Monday, October 31, 2011

December Meeting

The Thirteenth Tale
by Diane Setterfield
Thursday, December 8th
7:30 PM at
Sarah's House

Margaret Lea works in her father’s antiquarian bookshop where her fascination for the biographies of the long-dead has led her to write them herself. She gets a letter from one of the most famous authors of the day, the mysterious Vida Winter, whose popularity as a writer has been in no way diminished by her reclusiveness. Until now, Vida has toyed with journalists who interview her, creating outlandish life histories for herself --- ;all of them invention. Now she is old and ailing, and at last she wants to tell the truth about her extraordinary life. Her letter to Margaret is a summons.


Somewhat anxiously, the equally reclusive Margaret travels to Yorkshire to meet her subject. Vida’s strange, gothic tale features the Angelfield family; dark-hearted Charlie and his unbrotherly obsession with his sister, the fascinating, devious, and willful Isabelle, and Isabelle’s daughters, the feral twins Adeline and Emmeline. Margaret is captivated by the power of Vida’s storytelling, but she doesn’t entirely trust Vida’s account. She goes to check up on the family, visiting their old home and piecing together their story in her own way. What she discovers on her journey to the truth is for Margaret a chilling and transforming experience.



Discussion Questions:


1. Much of the novel takes place in two grand estates --- Angelfield and then Miss Winter’s. How are the houses reflections of their inhabitants?

2. As the story unfolds, we learn that Margaret and Miss Winter are both twins. What else do they have in common?

3. Margaret and her mother are bound by a singular loss --- the death of Margaret’s twin sister. How has each woman dealt with this loss, and how has it affected her life? If her parents had told her the truth about her twin, would Margaret still be haunted?

4. Books play a major role in this novel. Margaret, for example, sells books for a living. Miss Winter writes them. Most of the important action of the story takes place in libraries. There are stories within stories, all inextricably intertwined. Discuss the various roles of books, stories, and writing in this novel.

5. Miss Winter asks Margaret if she’d like to hear a ghost story --- in fact, there seem to be several ghost stories weaving their way through. In what ways is The Thirteenth Tale a classic, gothic novel?

6. Miss Winter frequently changes points of view from third to first person, from “they” to “we” to “I,” in telling Margaret her story. The first time she uses “I” is in the recounting of Isabelle’s death and Charlie’s disappearance. What did you make of this shifting when Margaret points it out on page 204?

7. Compare and contrast Margaret, Miss Winter, and Aurelius --- the three “ghosts” of the novel who are also each haunted by their pasts.

8. It is a classic writer’s axiom that a symbol must appear at least three times in a story so that the reader knows that you meant it as a symbol. InThe Thirteenth Tale, the novel Jane Eyre appears several times. Discuss the appearances and allusions to Jane Eyre and how this novel echoes that one.

9. The story shifts significantly after the death of Mrs. Dunne and John Digence. Adeline steps forward as intelligent, well-spoken, and confident --- the “girl in the mists” emerges. Did you believe this miraculous transformation? If not, what did you suspect was really going on?

10. Dr. Clifton tells Margaret that she is “suffering from an ailment that afflicts ladies of romantic imagination” when he learns that she is an avid reader of novels such as Wuthering Heights, Jane Eyre, and Sense and Sensibility. What do you think he means by drawing such a parallel? What other parallels exist between The Thirteenth Tale and classic 19th century literature?

11. When did you first suspect Miss Winter’s true identity? Whether you knew or not, looking back, what clues did she give to Margaret (and what clues did the author give to you)?

12. Margaret tells Aurelius that her mother preferred telling “weightless” stories in place of heavy ones, and that sometimes it’s better “not to know.” Do you agree or disagree?

13. The title of this novel is taken from the title of Miss Winter’s first book,Thirteen Tales of Change and Desperation, a collection of twelve stories with a mysterious thirteenth left out at the last minute before publication. How is this symbolic of the novel? What is the thirteenth tale?

14. When do you think The Thirteenth Tale takes place? The narrator gives some hints, but never tells the exact date. Which aspects of the book gave you a sense of time, and which seemed timeless? Did the question of time affect your experience with the novel?


