Novembr and January

Our next meeting is Monday, November 29th, when we will read Italo Calvino's If on a Winter's Night a Traveler. It already appears to be a controversial book, so NOT TO BE MISSED! See you at Mary's place to discuss it. Here's a description I found:

"Calvino's masterpiece opens with a scene that's reassuringly commonplace: apparently. Indeed, it's taking place now. A reader goes into a bookshop to buy a book: not any book, but the latest Calvino, the book you are holding in your hands. Or is it? Are you the reader? Is this the book? Beware. All assumptions are dangerous on this most bewitching switch-back ride to the heart of storytelling. "


Also, just so you can be prepared, our January book is John Irving's Last Night in Twisted River.

Water for Elephants - New York Times Review

Trunk Show

On our first date, my husband took me to see Tod Browning's "Freaks," a 1932 horror film with a distinctly Diane Arbus feel that takes a voyeuristic delight in dwarfs, fat ladies and other sideshow improbabilities. Sara Gruen's arresting new novel, "Water for Elephants," explores similar subject matter — the pathetic grandeur of the Depression-era circus. And like Browning, Gruen infuses her audacious material with a surprisingly uplifting strain of sentimentality.

"Water for Elephants" begins violently and then veers into weirder terrain. Jacob Jankowski, a veterinary student at Cornell, discovers that his parents have been killed in a car accident. Aimless and distraught, he climbs aboard a train that happens to be carrying the Benzini Brothers Most Spectacular Show on Earth, and inveigles a job as an animal doctor. His responsibilities draw him into the unpredictable orbit of August Rosenbluth, the circus's mercurial menagerie director, and his beautiful wife, Marlena, whose equestrian act attracts enthusiastic crowds.

Jacob immerses himself in the bizarre subculture of acrobats, aerialists, sword swallowers and lion tamers, mastering a vernacular that reflects a rigid caste system. Ringling Brothers is nicknamed "Big Bertha," performers are "kinkers" and members of the audience are always "rubes." When an aged Jacob observes a contemporary circus, he sees children carrying blinking toys: "Bet their parents paid an arm and a leg for them, too. Some things never change. Rubes are still rubes, and you can still tell the performers from the workers."

The troupe crisscrosses the country cannibalizing acts that have gone bankrupt in the Depression-era economy. After Uncle Al, the autocratic ringmaster, purchases Rosie, an elephant with an unquenchable thirst for lemonade and the inability to follow the simplest command, Benzini Brothers looks doomed. How Jacob coaxes Rosie to perform — thereby saving the circus — lies at the heart of the novel.

Gruen, whose first novel was "Riding Lessons," turns horses and other creatures into sympathetic characters. According to an author's note, she studied elephant body language and behavior with a former handler at the Kansas City Zoo. The research pays off. August's mistreatment of Marlena pales beside the visceral wallop of his nonchalant cruelty toward Rosie: "I look up just as he flicks the cigarette. It arcs through the air and lands in Rosie's open mouth, sizzling as it hits her tongue. She roars, panicked, throwing her head and fishing inside her mouth with her trunk. August marches off. I turn back to Rosie. She stares at me, a look of unspeakable sadness on her face. Her amber eyes are filled with tears."

Second-rate and seedy, Benzini Brothers suffers a collective inferiority complex (no one is permitted to utter the word "Ringling" in Uncle Al's presence). When Lovely Lucinda, the 400-pound fat lady, dies suddenly, Uncle Al orchestrates a funeral procession led by 24 black Percherons and an army of mourners competing for the three dollars and bottle of Canadian whiskey promised to whoever puts on the best show. "You've never seen such grief — even the dogs are howling."

Gruen's circus, with its frankly mercantile morality, symbolizes the warped vigor of capitalism. No matter how miserable or oppressed, the performers love the manufacturing of illusion, sewing a new sequined headdress for Rosie or feeding the llamas as men die of starvation in a devastated America. August's paranoid schizophrenia feels emblematic — an indictment of a lifetime spent feigning emotions to make a buck.

