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The Emperor's Childrenby Claire Messud
Reading Group Guide
1. At the novels onset, most of the characters are outside New York: Danielle in Australia, pursuing an idea for a story and finding someone to have a crush on; Marina at her parents summer house in Stockbridge, accompanied by Julius; and Bootie in his mothers house in upstate New York. Why might Messud have chosen to begin in this manner? At what other points in the book do the characters leave the city and with what results?
2. Messud introduces her characters through their environments: the womblike bathroom where Bootie soaks in hot water and serious literature; the Thwaites resplendent Central Park West apartment; and Danielles pristine, aesthetically climate-controlled studio. What do these spaces tell us about their occupants? Why might the author have used this rather old-fashioned way of ushering us into a novel set in 2001? Where else does she employ the techniques of an earlier age of literature?
3. Which of the novels characters strikes you as its moral center? Is it Bootie, who comes to New York with such high ideals and easily rankled feelings? Is it Danielle, who has lived there long enough to feel at home there but who still sees its pretensions and absurdities? With which of these characters is the reader meant to identify? Whose judgments seem the most reliable? And what flaws or blind spots afflict even him or her?
4. Julius is obsessed with the characters of Pierre and Natasha from War and Peace, longing to be the sparkling Natasha but fearing hes really more like the brooding, self-conscious Pierre. Bootie is constantly reading Emerson. Which of the other characters has an emblematic book, and what role do those books play in their lives, in the way they see the world, and, of course, the way they see themselves? Is Julius anything like Pierre or Natasha? Does Bootie really live up to Emersons criterion of genius? At what points do they similarly misread other characters?
5. In addition to reading, many of Messuds people are also engaged in writing: Marina has her book-in-progress and Murray has his (which hes thinking of calling How to Live), and Bootie has his essay on Murray (and Murrays book). What is their relationship to their writing? What do they hope to achieve through it? How do other characters respond to it? Does Messud give us any indication as to which of these characters work is good (or genuine) and which is failed or fraudulent?
6. Almost everybody in The Emperors Children envies, and is intimidated by, somebody else. Julius, for instance, is in awe of Marinas self-confidence and envious of her sense of entitlement. Marina is cowed by her father. And poor Bootie is a virtual pressure cooker of indiscriminate awe and resentment. What sort of things do Messuds characters feel insecure about? Is there anyone in the book who seems truly comfortable with him or herself or any relationship that seems to be conducted by equals? Would you say that awe and envy are this novels dominant emotions?
7. Marina, we learn, frequently accompanies Murray to public functions, and is sometimes mistaken for his “trophy wife.”  Does their relationship strike you as incestuous (in which case its a brilliant stroke of Messud to make Ludovic call her “her fathers Anna Freud ”)? Compare Marinas unfolding relationship with Ludovic to her bond with her father. Do you think that Ludovic-incidentally, the only major character who is seen entirely from the outside, through the eyes of others-really loves Marina or is merely using her, and if so for what purpose?
8. Just as Marina has symbolically taken over her mothers role, “Danielle had the peculiar sensation of having usurped her friends role in the Thwaite family, and more than that, of having usurped it at some moment in the distant past, a decade or more ago: she felt like a teenager. . . , and she was suddenly, powerfully aware of the profound oddity of Marinas present life, a life arrested at, or at least returned to, childhood.”  How many of the other characters seem similarly suspended? Which of them seems like a full-grown adult, and what does it mean to be an adult in the scheme of this novel? If Danielle has indeed usurped Marinas place, what is the significance of her affair with Marinas father? Which of the other characters takes on another characters role, and for what reasons?
9. When pressed to take a job, Marina confesses, “I worry that that will make me ordinary, like everybody else.”  To what extent are other characters possessed by the same fear, and how do they defend themselves against it? Do they have a common idea of what constitutes ordinariness? Can ordinariness even exist in a social world in which everyone is constantly, feverishly striving to be unique? Is it possible that Marina is just lazy and prevaricating in her charming way?
10. With his high-flown ambitions, his indolence, and his appalling sense of hygiene, Bootie initially seems like a comic character. But in the course of the novel Messuds portrait of him darkens until he comes to seem either sinister or tragic-perhaps both. How does she accomplish this? Which other characters does she gradually reveal in a different light? Compare Messuds shifting portrayal of Bootie to her handling of Julius and Danielle. In what ways do they too evade or defy the readers initial expectations about them?
11. Ludovic repeatedly declares that he wants to make a revolution with his magazine The Monitor, but what is the magazine supposed to be about? Lest we think that The Emperors Children is merely a satire of the New York media, what other highly touted ideas in this novel turn out to be light on substance, and what does this suggest about the value of ideas at this historical moment?
12. On similar lines, both Ludovic and Bootie denounce Murray as a fraud while Bootie in particular prides himself on his sincerity. But is such sincerity a good thing? What other characters embrace that virtue, and with what results? Compare Booties frank literary assessment of his uncle with Murrays frank critique of his daughters manuscript, or his even franker response to Booties essay. When in this novel does honesty turn out to be a pretext for something else? And when do subterfuge and deception turn out to be acts of kindness?
13. Murray feels that his mothers efforts at improving him succeeded only in “turning her boy into someone, something, she couldnt understand.”  By contrast, he thinks, Marina has been paralyzed by the very expansiveness of her upbringing. What does this novel have to say about parents and children? Which of the Emperors children has proved a disappointment to his or her parents? Does any parent in this novel (Murray, Annabel, Judy, Randy) truly understand his or her offspring? And is it good for said offspring to be understood?
14. Some of Messuds characters begin the novel in a state of happiness and others attain it, but nearly all of them see their happiness threatened or even shattered. How does this come about? Which of them is the victim of outside forces and which is responsible for his or her fall? How would you describe this novels vision of happiness? Considering that the typical comedy has a happy (or happy-ish) ending, what do you make of the fact that so many of Messuds characters end up bereft or disappointed?
15. Among this novels many characters, one has to include the character of New York City. How does Messud bring the city to life? Compare Murrays New York with Marinas and Danielles, Booties and Juliuss. What is it that draws a Bootie Tubb and a Julius Clarke, a Danielle Minkoff and a Ludovic Seeley to prove themselves in New York?
16. What role do the events of September 11, 2001, play in The Emperors Children? Are there other points when history-or, put another way, reality-impinges on the safe and mostly privileged world its characters inhabit? What is the significance of Annabel Thwaites client DeVaughn or results of Julius and Davids affair? Does the ending make sense when compared with the rest of the novel?
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