Friday, January 21, 2011

October Meeting

The Flounder
by Günter Grass
NEW NEW DATE & TIME
Thursday, October 6th
7:3o PM at Lara's House

The Flounder begins in the Stone Age, when a talking fish is caught by a fisherman at the very spot where millennia later Grass's home town, Danzig, will arise. Like the fish, the fisherman is immortal, and down through the ages they move together. As Grass blends his ingredients into a powerful brew, he shows himself at the peak of his linguistic inventiveness. Translated by Ralph Manheim. A Helen and Kurt Wolff Book
Günter Grass and The Flounder: a voyage into mythical culinary history

“I write about superabundance. About fasting and my gluttons invented it. About crusts from the tables of the rich and their food value. About fat and excrement and salt and penury. In the midst of a mount of millet I will relate instructively How the spirit became bitter as gall An the belly went insane”

Gunter Grass, The Flounder, (Penguin, 1978, p.8)

In this intelligent and hilarious novel, the legendary German writer, Gunter Grass takes us on a bizarre culinary journey across centuries. While his wife is pregnant, the protagonist tells her 9 stories of 9 cooks that he claims "live inside him". He takes us from the Stone Age to the 20th century, guided by the Flounder, a mythical fish whose magic powers and knowledge have been responsible for male predominance. We are told various legends of creation, of sex and food. Grass indulges us with recipes from matriarchal tribes of the Stone Age through to European cuisine of the 1970s.
The narrator, that switches from protagonist to mysterious Flounder, observes: "...the whole flatfish family is tasty. The Neolithic Awa roasted his fellows in moist leaves. Toward the end of the Bronze age, Wigga rubbed them on both sides with white ashes and laid the white underside in ahses strewn over a bed of coals. After turning, she moistened the flatfish either in the Neolithic manner, from her always overflowing breasts, or modern-style, with a dash of fermented mare’s milk. Mestwina, who already cooked in flameproof pots placed on an iron grating, simmered flounder with sorrel or in mead. Just before serving, she sprinkled the white-eyed fish with wild dill.”(p.31)

Apart from the unusual breast milk option, these ancient recipes sound plausible and delicious. Mead, dill and milk are perfectly acceptable ingredients, and delicious zesty sorrel is back on the farmers' markets.

From meals by Awa, a mythical three breasted goddess , we are taken to the present day when “…the sole, the brill, the plaice, will be simmered in white wine, seasoned with capers, framed in jelly, deliciously offset by sauses, and served on Dresden china". The fish "will be braised, glazed, poached, broiled, filleted, ennobled with truffles, flamed in cognac, and named after marshals, dukes, the prince of Wales, and the Hotel Bristol.”(p.31)

These are only two tiny extracts of one of the best literary treatises on food. Even Grass' Medieval recipes sound absolutely scrumptious, bar the breast milk of course. In fact, a real foodie will surely be tempted to check the credibility and authenticity of the given recipes by testing them. Some would even be tempted to look for books on culinary history.

I will be grilling some sole with Monolithic sorrel salsa verde and a dash of honey instead of mead next week. Meanwhile make sure you get your hands on Gunter Grass' The Flounder, a fascinating literary ode to food.Grass was born in the Free City of Danzig on 16 October 1927, to Willy Grass (1899–1979), a Protestant ethnic German, and Helene Grass (née Knoff, 1898–1954), a Roman Catholic of Kashubian-Polish origin. Grass was raised a Catholic. His parents had a grocery store with an attached apartment in Danzig-Langfuhr (now Gdańsk-Wrzeszcz). He has one sister, who was born in 1930.

Grass attended the Danzig Gymnasium Conradinum. He volunteered for submarine service with the Kriegsmarine "to get out of the confinement he felt as a teenager in his parents' house" which he considered - in a negative way - civic Catholic lower middle class. In 1943 he became a Luftwaffenhelfer, then he was drafted into the Reichsarbeitsdienst, and in November 1944, shortly after his seventeenth birthday, into the Waffen-SS. The seventeen-year-old Grass saw combat with the 10th SS Panzer Division Frundsberg from February 1945 until he was wounded on 20 April 1945 and sent to an American POW camp.

In 1946 and 1947 he worked in a mine and received a stonemason's education. For many years he studied sculpture and graphics, first at the Kunstakademie Düsseldorf, then at the Universität der Künste Berlin. He also worked as an author and travelled frequently. He married in 1954 and since 1960 has lived in Berlin as well as part-time in Schleswig-Holstein. Divorced in 1978, he remarried in 1979. From 1983 to 1986 he held the presidency of the Berlin Akademie der Künste (Berlin Academy of Arts).

English-speaking readers probably know Grass best as the author of The Tin Drum (Die Blechtrommel), published in 1959 (and subsequently filmed by director Volker Schlöndorff in 1979). It was followed in 1961 by the novella Cat and Mouse(Katz und Maus) and in 1963 by the novel Dog Years (Hundejahre), which together with The Tin Drum form what is known as The Danzig Trilogy. All three works deal with the rise of Nazism and with the war experience in the unique cultural setting of Danzig and the delta of the Vistula River. Dog Years, in many respects a sequel to The Tin Drum, portrays the area's mixed ethnicities and complex historical background in lyrical prose that is highly evocative.

