Roussillon-after-a-rain_crop

Enter a Provence-loving friend who insisted that I see the village of Roussillon in Provence on an upcoming trip across the south of France with my husband. With only two hours there, and with rain deepening the red-ochre and rosy ochre and golden ochre of the village, I fell in love, recognizing this perch of harmonious houses high above ochre cliffs as a treasure of ultimate provincialism. I vowed to come again. And I did, with a novel swimming in my head.

© Susan Vreeland

© Susan Vreeland

It also began, before that trip, with a fascination with Varian Fry, the American who, during the German Occupation of France in World War II, orchestrated the clandestine housing and escape of Jewish artists and writers from the Villa-Bel and Marseille in Provence. Although neither Fry nor the villa nor Marseille appear in this novel, Marc Chagall, one of those escaping painters, does.

The rape of Europe of its art, as it has come to be called*, has disturbed me greatly. That entire nations could be deprived of the art of their native sons and daughters by a ruthless foreign tyrant with no appreciation for any painting beyond the Renaissance, was an injury and outrage I feel keenly. That would provide the historic context, and the passion to carry forward this new work.

ochre-canyons-ll_jan2014-003And grounding my passion, like a seed in my soul, the novel grew from my deep love for France, for the French language, for French art, for Provence, and for the French people who have suffered unspeakably during war and its aftermath and whom I have found to be gracious lovers of beauty.

When I learned that near Roussillon there were ochre quarries and mines from which was extracted the ore which produced pigments in all the warm hues of the color wheel, I had a substantial artistic link to this region beyond mere love.

Art history looks at art works and the people who have created them. But what is it called, that exploration of the people who made the things that are the materials of art? The first thing: the pigments, that bright earth. The last thing: the frame around a finished painting. Both are elements in the novel. Because I knew no word for this area of study, that was the new terrain I wished to enter.

Screen shot 2014-05-28 at 12.11.17 PM

*Nichols, Lynn, The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War. New York: Vintage/Random House, 1994.

For more information, stay up to date with Susan on her website and Facebook page.

Reader’s Guide: TRANSATLANTIC by Colum McCann

Thursday, May 22nd, 2014

McCann_TransAtlantic You and your book club will be swept away by Colum McCann’s TransAtlantic. This New York Times bestselling novel spans continents, leaps centuries, and unites a cast of deftly rendered characters, both real and imagined.

Questions and Topics for Discussion

1. In this novel, Colum McCann writes about four men: Jack Alcock, Teddy Brown, Frederick Douglass, and Senator George Mitchell. Were you familiar with any or all of these figures before reading TransAtlantic? Did what you learn about them surprise you? Do you find their journeys thematically linked?

2. As Alcock and Brown fly across the Atlantic they have several close calls, including a moment when their plane spins out of control and a rough landing, all in the fierce cold and damp. Do you think anyone could, nowadays, make the same sort of journey they did? Why or why not? What sorts of physical challenges remain for adventurers and explorers?

3. Douglass forms relationships with several women in the novel: we see him write home to his wife, Anna, but he also indelibly shapes the maid Lily and becomes friends with Isabel Jennings. What do you think draws these very different people together? How do these small threads eventually create a tapestry?

4. Why do you think Lily follows Douglass to America? What does she hope to find there? Does this novel confront the impossibility of the American dream?

5. Book One is not chronological: after Alcock and Brown’s flight in 1919, we travel back to Douglass’s tour of Ireland in 1845, and then move forward once more to 1998 and Mitchell. How would your reading of the novel change if this section were differently arranged? What would happen to the novel if the sections concerning the women were woven directly into the stories of the men?

6. In the third section of the book, McCann takes us into the mind of Senator George Mitchell during the peace negotiations in Northern Ireland. What do you know about the Irish “Troubles”? How does Mitchell’s story enrich or change what you already knew?

