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Bridge of Sighs: A Novel


Bridge of Sighs: A Novel Cover



Reading Group Guide

1. Bridge of Sighs alternates two narratives: Lucys first-person memoir and the story of Robert Noonan. What are the advantages of this structure? How does it affect the way plot unfolds? Does it influence your impressions of the main characters?

2. How does Lucys description of Thomaston [pp.9-11] create an immediate sense of time and place? What details did you find particularly evocative? What does Lucys tone, as well as the way he presents various facts about Thomaston and its history, reveal about his perceptiveness and his intelligence?

3. Lucy says, “Ive always known that theres more going on inside me than finds its way into the world, but this is probably true of everyone. Who doesnt regret that he isnt more fully understood?” [p. 12]. To what extent does this feeling lie at the heart of his decision to write his book? Does it play a central role in memoir-writing in general? What else does Lucy hope to accomplish by recalling his past? At the beginning, does he see the dangers, as well as the benefits, of examining his life and the people and events that shaped him?

4. The horrific prank the neighborhood boys play on Lucy [pp. 21-30] triggers the first of many “spells” he will have throughout his life. What is the significance of his spells? What do they reveal about the emotional attachments, anxieties, and doubts that define him both as a child and as an adult?

5. Lucy makes many references to the pursuit of the American Dream and its implications within his own family and in society in general [pp. 52-55, 78, 92-93, for example]. In what ways did American attitudes in the postwar years embody both the best parts of our national character and its darker undercurrents? What incidents in the novel illuminate the uneasiness and enmity that results from the class, racial, and economic divisions in Thomaston? Do Lucys beliefs, judgments, and achievements (as a businessman and as a happily married husband and father) color his reconstruction of these events?

6. Unlike Lucys story, Noonans story is told in the third person. Is the change of voice a literary device, a way of adding variety to the novel, or does it serve another purpose? In what ways does it help to convey the basic difference between Lucy and Noonan and the way they see themselves and their place in the world? Compare the tone and language Russo uses in creating Lucys voice with the style he uses in his portraits of Noonan. What aspects of Noonans character and personality come to life in his conversations with his art dealer and his mistress [pp. 35-51]; his reactions to Lucys missives [pp. 131-134] and to Mr. Bergs class in high school [pp. 310-314]; and, ultimately, his thoughts and behavior on arriving in New York [pp. 500—508].

7. Lucy and Bobby [p. 130 and p. 141-142 respectively] attempt to explain why their lives—and Sarahs—have turned out they way they have. Do you agree with Lucy that “To see a life back to front, as everyone begins to do in middle age, is to strip it of its mystery and wrap it in inevitability, dramas enemy”? To what extent does Bobby share this view? Why does Bobby see himself as being in control of his life in a way that neither Sarah nor Lucy is? Is this a result of his background and the circumstances that forced him to prepare himself for a second act? From the evidence in the book, is it accurate to describe Lucy as a passive participant in life, and Bobby as a man who actively responds to events, rather than becoming a pawn—or a victim—of things beyond his control?

8. Tessa is the practical, steady member of the Lynch family. In what ways does her behavior reflect her own choices, needs, and desires, and in what ways are these determined by the time and place in which she lives? What qualities make her stand out, not only in Lucys eyes, but also within the community as a whole?

9. Does Lucys identification with his father distort his image of his mother and his understanding of her strengths and her weaknesses? Beyond her immediate anger, what drives her to tell Lucy, “I never wanted you to not to love your father. . . . I wanted you to love me. . . . Did it ever occur to you, even once during all those years, that you might have taken my side? That I might have needed a friend?” [p. 217]? Is this a valid criticism, or is Tessa herself responsible, either inadvertently or intentionally, for the differences between Lucys relationships with each parent?

10. Sarah comes from an unconventional family, especially in the context of Thomaston. Is her ability to deal with the eccentricities of her parents and the summer/winter living arrangements they established unusual? In what ways does she not only adapt to but also benefit from the very things that set her apart? Is her attraction to the Lynches in part a reaction to her dysfunctional family?

