Sunday, July 19, 2026

Honors Summer Read 2026: Rules of Engagement

"Auguste Reading to Her Daughter" (1910) by Mary Cassatt

Welcome to the East Central University Honors Program's Enduring Questions website!

If you are enrolled in an Honors Enduring Questions class for the fall semester of 2026 at ECU (EQ1 or EQ3), this website is for you. Read on!

Ten percent of each student's grade in both EQ1 and EQ3 will be based on your responses to the questions raised here.

This website is designed to spark conversation. The sort of conversation we're looking to create with this website is academic in character. Thus, your responses should consist of clear, concise statements of your ideas crafted in standard English (not text-speak!). They should be long enough to convey your thoughts, but short enough for other readers to read and respond to fairly quickly. In short, you don't want your responses to be so long that you monopolize (or kill) the conversation by going on, and on, and on.....(we all know how irritating that can be!).

Obviously, responses should not use profanity. They should be civil and respectful. People do not always agree. Responses can be critical; however, all communication is expected to be courteous and professional. Contributors' positions may be questioned; their character should not.

The objective here is to reflect on some of the issues raised by the text, to connect the reading to your personal experience, and to help first- and second-year Honors students get to know each other better.

When should I begin posting my responses?
As soon as you have begin reading Maggie; or a Man and a Woman Walk into a Bar by Katie Yee. Answer questions after you have read the corresponding chapter (and all preceding chapters), but don't wait until you've read the whole book before you start answering questions. Ideally, you will read the question after you've reached that point in the book and respond at that time. There are some questions that you shouldn't respond to after you're read farther ahead in the book (since you know more than other readers do and your response will be shaped by what comes later).

When is this assignment due?
This writing assignment is designed to be completed before classes begin in August.  Details about where and how to account for and submit your word count total will be provided in class when the semester starts (preview: you will compile your comments into a Google Form survey that will be due after classes begin).

How many questions should I respond to?
We do not expect you to respond to each question, but you should respond to several representing different sections of the book. We hope that by the time all the class has completed the assignment, every question will have at least two responses.

Are there any questions I have to answer?
Yes. There are three:
1) "The Takeaway." Only answer "The Takeaway" when you have finished reading the book. When you answer the Takeaway, you are also testifying that you have read the entire book (you can find a link to "The Takeaway" question in the text below). 

2) "The Tip of the Hat" question (see post below). Your answer to that question will not be a part of your word count. In order to respond to this question, you need to read comments other students have made and take take of those that are most thought-provoking.

3) "An Image." Pay attention to the images that accompany each question set and be prepared to choose one to comment on.

How will you know if I have read the book? Will we be tested on it?
We won't test you. We'll trust you. These questions are not designed to show whether or not someone has read the book. They are designed to enrich your engagement with the book and with other Honors students.

Will you really be able to tell if I haven't read the book?
Some people successfully cheat and lie their way through college, cutting corners and rationalizing dishonorable behavior. You get to decide if you want to be that person. In the process, you'll be determining whether the diploma you're working toward will be just a piece of paper or whether it will actually represent an education.

What happens if get caught either claiming to read the book when I haven't read it or submitting responses that I didn't write myself?
If your answers somehow raise suspicions about whether you've read the book or not, you may get further questions about them from the Honors Director. Academic dishonesty of any kind (including the use of of AI to generate answers and not merely revise them) may result in expulsion from the program and loss of an Honors scholarship. Academic dishonesty becomes a greater temptation the later you wait to start (and finish) this assignment.

How much should I write?
Your responses should add up to a sum total of not less than 750 words.  Don't try to load up all 750 words into one or two comments.  You should also respond to comments left by other readers. And pose questions to other readers. (Check back later to see if anyone has responded to your comments-and respond to their responses.)  All of this writing will count toward your 750-word total.  Students are responsible for keeping track of their word total.  This is not just a writing assignment, though; it's a reading assignment, too.  Every student is responsible for reading every word of the assigned text.