7. The novel is structured so we meet the four men, seemingly unrelated, first—and then learn that women connected to all of them are multiple generations of one family. Why do you think McCann structures TransAtlantic in this way? What do the very male first half of the book and the very female second half tell us about men, women, and how we legislate history?

8. Lily loses most of the men she loves—the father of her first son, Tad; her sons, Tad, Adam, and Benjamin; and her husband, Jon. What do you think gives her the strength to continue on and become a successful merchant? Do you admire her? What does this say about the role of women in history?

9. In the course of TransAtlantic we see many technologies—to which we’re well accustomed today—at the moments they were still new, including airplanes, cameras, and automobiles. What does the novel tell us about these devices and how they bring people together (and tear people apart)?

10. There are two civil wars in the novel: the American Civil War, in which Lily loses her son, and the Troubles in Northern Ireland, which takes Lottie ’s grandson, Hannah’s son. What does TransAtlantic show us about war? Who are its victims?

11. Why do you think Hannah leaves the letter behind with her hosts?

12. Some of the characters in the novel are based on real figures; others are entirely fictional. Is it easy to tell the two apart? How do these sets of characters illuminate one another? McCann has said in interviews that “the real is often imagined,” and “the imagined is often real.” What do you think he means by this?

13. The novel begins with an Eduardo Galeano quote that ends, “the time that was continues to tick inside the time that is.” Why do you think McCann chose to open TransAtlantic this way? How do you see the stories in the novel—“the time that was”—relating to today, “the time that is”?

14. As its title suggests, TransAtlantic is about Ireland and North America, and the ideas and people that cross between the two. What do you feel makes this international relationship special? What draws families and individuals back and forth between these countries?

15. What is the function of the Prologue of the novel, set in 2012? How does it frame the novel? How does it tie in with the last line of the book? What is McCann suggesting about the circularity of human experience?

Stay up to date with news, events, and updates about Colum on his website.

Reader’s Guide: CARTWHEEL by Jennifer DuBois

Tuesday, May 20th, 2014

DuBois_Cartwheel Cartwheel is sure to spark a robust book club discussion, and Random House Reader’s Circle is here to help! Below are our questions and topics for discussion. Read on and enjoy!

QUESTIONS AND TOPICS FOR DISCUSSION

1. The first paragraph of Cartwheel ends with a chilling statement: “The things that go wrong are rarely the things you’ve thought to worry about.” Why do you think the author makes such a pronouncement at the beginning of the novel? What does she mean? Is this true in your life?

2. The story in Cartwheel is very much of our time. Lily’s case becomes an international sensation because of Facebook, blogs, and the way shocking news and information can travel around the world within minutes. Social media plays a big role in Cartwheel. Does this change your view of social media? How do you use social media to share details of your life? What about your family members?

3. Why do you think Jennifer duBois chose to tell the story from four points of view? How does that affect the experience of reading it?

4. At one point, Lily’s sister Anna says “everyone wants to love Lily,” and that she’s always played by different rules. Why does Anna think this?

5. Lily’s father, Andrew, believes “everything vile about your children was to some degree vile about yourself.” Is this a fair statement? Do Lily’s parents fail her, or is this parental guilt?

6. What impact does her sister’s ordeal have on Anna?

7. The title of the book comes from the cartwheel Lily turned between interrogation sessions. Why did the author choose this image as significant?

8. In what ways are Lily and Katy different? Why does Lily feel Katy’s life was “easy”? Is she being fair?

9. Have you, or someone you know, studied abroad? Do you think it benefits college students to visit other countries? Why do you think Lily wanted to study abroad? What was she looking for?

10. Eduardo, attorney for the prosecution, believes Lily is guilty but that she doesn’t understand why what she did was wrong. Do you agree?

11. Sebastien is an enigmatic character. What do you think Lily is attracted to about him? Where do you think his addiction for obscuring half-irony comes from? What consequences does it have for the unfolding of events?