At its finest, "Water for Elephants" resembles stealth hits like "The Giant's House," by Elizabeth McCracken, or "The Lovely Bones," by Alice Sebold, books that combine outrageously whimsical premises with crowd-pleasing romanticism. But Gruen's prose is merely serviceable, and she hurtles through cataclysmic events, overstuffing her whiplash narrative with drama (there's an animal stampede, two murders and countless fights). She also asserts a grand passion between Jacob and Marlena that's never convincingly demonstrated.

Black-and-white photographs of real American circus scenes from the first half of the century are interspersed throughout the novel, and they brilliantly evoke the dignified power contained in the quieter moments of this unusual brotherhood. The grainy photos capture the unexpected daintiness of an elephant disembarking from a train, the symmetry of a marching band, a gaggle of plumed showgirls stepping gingerly across a patchy lawn and the haunting solitude of an impeccably dressed cook.

Circuses showcase human beings at their silliest and most sublime, and many unlikely literary figures have been drawn to their glitzy pageantry, soaring pretensions and metaphorical potential (Marianne Moore leaps to mind). Unsurprisingly, writers seem liberated by imagining a spectacle where no comparison ever seems inflated, no development impossible. For better and for worse, Gruen has fallen under the spell. With a showman's expert timing, she saves a terrific revelation for the final pages, transforming a glimpse of Americana into an enchanting escapist fairy tale.

Elizabeth Judd has written for The Atlantic Monthly, The Philadelphia Inquirer, Salon and other publications.

Water for Elephants: interview with author

Here is an interesting interview with the author. (Sorry don't remember how to make this a link, so just copy and paste into your browser)


http://www.powells.com/authors/gruen.html

Water for Elephants: discussion questions

Here are some questions for discussion

1. Water for Elephants moves between a story about a circus and a story about an old man in a nursing home. How do the chapters about the older Jacob enrich the story about Jacob’s adventure with the circus? How would the novel be different if Gruen had only written about the younger Jacob, keeping the story linear and never describing Jacob’s life as an old man?
   
   
2. Did the chapters about the nursing home change how you think about older people? In what ways are the doctors and nurses condescending? How is Rosemary different? How do you treat older people?
   
   
3. In chapter two, the twenty-three year old Jacob starts his story by telling us he is a virgin. From the cooch tent to the erections the older Jacob gets when being bathed, sexuality is woven into the whole story. Why do you think Gruen added these details? What role does sexuality play in Water for Elephants?
   
   
4. When you first read the Prologue, who did you think murdered the man? Were you surprised by who the actual murderer was?
   
   
5. The book begins with a quote from Horton Hatches the Egg by Dr. Seuss: “I meant what I said, and I said what I meant…An elephant’s faithful—one hundred percent!” What is the role of faithfulness and loyalty in Water for Elephants? How do different characters define loyalty? (Jacob, Walter, Uncle Al).
   
   
6. Why does Jacob get so mad about Mr. McGuinity lying about carrying water for elephants? Do you see and similarities of temperament between the young Jacob and the old Jacob?
   
   
7. In what ways is Water for Elephants a survival story? A love story? An adventure?
   
   
8. Water for Elephants has a happy ending for Jacob, but not for many other characters. Discuss Walter and Camel’s fates. How does tragedy fit into the story?
   
   
9. There is an “us and them” mentality in the circus between performers and workers. How does Jacob bridge these two classes of people? Why does each group hate another group? Does the circus merely mirror society in an exaggerated way?
   
   
10. Are you satisfied with the end?
    
    
11. In the Author’s Note, Gruen writes that many of the details in the story are factual or come from circus workers’ anecdotes. These true stories include the hippo pickled in formaldehyde, the deceased fat lady being paraded through town and an elephant who repeatedly pulled out her stake and stole lemonade. Gruen did extensive research before writing Water for Elephants. Was her story believable?
    
    
12. Rate Water for Elephants on a scale of 1 to 5.

Book Club Selections for 2010-2011

October 2010 - Water for Elephants by Sara Gruen, meeting Oct 25th at Harriet's.

November 2010 - If On a Winter's Night a Traveler, Italo Calvino

Other books:

The Bishop's Man, Linden McIntyre
Hunger Games, Suzanne Collins
Last Night in Twisted River, John Irving
Lady Chatterly's Lover, DH Lawrence
My Stroke of Insight, Jill Bolte Taylor
Infidel (or Nomad), Ayaan Hirsi Ali