11. Are Mr. Bergs obsessions—with perpetuating his image as a rebel, with the “great” book he is writing, and with his failed marriage—sympathetically drawn? What is the significance of the fact that he is Jewish? What biases, both good and bad, do the people of Thomaston (including Lucy) have about Jews and what impact does this have on Berg and his reputation within the community?

12. What role does her mother play in Sarahs sense of self? What are the implications of her views on marriage [p.326]? Do they influence Sarahs feelings about her own marriage and that of her in-laws? Why is Sarah drawn back to the home she shared with her mother when she faces a crisis in her relationship with Lucy [pp. 464-499]? What does she learn by revisiting the past?

13. What traits do Tessa and Sarah share? In what ways do their marriages mirror one another? Do you think either—or both—foolishly gave up their own dreams and desires, sacrificing a life of adventure and sexual passion for the love and security of a “good” man? Behind their apparent contentment, are there indications that they regret the choices they made?

14. The Bridge of Sighs in Venice connects the Doge Palace to an adjacent prison, and, as Lucy relates, “Crossing this bridge, the convicts—at least the ones without money or influence—came to understand that all hope was lost” [p. 320]. How does the historical function of the bridge, as well as the myths surrounding it, relate to characters lives? Why has Russo chosen it as the title of the novel?

15. Does the ending bring the various threads of the novel to a satisfactory conclusion? What would have happened if Lucy, Sarah, and Noonan had met again after so many years? In what ways are their memories and imaginings a more powerful—and truer—version of reality?

16. In an interview Russo said, “The future and the past are repeatedly getting mixed up in peoples minds. They think that which is gone is going to come back” (Powells.com). Which characters Bridge of Sighs are particularly prone to getting the past and the future mixed up? Do any of the characters fully escape this way of thinking?

17. Richard Russo has written about small towns throughout his career. What are some similarities between Bridge of Sighs and previous novels like Empire Falls and Nobodys Fool? In what ways does Bridge of Sighs enhance and expand the portrait of America that is so central to Russos writing?

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Chris Johnson, June 3, 2008 (view all comments by Chris Johnson)
Richard Russo continues to explore the interactions between love, friendship, and family. I think this is his most ambitious book so far, and I give him full marks for challenging himself and his readers. The Bridge of Sighs is a bridge in Venice over which prisoners used to pass on their way to prison, often seeing Venice for the last time. Russo skillfully manages this as a metaphor throughout the book, while also pulling together apparently independent threads of narrative. The first half of the book is a dead-on description of the trials of junior high school in '50s - '70s America, which had me squirming with recognition, and was the highlight of the book for me.

Russo chose as his primary narrative the first-person account of Lou C. Lynch. In keeping with the character's personality, the writing is generally plain, straightforward prose. In one sense, this is a real accomplishment because it so perfectly fits the character. On the other hand, as others have commented, it makes for slow going at times. Not all of the book is narrated by Lynch. Parts of the book feature an omniscient narrator (or two, I sometimes felt - a Thomaston narrator and a Noonan narrator). This shifting perspective is necessary for the plot, but is sometimes awkward. Unlike Russo's other novels, the ending of Bridge of Sighs seemed aimless to me and left me disappointed. If you've read and enjoyed any of his other books, you should read Bridge of Sighs. If you are new to Richard Russo, I would recommend Nobody's Fool or Empire Falls as a better place to start.
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K Bloom, December 24, 2007 (view all comments by K Bloom)
This was a beautifully written book in my opinion. Okay. It is not a thriller and it doesn't come with all the lovable loser main characters that we have come to love in Russo's earlier works. Many people here have complained about the book not having "likeable" characters and that they are "stale and boring". I believe the main character was too nice and therefore some readers resented that. Too bad. There must be many people like him (even if I don't know any), but who cares. It's the storytelling that counts. This is a different Richard Russo book in some respects and I'm very happy to have read it.Good for him and us too! I'd also recommend reading Tino Georgiou's bestselling novel--The Fates--if you haven't yet
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bohola1959, November 29, 2007 (view all comments by bohola1959)
Having looked forward to another great read, I was disappointed. Though Mr. Russo is a great writer, I had trouble with the structure of the book and the repetitivenss of the characterizations. Had the book not been quite as long, perhaps I would have had the patience to ignore its faults.