12. The author uses ambiguity to tell this story. How does that affect your understanding of what happened? Which character do you trust the most?

13. Lily calls her family “repressed,” saying they never learned how to mourn their first child, the sister who died before Lily and Anna were born. Why does she say she and Anna were treated like “replacement children”?

14. Do you believe the whole story comes out at Lily’s trial?

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Reader’s Guide: A Conversation with Michelle Richmond and Dani Atkins

Monday, May 19th, 2014

Atkins_ThenandAlways

A Conversation with Michelle Richmond and Dani Atkins

Michelle Richmond is the bestselling author of The Year of Fog, No One You Know, Dream of the Blue Room, and the award-winning The Girl in the Fall-Away Dress. A native of Alabama’s Gulf Coast, she makes her home in Northern California. Her newest novel is Golden State.

Michelle Richmond: I can’t believe this is your first novel! The tension and pacing here are remarkable. Did you always know you wanted to be a writer?

Dani Atkins: Even as a child I was always scribbling away at short stories and poems, so I guess the dream was always there. As a young adult I wrote a few short stories and a couple of very lightweight romances.They weren’t published, and with good reason:They weren’t very good. Not that I realized that at the time, of course. There were huge gaps between my literary endeavors, where I wouldn’t write anything more challenging than the weekly shopping list. However, when my children were older I once again felt the urge to write. Then and Always was different from anything I had attempted before. When it was done I felt confident it was the best thing I’d ever written. (Of course, bearing in mind what had come before, some of my earlier shopping lists could also have claimed that title!)

MR: How did you get the inspiration for the novel?

DA: I’ve always enjoyed novels or films that keep you guessing and make you question what you believe to be true. I’m also a fan of thrillers and books with a supernatural twist. But most of all, I adore a good old-fashioned love story. Then and Always is a blend of all the genres I most enjoy reading.

MR: The novel’s ending is sure to cause discussion. Did you know how the novel was going to end when you started writing it?

DA: Yes, I did. From the moment I sat down and wrote Chapter 1 on the first page, I always knew how the final chapter of Then and Always would end. What I didn’t know—what I never seem to know when writing—is the journey the book will take me on before I get there.

MR: Did you have any hopes for what the reader might take away from the novel?

DA: I think if I had to choose just one message, it would be that you should make the most of every opportunity in life. Seize the day. Your whole world can be irrevocably changed in the blink of an eye, and if someone is important to you . . . you should tell them, because you never know when it might be too late. We’re not all lucky enough to get Rachel’s rather unique second chance.

MR: What are your writing habits?

DA: I truly don’t know if I can say I have been doing this long enough to have a normal writing routine or habits just yet. When I began, I had every good intention of making writing my nine-to-five job. I learned very quickly that it doesn’t work like that. In reality, I seem to achieve very little in the mornings and am much more productive in the mid- to late afternoon and evening. I do find that I get most of my ideas for plot and dialogue when I am walking our dog (a two-year-old border collie). He is benefitting enormously from my new routine. My husband, who now seems to have taken on all cooking duties—otherwise neither of us would eat an evening meal—sadly is not.

MR: Who are your favorite authors?

DA: I like many different genres and authors, with my personal favorites ranging from Stephen King (love him) to Sophie Kinsella (want to be her). I also enjoy many young adult titles, and am not ashamed to admit it, and loved the Between the Lines series by Tammara Webber, and the Hunger Games trilogy by Suzanne Collins. I have recently “discovered” and am really enjoying reading the novels of Paige Toon.

MR: Are you working on something new? Can you share anything with us about your next project?

DA: My second novel is well under way. It is a powerful love story that is told from the point of view of Emma, the main character, and covers many issues, including friendship, family, loyalty, trust, and betrayal.

Stay up to date with Dani Atkins on Twitter!

