Synopses & Reviews
The Pulitzer Prize-winning novel becomes a motion picture starring Meryl Streep, Julianne Moore, and Nicole Kidman, directed by Stephen Daldry from a screenplay by David Hare
The Hours tells the story of three women: Virginia Woolf, beginning to write Mrs. Dalloway as she recuperates in a London suburb with her husband in 1923; Clarissa Vaughan, beloved friend of an acclaimed poet dying from AIDS, who in modern-day New York is planning a party in his honor; and Laura Brown, in a 1949 Los Angeles suburb, who slowly begins to feel the constraints of a perfect family and home. By the end of the novel, these three stories intertwine in remarkable ways, and finally come together in an act of subtle and haunting grace. The Hours is the winner of the 1999 Pulitzer Prize for Fiction.
"Steeped in the work and life of Virginia Woolf, Cunningham offers up a sequel to the work of the great author, complete with her own pathos and brilliance....[G]orgeous, Woolfian, shimmering, perfectly-observed prose. Hardly a false note in an extraordinary carrying on of a true greatness that doubted itself." Kirkus Reviews
"Inspired....Michael Cunningham dazzles." Elissa Schappell, Vanity Fair
"At first blush, the structural and thematic conceits of this novel...seem like the stuff of a graduate student's pipe dream....[But] the reader becomes completely entranced....[T]he gargantuan accomplishment of this small book [is that] it makes a reader believe in the possibility and depth of a communality based on great literature, literature that has shown people how to live and what to ask of life." Publishers Weekly
"A delicate, triumphant glance....A place of late-century danger but also of treasurable hours." Michael Wood, The New York Times Book Review
"Michael Cunningham's novel The Hours is that rare combination: a smashing literary tour de force and an utterly invigorating reading experience. If this book does not make you jump up from the sofa, looking at life and literature in new ways, check to see if you have a pulse." Ann Prichard, USA Today
"The Hours is a feat of literary acrobatics, yet in the end does not affect us as profoundly as Mrs. Dalloway. The Hours is a variation on a theme, and it's the original melody rather than the contemporary arrangement that's most memorable....Cunningham's writing has a luminous quality....Pulling off this clever literary accomplishment shows us that the talented Michael Cunningham isn't at all afraid of Virginia Woolf." Georgia Jones-Davis, Salon.com
"[A] glittering work of exquisite detail and refined vision..." Book Magazine
"[Cunningham] has fashioned a fictional instrument of intricacy and remarkable beauty. It is a kaleidoscope whose four shining and utterly unlike pieces the lives of two fictional characters, of a real writer, and her novel combine, separate and tumble in continually shifting and startlingly suggestive patterns." Richard Eder, The Los Angeles Times Sunday Book Review
"[Cunningham] has deftly created something original, a trio of richly interwoven tales that alternate with one another chapter by chapter, each of them entering the thoughts of a character as she moves through the small details of a day....Cunningham's emulation of such a revered writer as Woolf is courageous, and this is his most mature and masterful work." Jameson Currier, The Washington Post Book World
"With an intimacy only another writer could muster, Cunningham portrayed the act of creation as a heroic and dangerous adventure...a contemporary masterpiece." Newsday
“A smashing literary tour de force and an utterly invigorating reading experience. If this book does not make you jump up from the sofa, looking at life and literature in new ways, check to see if you have a pulse.” —USA Today
“An exquisitely written, kaleidoscopic work that anchors a floating postmodern world on pre-modern caissons of love, grief, and transcendent longing.” —Los Angeles Times
“Cunningham has created something original, a trio of richly interwoven tales...his most mature and masterful work.” —The Washington Post Book World
A daring, deeply affecting third novel by the author of A Home at the End of the World
and Flesh and Blood
In The Hours, Michael Cunningham, widely praised as one of the most gifted writers of his generation, draws inventively on the life and work of Virginia Woolf to tell the story of a group of contemporary characters struggling with the conflicting claims of love and inheritance, hope and despair. The narrative of Woolf's last days before her suicide early in World War II counterpoints the fictional stories of Richard, a famous poet whose life has been shadowed by his talented and troubled mother, and his lifelong friend Clarissa, who strives to forge a balanced and rewarding life in spite of the demands of friends, lovers, and family.
The author of "Flesh and Blood" draws inventively on the life and work of Virginia Woolf to tell the story of a group of contemporary characters struggling with the conflicting claims of love and inheritance, hope and despair. Soon to be a major motion picture starring Meryl Streep, Julianne Moore and Nicole Kidman.
About the Author
Michael Cunningham is "one of our very best writers" (Richard Eder, Los Angeles Times). FSG published his novels A Home at the End of the World (1990) and Flesh and Blood (1995). He was raised in Los Angeles and now lives in Manhattan.