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Product Details

Russo, Richard
Houghton Mifflin Harcourt
Just, Ward
City and town life
New york (state)
General Fiction
Literature-A to Z
Edition Number:
Edition Description:
Trade Cloth
Publication Date:
September 25, 2007
Grade Level:
9 x 6 in 0.98 lb

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Related Subjects

Fiction and Poetry » Literature » A to Z
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Bridge of Sighs: A Novel Used Hardcover
0 stars - 0 reviews
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Product details 272 pages Knopf Publishing Group - English 9780375414954 Reviews:
"Staff Pick" by ,

Russo is a modern master of absorbing characters, brilliantly sharp dialogue, and a warm-hearted yet strangely thrilling storytelling style. The only sighs this elegiac novel produces are of wistful satisfaction.

"Publishers Weekly Review" by , "Signature Reviewed by Jeffrey Frank Richard Russo's portraits of smalltown life may be read not only as fine novels but as invaluable guides to the economic decline of the American Northeast. Russo was reared in Gloversville, N.Y. (which got its name from the gloves no longer manufactured there), and a lot of mid — 20th-century Gloversville can be found in his earlier fiction (Mohawk; The Risk Pool). It reappears in Bridge of Sighs, Russo's splendid chronicle of life in the hollowed-out town of Thomaston, N.Y., where a tannery's runoff is slowly spreading carcinogenic ruin.At the novel's center is Lou C. Lynch (his middle initial wins him the unfortunate, lasting nickname 'Lucy'), but the narrative, which covers more than a half-century, also unfolds through the eyes of Lou's somewhat distant and tormented friend, Bobby Marconi, as well as Sarah Berg, a gifted artist who Lou marries and who loves Bobby, too. The lives of the Lynches, the Bergs and the Marconis intersect in various ways, few of them happy; each family has its share of woe. Lou's father, a genial milkman, is bound for obsolescence and leads his wife into a life of shopkeeping; Bobby's family is being damaged by an abusive father. Sarah moves between two parents: a schoolteacher father with grandiose literary dreams and a scandal in his past and a mother who lives in Long Island and leads a life that is far from exemplary. Russo weaves all of this together with great sureness, expertly planting clues — and explosives, too — knowing just when and how they will be discovered or detonate at the proper time. Incidents from youth — a savage beating, a misunderstood homosexual advance, a loveless seduction — have repercussions that last far into adulthood. Thomaston itself becomes a sort of extended family, whose unhappy members include the owners of the tannery who eventually face ruin.Bridge of Sighs is a melancholy book; the title refers to a painting that Bobby is making (he becomes a celebrated artist) and the Venetian landmark, but also to the sadness that pervades even the most contented lives. Lou, writing about himself and his dying, blue-collar town, thinks that 'the loss of a place isn't really so different from the loss of a person. Both disappear without permission, leaving the self diminished, in need of testimony and evidence.' If there are false notes, they come with Russo's portrayal of African-Americans, who too often speak like stock characters: ('Doan be given me that hairy eyeball like you doan believe, 'cause I know better,' says one). But Russo has a deep and real understanding of stifled ambitions and the secrets people keep, sometimes forever. Bridge of Sighs, on every page, is largehearted, vividly populated and filled with life from America's recent, still vanishing past. Jeffrey Frank's books include The Columnist and Bad Publicity. His novel, Trudy Hopedale, was published in July by Simon & Schuster. " Publishers Weekly (Copyright Reed Business Information, Inc.)
"Review" by , "Here is the novel Russo was born to write....It is a seamless interweaving of childhood memories, tragic incidents, and unforgettable dialogue that is so natural, funny, and touching that it may, perhaps, be the best of Russo's many gifts."