Reader’s Guide: & SONS by David Gilbert

Monday, May 19th, 2014

Gilbert_AndSons Wouldn’t it be great if David Gilbert, author of & Sons, could join your book club meeting? With these Random House Reader’s Circle discussion questions written by David, it feels like he is there chatting about the book with you! So, if you are planning the next book club discussion then have no fear- David Gilbert has expert questions and topics to facilitate what is sure to be a robust meeting!

Questions and Topics for Discussion

1. First of all, thank you for reading the book. Want to get that out of the way. A big thanks. One of the scariest things a person can tell me is “Oh, hey, I’m reading your book.” It makes me want to crawl directly into the nearest hole. Funny choice of career. Here I’ve published a book with a big-time publisher—dream come true— and the knowledge that someone might actually read my book makes me cringe to the point of splitting in two. I’m cringing now. The other scary thing you can tell me is “Oh, hey, I read your book,” particularly if you tweak the verb with a raised eyebrow, like a hairy umlaut. I might smile in return and say, Oh Great, that’s great, but in reality I’m performing a private Seppuku ceremony, a thousand doubts the blade. Anyway, discuss vis-à-vis A. N. Dyer and ask yourself, “Why would anyone want to be a writer?”

2. It took me six years to write this book, which seems a ridiculous amount of time. I mean, it’s a kind of a long book, but six years long? At best three years, maybe three and a half while also maintaining a full-time gig with Doctors Without Borders. Now A. N. Dyer hasn’t written a truly new book in something like twenty years (forgive the vagueness, but it’s been a year since I actually read this book). Why do you think he’s stopped writing? I have my ideas, obviously. I think it has something to do with the breakup of his marriage—duh—but also with the birth of his third son, the young Andy. Has this boy perhaps taken on the role of fiction? What is Andy’s relationship with fiction in terms of his relationship with his father? Did I just answer my own question? I don’t think I’m very good at this.

3. You know when you go to the theater and you read the Playbill and there are those bios for the actors and the director and the playwright (I love reading those bios)? Did you know that those bios are actually written by the actors and the director and the playwright? You probably did, but for some reason I didn’t, or not until maybe ten years ago. I just assumed there was a national bio database, very official, probably housed in a suburb of D.C., that fact-checked and sourced and confirmed all this professional information. Yes, yes, Patty St. John did indeed play Fastrada in the Tacoma Players’ 2007 production of Pippin. It wasn’t until I started seeing those personalized messages that suddenly became popular—“Ms. St. John would like to express her gratitude to her Chihuahua Chekhov for teach- ing her how to be human”—that I realized, Wait a sec, these things are actually self-constructed. At first I was shocked. It seemed dubious. And kind of braggy too. How much of this is truly true? But then I found myself digging into these credits, not only to suss out a career but also to suss out a person, and suddenly a deeper appreciation began to emerge from those handmade bios. A trajectory. I mean, how do we compose our lives for public consumption? What do we say? And where are the divergences, the betraying tells? Who is composing who? Or is it whom? And does David Gilbert live in New York City or does he live in Brooklyn or in Queens? Is that a question?

4. I don’t normally like books about writers. A writer writing about a writer writing, well, that sentence alone is tedious. I want to read about someone who does something. Like I wish someone would write the great American novel about scuba diving. That would be cool. Shipwrecks. Sharks. Those giant clams and your foot is suddenly caught. There has to be treasure too. We as a nation deserve a fabulous piece of scuba diving literature. But another book about a writer? And an old privileged white male writer at that? I almost feel as if I should apologize. That said, what interested me was the tension between fiction and life and how we twist our own stories to suit our will. I remember in fifth-grade English class the teacher mentioning in Huck Finn the theme of Appearance Versus Reality, underlined twice on the chalkboard, and I was blown away by the notion—yes, yes, appearance versus reality! It was my Matrix moment. My teenage anthem. Like Jake with Chinatown, it explained all things without explaining a thing. It is, after all, the mother of all themes and introduces by far the most interesting element of any decent piece of writing, the subtext. So: What is the subtext of & Sons? Sorry, that’s a terrible question.