Where do I post my responses?
At the bottom of each question post, you will find a "comment" link. If it has a "0" beside it, that means no one has commented yet; as more people comment, the number will go up. When you're ready to weigh in, click on the "comments" button, read any previous comments, and start writing. Please sign your posts. And use your real name--not a nickname--so we can get to know each other).

More questions?
E-mail us at sbenton@ecok.edu!

Engaging with Maggie

Above: Katie Yee. Photo by Roque Nonini.

In this post, you will find links to questions about Katie Yee's
Maggie; or, a Man and Woman Walk into a Bar. These questions are identified by the pages they refer to in the book.

These questions are designed for you to be able to answer them as you go and not for you to answer after you've read the whole book (although if you've already read the book, you can do it that way).

Once you've started reading the novel, click on the links, read the corresponding questions and comments other readers may have left (click on the "comment" button beneath each post to see them), and then join the discussion (or initiate it).

Don't look at questions that are farther ahead than what you've read.

Many posts have several questions. You may answer any of them you wish. It is not necessary to answer all of them.

Answer the questions you consider to be most thought-provoking rather than those that are simply easiest to answer.

 

There are three questions that every student is required to answer.  These are the last three, referred to here as "An Image," “The Takeaway” and "The Tip of the Hat." Don't answer these until you've finished reading the book. Your answer to "The Takeaway" is your promise that you have read the entire book. 

As you are reading, underline any passages that you consider to be thought-provoking, insightful, or artfully expressed (unless you're reading a library copy, in which case, you may want to just make note). You may want to refer to one of the passages you have underlined in "The Takeaway."


As you are working through this webpage, pay attention to comments left by other students. You will offer a "tip of the hat" to the author that made the most thought-provoking comment.


As you are looking at the questions, pay attention to the image that accompanies each question set. For "The Image" question, you will be asked to identify one that you found most thought-provoking (and explain why you chose it).

After you've finished the book, be prepared to discuss it at the 2026 Honors Burkean Parlor, which will meet from 7-8:30 pm on Thursday, August 27th in the Chalmers Herman Theatre.


Note: Academic dishonesty of any kind (including the use of of AI to generate answers and not merely revise them) may result in expulsion from the program and loss of an Honors scholarship.


Questions are listed by the page on which related material appears.


1. Betrayal?

4. Critics
5. Goldilocks

6. Communal Dating

7. Right Behind You

12. On Sale Now: Another Life

22. Odd Couples

25. Stalker

38. New book, new self

46. Truth Pollution

53. Waiting rooms

59. Doors

60. And the winner is . . . 

63. Love languages

64. Cartesian Splits

72. The Villain

75. Tag Team

78. Survival of the Chickenest

85. Secret

87. You Look Marvelous

90. Listen

92. "Oops"

93. What's the point?

95. Inside Emotions

98. Hates

102. I am the roles I play?

108. Shall Remain Nameless

116. Lists and Letters

118. Woulda, Coulda, Shoulda

124. Gifts of Time

127. The Stories We Tell

128. Nooses

130. The Writing/Talking Cure

131. The heart wants

141. Irreversible

145. Owned

150. A giant ball of soul string mates

151. Wealth Gap

161. Begin/End

163. Thumbs Up/Down

177. Meeting Maggie

180. Blowing the 4.0

181. Unfeminist?

188. Who's there?

194A. Your urn

184B. Behind the curtain


These three are required (and don't count towards overall 750-word count total):

An Image

The Takeaway

The Tip of the Hat

1. Betrayal?

"A Bedtime Story" (1869) by Adolf Eberle

On the first page of the novel, the narrator describes her husband's habit of telling the children a bedtime story after she had already done so as "a small betrayal" (1).

Does that characterization seem fair to you? In what sense was it a "betrayal"?

Was her husband undermining her children's relationship with her? Was it a "betrayal" because he didn't talk to her about it? Or was it the children who were guilty of the "betrayal"?