Grass has received dozens of international awards and in 1999 achieved the highest literary honor: the Nobel Prize for Literature. His literature is commonly categorized as part of the artistic movement of Vergangenheitsbewältigung, roughly translated as "coming to terms with the past."

In 2002 Grass returned to the forefront of world literature with Crabwalk (Im Krebsgang). This novella, one of whose main characters first appeared in Cat and Mouse, was Grass' most successful work in decades.

Representatives of the City of Bremen joined together to establish the Günter Grass Foundation, with the aim of establishing a centralized collection of his numerous works, especially his many personal readings, videos and films. The Günter Grass House in Lübeck houses exhibitions of his drawings and sculptures, an archive and a library.

As a trained graphic artist, he has also created the distinctive cover art for his novels. He was elected in 1993 an Honorary Fellow of the Royal Society of Literature

Grass took an active role in the Social-Democratic (SPD) party and supported Willy Brandt's election campaign. He criticised left-wing radicals and instead argued in favour of the "snail's pace", as he put it, of democratic reform (Aus dem Tagebuch einer Schnecke). Books containing his speeches and essays have been released throughout his literary career.

In the 1980s, he became active in the peace movement and visited Calcutta for six months. A diary with drawings was published as Zunge zeigen, an allusion to Kali's tongue.

During the events leading up to the unification of Germany in 1989-90, Grass argued for continued separation of the two German states, asserting that a unified Germany would necessarily resume its role as belligerent nation-state.

In 2001, Grass proposed the creation of a German-Polish museum for art lost during the War. The Hague Convention of 1907 requires the return of art that had been evacuated, stolen or seized. Unlike many countries that have cooperated with Germany, some countries refuse to repatriate some of the looted art.


On 15 August 2006, the online edition of
Der Spiegel, Spiegel Online, published three documents from U.S. forces dating from 1946, verifying Grass's Waffen-SS membership.[9]On 12 August 2006, in an interview about his forthcoming book Peeling the Onion, Grass stated that he had been a member of the Waffen-SS. Before this interview, Grass was seen as someone who had been a typical member of the "Flakhelfer generation," one of those too young to see much fighting or to be involved with the Nazi regime in any way beyond its youth organizations.

After an unsuccessful attempt to volunteer for the U-Boat fleet at age 15, Grass was conscripted into the Reichsarbeitsdienst (Reich Labor Service), and was then called up for the Waffen-SS in 1944. At that point of the war, youths could be conscripted into the Waffen-SS instead of the army (Wehrmacht); this was unrelated to membership of the SS proper.

Grass was trained as a tank gunner and fought with the 10th SS Panzer Division Frundsberg until its surrender to U.S. forces at Marienbad. In 2007, Grass published an account of his wartime experience in The New Yorker, including an attempt to "string together the circumstances that probably triggered and nourished my decision to enlist." To the BBC, Grass said in 2006:


It happened as it did to many of my age. We were in the labour service and all at once, a year later, the call-up notice lay on the table. And only when I got to Dresden did I learn it was the Waffen-SS.

Joachim Fest, conservative German journalist, historian and biographer of Adolf Hitler, told the German weekly Der Spiegel about Grass's disclosure:

After 60 years, this confession comes a bit too late. I can't understand how someone who for decades set himself up as a moral authority, a rather smug one, could pull this off.

As Grass has for many decades been an outspoken left-leaning critic of Germany's treatment of its Nazi past, his statement caused a great stir in the press.

Rolf Hochhuth said it was "disgusting" that this same "politically correct" Grass had publicly criticized Helmut Kohl and Ronald Reagan's visit to a military cemetery at Bitburg in 1985, because it also contained graves of Waffen-SS soldiers. In the same vein, the historian Michael Wolffsohn has accused Grass of hypocrisy in not earlier disclosing his SS membership. Many have come to Grass' defense based upon the fact the involuntary Waffen-SS membership was very early in Grass' life, starting when he was drafted shortly after his seventeenth birthday, and also precisely because he has always been publicly critical of Germany's Nazi past, unlike many of his conservative critics. For example, novelist John Irving has criticised those who would dismiss the achievements of a lifetime because of a mistake made as a teenager.

Grass's biographer Michael Jürgs spoke of "the end of a moral institution". Lech Wałęsa had initially criticized Grass for keeping silent about his SS membership for 60 years, but after a few days had publicly withdrawn his criticism after reading the letter of Grass to the mayor of Gdańsk, and admitted that Grass "set the good example for the others." On 14 August 2006, the then-ruling party of Poland, Law and Justice, called on Grass to relinquish his honorary citizenship of Gdańsk. A 'Law and Justice' politician Jacek Kurski stated, "It is unacceptable for a city where the first blood was shed, where World War II began, to have a Waffen-SS member as an honorary citizen." However, according to a 2010 poll ordered by city's authorities, the vast majority of Gdańsk citizens did not support Kurski's position. The mayor of Gdańsk, Paweł Adamowicz, said that he opposed submitting the affair to the municipal council because it was not for the council to judge history.