5. Okay, how about this: Who is telling the story? And how is he telling the story? Is this an act of autobiography or an act of fiction, and is there a difference between the two? I mean, we have the one narrator and then we have each chapter divided into three separate character-driven parts (and here I have to acknowledge Richard Powers since I essentially stole that structure from him—a really useful structure by the way, if you’re ever looking for structure— and Philip Roth’s Zuckerman books in the way Zuckerman jumps into other people’s heads yet always remains distinctly individual). I guess the question is: How good a writer is Philip Topping? Also, a follow-up: What writer is the biographer of your life? (For me, it’s Charles Schulz.)

6. Why all the Wizard of Oz allusions? Seriously. I think a lot of readers assume that the writer has relative control of his/her text, but I can tell you that that simply is not true. I mean, that’s not true either, and no need to bring up Derrida or any of the deconstructionists, please God no, though during the eighties I used to say Paul-De-Man instead of You’re Da Man (and got just as many laughs), but in all seriousness, I wrote a draft of this book and looked over it and saw all of these Wizard of Oz references, which I then burnished since it seemed so odd and unexpected and must mean something. So tell me about Dorothy. And Kansas and Oz. Who is the Wicked Witch?

7. Is this tedious?

8. Why did I write this book? Finally, a question for me. I wrote this book because I have a son and a father and I myself am a son and a father and this funhouse mirror effect has been interesting, to say the least. Raising children is an act of love as well as an act of fiction in which the characters slowly free themselves from the supposed author. I remember being scared about having a boy. There seemed so much pressure involved. How would I teach someone how to be a man when I had no idea how to be a man myself? My own father is a wonderful guy, very impressive, an intimidating figure to me when I was growing up, as well as bit distant. He himself was the product of a strict family, raised by a stepfather after his own father’s early death. Anyway, my dad had a successful career in banking, and I remember when I was in my early thirties and just starting my own family, I was at an event and my father had to get up and say a few words and he was as always confident and charming, a commanding presence, and this old friend of his was sitting next to me and she leaned over and said, “It really is amazing, seeing your dad in these situations, so comfortable and at ease, considering how painfully shy he was as a boy. I mean, he could barely look you in the eye and had a bit of stammer. Amazing, the transformation.” Now this surprised me. I’ve always known him as a reserved and self-contained man, a bit unknowable, but never as a shy and awkward boy, and so I remember imagining: What if I could meet him when he was younger, say seventeen? How would my impressions change? That was the impetus behind & Sons. Hence this follow-up question: What if you could meet your father when he was five, or ten, or fifteen, at the height of his vulnerability? How would your feelings for the man change? We all reinvent ourselves with our children.

9. Let’s talk about the book within the book, Ampersand. Go ahead, I’m listening.

10. Okay, the women in the book—I know, what women? But hey, the book’s called & Sons, what did you expect? That said, there are women, in particular Isabel Dyer and Eleanor Topping, and they do play their part. How do these women function within this world of boys (notice I didn’t use the word men)? Does it ring true? I really wanted to make Richard’s wife, Candy, a bigger character and there was a scene in an early outline where she bonded with A. N. Dyer (much to the frustration of Richard), but I couldn’t quite find the narrative space for its inclusion. I’m curious, did I get away with my impersonation of Alice Munro in that Isabel chapter? I’m a fan of her stories and I loved trying to write in her particular style, not just overtly but covertly (and setting some action on a train). That said, is there a deeper purpose to my impersonation? What does it say about the fluid nature of authorship?

