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Jill Owens: IMG David Mitchell: The Powells.com Interview



David MitchellDavid Mitchell's newest mind-bending, time-skipping novel may be his most accomplished work yet. Written in six sections, one per decade, The Bone... Continue »
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The Hunters

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Reading Group Guide

Q> Why does Messud tell us nothing specific about the narrator's gender, age, appearance, or past? How does the lack of these specifics influence the way in which we receive the narrator's impressions and observations? Q> What might explain the narrator's being drawn to "the suggestion of society, without its actual impingement" and the narrator's admitted "carefully controlled existence"? Why does the narrator feel invisible? What are the causes and consequences of this sense of invisibility? At the same time, why has the narrator selected this flat in what Richard Copley later calls "a voyeur's paradise"? Q> What are the roles and consequences of loneliness, isolation and seclusion, and dislocation in "The Hunters"? Are these conditions chosen by the characters, and if so, why; or are they imposed upon the characters, and if so, from what source? Q> Why is Ridley Wandor's very existence, from their first meeting, "irredeemable, heinous, utterly unpardonable" for the narrator? Why is the narrator's one wish that "she would not be," and what are the implications and the consequences of that wish? Q> Who or what are "the hunters," and who or what are the hunted? What variations of the two conditions occur? What transformations from hunted to hunter and vice versa occur? Q> "It was difficult to think of her life as anything but a story," comments the narrator, referring to the discovery of the facts of Ridley Wandor's "story." In what ways does that statement indicate the nature and extent of the narrator's understanding of self and others? What might be the dangers of thinking of anyone's life, including one's own, as "anything but a story"? What might be the relationship between any life and the story of that life? Q> Why is the narrator unable, even when recognizing "the true agony of Ridley Wandor's days," to "believe in the sorrows of others"? Why does the narrator persist in feeling "my sorrows to be by far the greatest, my wounds the source of the only real blood"? What does it take for the narrator and for each of us to accurately perceive and empathize with the sorrows of others? Q> If, as the narrator repeatedly states, "I'm guilty," guilty of what? To what extent might the narrator's guilt be a guilt shared by/with all of us?


Copyright (c) 2002. Published in the U.S. by Harcourt, Inc.


Product Details

ISBN:
9780156007313
Author:
Messud, Claire
Publisher:
Mariner Books
Location:
New York
Subject:
General
Subject:
Literary
Subject:
Mothers and sons
Subject:
Death
Subject:
Refugees
Subject:
London
Subject:
Americans
Subject:
Scholars
Subject:
Toronto
Subject:
General Fiction
Subject:
General Fiction
Subject:
Older people
Subject:
Literature-A to Z
Edition Number:
1st Harvest ed.
Edition Description:
Trade Paper
Series Volume:
bk. 2
Publication Date:
20020831
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Pages:
208
Dimensions:
8 x 5.31 in 0.49 lb

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Related Subjects

Fiction and Poetry » Literature » A to Z
History and Social Science » American Studies » Popular Culture

The Hunters New Trade Paper
0 stars - 0 reviews
$13.95 In Stock
Product details 208 pages Harvest Books - English 9780156007313 Reviews:
"Publishers Weekly Review" by , "These two fine and remarkable novellas, each a modest tour de force, are sure to advance Messud's critical standing and to broaden her readership." Publishers Weekly
"Review" by , "Messud's short novels are well written, intense examinations of isolation that will appeal to readers of literary fiction."
"Review" by , "As smart as they are affecting, these stories aren't novels: it's in their brevity that they loom so large."
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