Reading Group Guide
1. Clarissa Vaughan is described several times as an “ordinary” woman. Do you accept this valuation? If so, what does it imply about the ordinary, about being ordinary? What makes someone, by contrast, extraordinary
2. Flowers and floral imagery play a significant part in The Hours. When and where are flowers described? What significance do they have, and with what events and moods are they associated? How do flowers affect Virginia? Clarissa?
3. Cunningham plays with the notions of sanity and insanity, recognizing that there might be only a very fine line between the two states. What does the novel imply about the nature of insanity? Might it in fact be a heightened sanity, or at least a heightened sense of awareness? Would you classify Richard as insane? How does his mental state compare with that of Virginia? Of Laura as a young wife? Of Septimus Smith in Mrs. Dalloway? Does insanity (or the received idea of insanity) appear to be connected with creative gifts?
4. Virginia and Laura are both, in a sense, prisoners of their eras and societies, and both long for freedom from this imprisonment. Clarissa Vaughan, on the other hand, apparently enjoys every liberty: freedom to be a lesbian, to come and go and live as she likes. Yet she has ended up, in spite of her unusual way of life, as a fairly conventional wife and mother. What might this fact indicate about the nature of society and the restrictions it imposes? Does the author imply that character, to a certain extent, is destiny?
5. Each of the novels three principal women, even the relatively prosaic and down-to-earth Clarissa, occasionally feels a sense of detachment, of playing a role. Laura feels as if she is “about to go onstage and perform in a play for which she is not appropriately dressed, and for which she has not adequately rehearsed” [p. 43]. Clarissa is filled with "a sense of dislocation. This is not her kitchen at all. This is the kitchen of an acquaintance, pretty enough but not her taste, full of foreign smells" [p. 91]. Is this feeling in fact a universal one? Is role-playing an essential part of living in the world, and of behaving “sanely”? Which of the characters refuses to act a role, and what price does he/she pay for this refusal?
6. Who kisses whom in The Hours, and what is the significance of each kiss?
7. The Hours is very much concerned with creativity and the nature of the creative act, and each of its protagonists is absorbed in a particular act of creation. For Virginia and Richard, the object is their writing; for Clarissa Vaughan (and Clarissa Dalloway), it is a party; for Laura Brown, it is another party, or, more generally, "This kitchen, this birthday cake, this conversation. This revived world" [p. 106]. What does the novel tell us about the creative process? How does each character revise and improve his or her creation during the course of the story?
8. How might Richards childhood experiences have made him the adult he eventually becomes? In what ways has he been wounded, disturbed?
9. Each of the three principal women is acutely conscious of her inner self or soul, slightly separate from the “self” seen by the world. Clarissas “determined, abiding fascination is what she thinks of as her soul” [p. 12]; Virginia “can feel it inside her, an all but indescribable second self, or rather a parallel, purer self. If she were religious, she would call it the soul . . . It is an inner faculty that recognizes the animating mysteries of the world because it is made of the same substance” [pp. 34-35]. Which characters keep these inner selves ruthlessly separate from their outer ones? Why?
10. Each of the novels characters sees himself or herself, most of the time, as a failure. Virginia Woolf, as she walks to her death, reflects that "She herself has failed. She is not a writer at all, really; she is merely a gifted eccentric" [p. 4]. Richard, disgustedly, admits to Clarissa, “I thought I was a genius. I actually used that word, privately, to myself” [p. 65]. Are the novels characters unusual, or are such feelings of failure an essential and inevitable part of the human condition?
11. Toward the end of Clarissas day, she realizes that kissing Richard beside the pond in Wellfleet was the high point, the culmination, of her life. Richard, apparently, feels the same. Are we meant to think, though, that their lives would have been better, more heightened, had they stayed together? Or does Cunningham imply that as we age we inevitably feel regret for some lost chance, and that what we in fact regret is youth itself?
12. The Hours could on one level be said to be a novel about middle age, the final relinquishment of youth and the youthful self. What does middle age mean to these characters? In what essential ways do these middle-aged people--Clarissa, Richard, Louis, Virginia --differ from their youthful selves? Which of them resists the change most strenuously?
13. What does the possibility of death represent to the various characters? Which of them loves the idea of death, as others love life? What makes some of the characters decide to die, others to live? What personality traits separate the “survivors” from the suicides?
14. If you have read Virginia Woolfs Mrs. Dalloway, would you describe The Hours as a modern version of it? A commentary upon it? A dialogue with it? Which characters in The Hours correspond with those of Woolfs novel? In what ways are they similar, and at what point do the similarities cease and the characters become freestanding individuals in their own right?
15. For the most part, the characters in The Hours have either a different gender or a different sexual orientation from their prototypes in Mrs. Dalloway. How much has all this gender-bending affected or changed the situations, the relationships, and the people?
16. Why has Cunningham chosen The Hours for the title of his novel (aside from the fact that it was Woolfs working title for Mrs. Dalloway)? In what ways is the title appropriate, descriptive? What do hours mean to Richard? To Laura? To Clarissa?