11. The novel has a prologue and an epilogue, though thankfully not tagged as prologue and epilogue since I myself always skip prologues and epilogues. I’ve never understood their purpose. Just start the book and end the book. I’ve never read a prologue and said, “Wow, now that’s a great prologue.” And an epilogue is like that awkward encounter with a friend after you say goodbye and depart down the street in the same direction. “Oh, yeah, hey [awkward laugh].” That said, I am guilty of writing a prologue and epilogue (italicized, no less). For me to stoop to this shame, there must be a reason . . . I hope.

12. Does Phillip Topping work as a narrator? I mean, yeah, he’s kind of unreliable, (unreliable narrator is like Subtext 101), but do you believe him? I know, I know, I just said he’s unreliable, but how much of what he says is believable? The same with A. N. Dyer. I know, I know, A. N. Dyer is being filtered through Phillip, his big- gest fan, who at the same time is trying to channel A. N. Dyer—so many layers of fiction. I guess the question is: Who is the dog and who is the tail?

13. Do you like the letters? Regardless, they look great. The Random House interior designers did an incredible job to create that sense of reality. That was very important to me, to maintain a tight grip on the real, just like all the locations in New York and beyond are very real places, the same with the schools. That reality was key. Why do you think I cared so much? Sometimes I think of A. N. Dyer as a spider who has spun his web in the corner of these realities, a beautiful and intricate construction, lovely to behold, and not once does he think of the poor creatures who blindly fly into these traps and find themselves stuck and immobilized, a sudden character in one of his dramas. What stories do you tell yourself about your own life that you know are untrue, those exaggerations that have become fact? How much of who we are is what we steal? And if fiction can bring a family together, do we care about the truth?

14. If you called someone up and told them to come find you in front of your favorite work of art, where would you be standing?

15. With Richard in the beginning, when he’s at the movie studio and feels as if his dreams are about to come true, Richard playing the fantasy forward and then discovering, too late for his ego, that he has misread the situation, can you relate to this mortifying situation? I certainly can. I once thought a girl was madly in love with me but actually she was in love with my best friend— wait, is that me or a movie I saw? How much of our memory is collage? games interest you? If they do, play on.

17. When I started & Sons I wrote a single word on a Post-it note and stuck it to the wall in front of my desk. What was that word? Five dollars to anyone who guesses right.

Have more to say about the book? Connect with David Gilbert on Facebook and Twitter!

Reader’s Guide: A Q&A with Curtis Sittenfeld and The Rumpus’s Amy Gentry

Thursday, May 15th, 2014

Sittenfeld_Sisterland “[Sittenfeld’s] gifts are in full effect with this novel, and she uses them to create a genuinely engrossing sense of uncertainty and suspense.”—Sloane Crosley, NPR’s All Things Considered

A Conversation with Curtis Sittenfeld and The Rumpus’s Amy Gentry, August 2013

Amy Gentry: A lot of your female, first-person characters have an investment in conformity and flying under the radar. Why are you interested in those characters particularly? Because, especially in Sisterland, you had a choice. You could have written from Vi’s point of view instead.

Curtis Sittenfeld: I find people who, at first glance, appear to be typical or average, whatever that means, and then turn out to have hidden qualities, to be very interesting—much more interesting than someone whose eccentricities announce themselves immediately and can turn out to be superficial. So I think that that’s part of it. When I was younger—when I, myself, was a teenager—I gave people the benefit of the doubt, thinking, so many people that appear very calm and even boring must have all these wild emotions and crazy ideas. As I’ve gotten older I’ve unfortunately come to the conclusion that a lot of people who seem normal and boring are normal and boring. But in a novel, I have the privilege of making people more layered.

AG: You include a lot of finely rendered psychological detail. I wonder how that developed for you? Were you conscious of going after that psychological realism?

CS: I wouldn’t ever, while writing, think to myself, “I need a little more psychological realism.” I write what’s interesting to me, and so if I’m reading I like to have a very thorough idea of a character in a book that’s by someone else. I like it when characters are some combination of appealing and flawed or self-interested. I think in terms of scenes, and what I want a scene to achieve, and the psychological realism arises from that. It just kind of works its way up. I have my first-person narrators make a lot of observations, I have lots of dialogue, and so it bubbles up out of that.