July Meeting

The Housekeeper and The Professor
by Yoko Ogawa
Thursday, July 7th
7:30 PM at Janell's House

First published in Japan in 2003 as 博士の愛した数式 (Hakase no aishita sushiki), it won the Yomiuri Prize in 2004. In The Housekeeper and the Professor, Yoko Ogawa tells an intimate story about family, the nature of memory, and the poetry of mathematics. It is also, in a sense, a story about the simple experience of getting to know someone, but with a twist: the person forgets everything in eighty minutes. How do you form a relationship with a person who cannot remember? In this uplifting and often poignant novel, Ogawa seems to ask whether our immediate experiences are more important than our memories, since memories inevitably fade, and the eponymous Professor’s condition of limited short-term memory allows the author to explore this question with great creativity. At the same time, Ogawa invites the reader into the world of mathematics, using complex equations as a metaphor for the themes running throughout her book. The Housekeeper and the Professor is a rich, multilayered novel that offers much to discuss.

About The Author:

Yōko Ogawa (小川 洋子) was born in Okayama, Okayama Prefecture, graduated from Waseda University, and lives in Ashiya, Hyōgo, with her husband and son. Yoko Ogawa's fiction has appeared in The New Yorker, A Public Space, and Zoetrope. Since 1988 she has published more than twenty works of fiction and nonfiction, and has won every major Japanese literary award. In 2006 she co-authored "An Introduction to the World's Most Elegant Mathematics" with Masahiko Fujiwara, a mathematician, as a dialogue on the extraordinary beauty of numbers.

Questions for Discussion:

1. The characters in The Housekeeper and the Professor are nameless (“Root” is only a nickname). What does it mean when an author chooses not to name the people in her book? How does that change your relationship to them as a reader? Are names that important?

2. Imagine you are writer, developing a character with only eighty minutes of short-term memory. How would you manage the very specific terms of that character (e.g. his job, his friendships, how he takes care of himself)? Discuss some of the creative ways in which Yoko Ogawa imagines her memory-impaired Professor, from the notes pinned to his suit to the sadness he feels every morning.

3. As Root and the Housekeeper grow and move forward in their lives, the Professor stays in one place (in fact he is deteriorating, moving backwards). And yet, the bond among the three of them grows strong. How is it possible for this seemingly one-sided relationship to thrive? What does Ogawa seem to be saying about memory and the very foundations of our profoundest relationships?

4. The Professor tells the Housekeeper: “Math has proven the existence of God because it is absolute and without contradiction; but the devil must exist as well, because we cannot prove it.” Does this paradox apply to anything else, beside math? Perhaps memory? Love?

5. The Houskeeper’s father abandoned her mother before she was born; and then the Housekeeper herself suffered the same fate when pregnant with Root. In a book where all of the families are broken (including the Professor’s), what do you think Ogawa is saying about how families are composed? Do we all, in fact, have a fundamental desire to be a part of a family? Does it matter whom it’s made of?

6. Did your opinion of the Professor change when you realized the nature of his relationship with his sister-in-law? Did you detect any romantic tension between the Professor and the Housekeeper, or was their relationship chaste? Perhaps Ogawa was intending ambiguity in that regard?

7. The sum of all numbers between one and ten is not difficult to figure out, but the Professor insists that Root find the answer in a particular way. Ultimately Root and the Housekeeper come to the answer together. Is there a thematic importance to their method of solving the problem? Generally, how does Ogawa use math to illustrate a whole worldview?

8. Baseball is a game full of statistics, and therefore numbers. Discuss the very different ways in which Root and the Professor love the game.

9. How does Ogawa depict the culture of contemporary Japan in The Housekeeper and the Professor ? In what ways does is it seem different from western culture? For example, consider the Housekeeper’s pregnancy and her attitude toward single motherhood; or perhaps look at the simple details of the story, like Root’s birthday cake. In what ways are the cultures similar, different?

10. Ogawa chooses to write about actual math problems, rather than to write about math in the abstract. In a sense, she invites the reader to learn math along with the characters. Why do you think she wrote the book this way? Perhaps to heighten your sympathy for the characters?

11. Do numbers bear any significance on the structure of this book? Consider the fact that the book has eleven chapters. Are all things quantifiable, and all numbers fraught with poetic possibility?