"Review" by , "That Russo manages to juggle so many characters, themes, places, and time periods through 528 delicious pages is an astounding achievement. From its lovely beginning to its exquisite, perfect end, Russo has written a masterpiece."
"Review" by , "[E]ngrossing....Russo writes about these characters...with such warmth that, whether it turns out to be a hellhole or heaven on earth, you're grateful to be back on his turf. (Grade: B+)"
"Review" by , "It is a novel of great warmth, charm and intimacy, but not one of earth-shattering revelations....Some of this book's most memorable moments take the form of sharp, funny storytelling. Some emerge more amorphously through intuitive visions."
"Review" by , "[Russo's] most ambitious and best work....It's a big-hearted novel, driven by vivid and complex characters....Bridge of Sighs is dramatic in a small town kind of way, which is a big part of its beauty."
"Review" by , "Despite the fact that its title points us to the familiar Venetian span, Bridge of Sighs settles us firmly in Richard Russo territory....Russo here is doing what he does best, putting a microscope over what looks like vacant territory and showing us the abundant life beneath the surface."
"Review" by , "While Russo's tale gets off to a slow start and the attempt to tell the parallel stories of Louis and Bobby is not always successful, Russo's novel is nevertheless a winning story of the strange ways that parents and children, lovers and friends connect and thrive."
"Review" by , "While perhaps not quite the equal of Empire Falls, Bridge of Sighs is anchored by the wry humor and innate decency Russo brings to his characters....And nobody does upstate New York...better than Russo."
"Review" by , "[I]n the course of this enormous and enormously moving novel, I was continually seduced by Russo's insight and gentle humor, his ability to discern the ways we love and frustrate each other."
"Review" by , "[A]bsorbing, bittersweet and multifaceted....[Russo] masterfully reconciles and interweaves local color and social mobility with pertinent characterization..."
"Review" by , "Russo makes all his characters come alive on the page. In so doing, yet again, he provides the kind of compelling company any serious reader of fiction knows doesn't come along often."
"Review" by , "As you reach the end, you want to turn back to the opening pages and start once again. Russo's ability to present individuals with dignity and grace make this a quietly astounding novel that should be on everyone's fall reading list."
"Synopsis" by , Six years after his bestselling, Pulitzer Prize-winning Empire Falls, Russo returns with a novel that expands his widely heralded achievement. This new work courses with small-town rhythms and the claims of family, yet it is brilliantly enlarged by an expatriate whose motivations and experiences prove every bit as mesmerizing as they resonate through these richly different lives.
"Synopsis" by , A finely observed coming-of-age novel, set in Chicago, with a boarding school for boys and a never-solved sexual crime at its center, from the National Book Award finalist Ward Just.
"Synopsis" by ,

Tommy Ogden, a Gatsbyesque character living in a mansion outside robber-baron-era Chicago, declines to give his wife the money to commission a bust of herself from the French master Rodin and announces instead his intention to endow a boys’ school. Ogden’s decision reverberates years later in the life of Lee Goodell, whose coming of age is at the heart of Ward Just’s emotionally potent new novel. 

Lee’s life decisions—to become a sculptor, to sojourn in the mean streets of the South Side, to marry into the haute-intellectual culture of Hyde Park—play out against the crude glamour of midcentury Chicago. Just’s signature skill of conveying emotional heft with few words is put into play as Lee confronts the meaning of his four years at Ogden Hall School under the purview, in the school library, of a bust known as Rodin’s Debutante. And, especially, as he meets again a childhood friend, the victim of a brutal sexual assault of which she has no memory. It was a crime marking the end of Lee’s boyhood and the beginning of his understanding—so powerfully under the surface of Just’s masterly story—that how and what we remember add up to nothing less than our very lives.

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