AG: A lot of the psychological details tend to be these very fine observations that the character is making about the social interactions happening around her. Do you have a special interest in social dynamics?

CS: To some extent, I do. Tonight I’ll go with my family to a neighbor’s house for a little cookout, and it’s not as if I’ll be mentally taking notes. I would not be above borrowing something juicy if it happened, but I interact fairly normally in social situations. I think that a lot of people can be having these interactions, and then afterwards you make some observations that you weren’t even conscious of making in the moment.

AG: Did you ever wish that you were a twin?

CS: Yeah, I would have liked to have been a twin. I have a sister who’s two years older, a sister who’s five years younger, and a brother who’s nine years younger, so there was lots of sibling in my life already. But I will say that sometimes my sisters and I get mistaken for twins, and I always take it as a compliment. My sisters and I were having dinner at a Mexican restaurant in Washington, D.C., and we got mistaken for triplets, and we were extra-complimented. At least I was. Maybe they weren’t, but I was.

AG: Why is that, do you think?

CS: I guess because twins have this mystique, and triplets—the normal sibling connection potentially can be very powerful, and there’s this idea that it’s even more powerful with twins. It really is not just someone like me, but another version of me.

AG: Did you talk to identical twins when you wrote the book?

CS: Yes. I’m friends with these twins who, they’re about to turn forty, and they don’t know if they’re identical or not. I guess they’ve never had the test, and I think they are, but I guess it’s not clear. By total coincidence, my British editor is an identical twin. So my friend Emily the twin—she’s a novelist, too, Emily Jeanne Miller—and my British editor read early drafts, and I specifically asked them to pay attention to any- thing that smelled wrong, twin-wise, and actually, neither of them had any twin concerns. Then the funny thing was, a magazine editor read an early copy, and I didn’t even know this woman was an identical twin. She said, “You nailed it.” But there’s a part where it’s New Year’s Eve and the twins are at a party and one of them kisses the other on the lips, and she said, “That was totally disgusting, but otherwise everything rang true.”

AG: Yet you kept it in.

CS: I did keep it in. I think by the time she read it, it was too late to change it. Being disgusting wouldn’t have deterred me anyway.

AG: Were you ever tempted to write from multiple points of view? From Violet’s point of view?

CS: No, I wasn’t. I understand why that question would come up. It’s funny, because readers like Vi. Some readers don’t, but a lot of readers think she’s refreshing and funny. But if she were the one telling the story, I think they would not like her. People would find her kind of obnoxious.

AG: Yeah, she’s a great character, but I can see where she’s better from the outside.

CS: Less is more.

AG: Part of what makes her great is how monstrous she is.

CS: Unapologetically monstrous—and the fact that she’s unapologetically monstrous, but she’s not a hundred percent monstrous. I think that she has very endearing qualities.

AG: Like what?

CS: She’s very blunt. She’s very entertaining. She’s unapologetic. She has an ability to enjoy herself.

AG: And yet you feel like if you were with her she might be enjoying herself more than you.

CS: Yeah, at your expense.

AG: Getting to the psychic connection the twins have, their powers—we never find out if there’s an entity behind their psychic abilities, and if it’s a force for good or evil. How did you make that decision, not to explain?

CS: The twins believe that they are psychic, and so essentially the book accepts that they are psychic, and neither the book nor the characters are trying to prove to the reader that they are. They just believe they are, which I think is much more natural. It’s almost like in life we’re most hell-bent on proving things that we’re not really sure are true. I didn’t want to present it in a defensive way, I wanted to present it in a matter-of-fact way.

AG: Is Sisterland your first exploration of nonrealist themes?

CS: It’s funny when someone says that, because now I know whether you believe in psychic ability.

AG: Well, do you believe in psychic abilities?

CS: I’m open to them. So you know, in the book, there’s the character Hank? He basically says there are a lot of things in the world that are weirder than psychic abilities, that we accept as true. There’s a lot that’s not explained about the universe. And so, psychicness is not stranger than that. And I’m in agreement with Hank. It’s not like I consider myself to have psychic abilities. I guess I consider myself at times to have intuition. But I also don’t feel the book is supposed to be an exposé about how psychics are frauds.

AG: I certainly didn’t read it that way. But at the same time it was interesting trying to suss out where the book was going to fall on that issue. I never thought that the book was debunking their psychic abilities, but there were times when intuitions proved to be slippery things.

CS: The book is obviously told in first person from the point of view of Kate, who believes that she has psychic abilities and believes that her sister has psychic abilities. And so the book allows for the possibility, no matter what I personally believe. But there came a point where I realized I do have to come down on one side or the other in terms of how much credibility I’m going to give both the sisters.

AG: Did you do a lot of research about psychics?

CS: I interviewed a psychic years ago for an article before ever writing this, and then I interviewed a different one while working on the book. I went to this New Age bookstore in a distant suburb of St. Louis, where I live. I basically went there thinking, “I’m doing research,” and then I un-ironically bought some crystals. There’s some confusion in my own mind about what I believe. Now that this is my fourth book, I know that writing a novel is not a way to sort out your confusion. I have some confusion about boarding school and what I think of having gone to boarding school, and it turns out that writing Prep did not help me sort out that confusion.

AG: What are you working on now?

CS: Usually I’m very secretive about what I’m doing, but the British publisher HarperCollins has commissioned this project where they’ll have six contemporary writers rewrite each of Jane Austen’s six novels. I’ll be rewriting Pride and Prejudice.

AG: Wow, jackpot.

CS: It’s meant to be fun and amusing. It’ll be set in the United States in the present day. And of course I feel a little ridiculous talking about it, because I understand that I’m not Jane Austen, but it’s—sort of in the way that Clueless is fun, it’s meant to be fun.

AG: Is that a lot of pressure?

CS: It would be pressure if I were saying, “Now I’m going to officially step into Jane Austen’s shoes.” But I don’t feel like that’s what this is.

AG: Sure. And you’ve been at it a long time! You started writing very early.

CS: I did start early. Basically, I started writing fiction as soon as I knew how to read and write. So, whatever, five or six. Then I started being published when I was in high school, which is a double-edged sword. Yes, I have been at it for a while. Now I’m a crusty thirty-seven.

AG: What was the first thing you ever remember writing? The first piece of fiction you ever wrote.

CS: I saw the movie of Annie. I saw it in the theater for my seventh birthday. I remember after that, taking this piece of paper, and—it was actually very Freudian—leaving it on my dad’s desk. It was like: “I am an orphan. My name is Annie.” It was essentially plagiarism. But I believed myself to be writing a story. I would sometimes do research by asking my parents questions. One time I said to them—this was kind of dark—I said to them, “Are people that have cancer not hungry?” And they were very alarmed. They said, “Why?” “I’m writing a story.” I was definitely, obviously weird.

AG: What shaped your tastes as a weird young child writing stories?

CS: My parents would read the Laura Ingalls Wilder books out loud to us, and they also read Stuart Little. We were definitely a reading family, and I loved books. I still feel this way, that a book—and a magazine, too—is what’s interesting about life in this distilled format that you can hold, and there’s something very enchanting to me about that. That it’s interesting stories and pictures, and someone took all this time to strip away the boring stuff, and just give you this story and these facts. If I’m at somebody’s house and they have magazines on the table and people are chatting, I feel almost a physical urge to start reading the magazines instead of talking to people. Of course a magazine is usually more interesting than a conversation, because so much more time and preparation has gone into it.

Curtis wants to hear from you! Share your thoughts and let her know what you are reading on Twitter!

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