Was she hurt because the nightly interaction took place when she wasn't in the room? Or was she hurt because her children didn't consider her funny?

If you have read further in the book, don't reference later events in your response.

4. Critics

"Lear and Cordelia" (1848) by Ford Madox Ford

On page 4, the narrator claims that "Your most cutting critics are always your children" (4). Do you agree? 

Would you characterize yourself or your siblings as your parents' "most cutting critics"?

Do you think a child's criticism of their parents is likely to be "cutting" because they know their parents best and are most likely to "hit the mark"? Or is it "cutting" because it seems ungenerous or ungrateful?

What determines when criticism is helpful and when it is cutting?

5. Goldilocks



What do you make of the narrator's comment about the under representation of BIPOC (Black, Indigenous and People of Color) characters in children’s literature, including the fact that "more books were published starring animals or inanimate objects than all the books about people of color combined" (5)?

Does your own reading experience corroborate that?

What effect might such a reduced presence have on readers?

Can you recommend a children's book whose main color is BIPOC?


6. Communal dating

Scene from "A Good Girl's Guide to Murder" (TV series; 2024-present)

According to the narrator, "when you first start dating someone, early communication is communal . . . When you're texting a woman, it's incredibly probable that you're talking not just ot her but to one or two of her closest friends as well" (6).

Do you think this is true?

Are women in general more likely to talk about sensitive details of their emotional and even physical experiences than men are? 

To what extent is this a good thing? How might it be seen as a negative?

7. Right Behind You

On page 7, the narrator makes the first of several references to a famous work by the renowned philosopher, Plato, namely, his “Allegory of the Cave.”

Are you familiar with Plato’s allegory? If not, check out the TED Ed Youtube video above.

Or click here to learn more.

The narrator asserts (in agreement with Plato) that the allegory shows that humans have a stubborn tendency to resist seeing “what’s lurking right behind us” (7).

What kind of things do you think people stubbornly avoid looking at? And why do they avoid them?

12. On Sale Now: Another Life

Still from "Pinocchio" (1940; dir. by Sharpsteen and Luske)

The narrator images a fairy tale life for her husband, the headhunter (a.k.a corporate recruiter), in which he "would be a mysterious merchant, a stranger blowing through town on the wind. . . . He would arrive in a place and go door-to-door and sell mortals another life that could be theirs. His powers would hinge on the irresistibility of snow not trodden on--all the paths you've never walked down" (12).

Do you think it is significant--or ironic--that this fantasy profession of selling mortals "another life" might also be a descriptor of the work of a novelist (like Yee) who offers readers the opportunity to imagine themselves as different people (like the narrator)?

Is the sinister warning that "if you don't read the fine print, [the merchant]'ll make off with your children" in any way relevant to the dangers of reading? In what way, might reading create a rift between parents and their children?

22. Odd Couples

Jack Klugman and Tony Randall
stars of TV's "The Odd Couple"(1970-1975)

The main character says that she and her college roommate Darlene had "nothing in common" other than a "baseline of understanding born from our shared exclusion" as "non-white people" on their college campus. They "joked that it was kind of racist" that they were paired together.

And yet, in spite of their many differences (described in part on page 22), they became best friends, and Darlene greatly enriched the main character's college experience.

This question set has several parts. You are free to answer any of them that you consider thought-provoking.

1) To what extent is it a good idea for housing offices to consider race when matching students? Should housing surveys ask students their race? Should they ask if students are comfortable rooming with some who is of a different race or from a different country? Should housing surveys allow students to share photos of themselves with other potential roommates? Should they allow students to see the names of potential roommates?

2) How common is it and how wise is it for students to seek out roommates who look like them, either in terms of physical features or in terms of the way they present themselves to the world on social media? 

3) How important is it to the college experience for someone to learn how to share living spaces with someone whose tastes, hobbies, and interests are different than theirs are?

4) How might college residential life offices encourage students to approach the experience of difference and novelty outside the classroom as an opportunity for growth and not as an obstacle?

25. Stalker

"A Fox Stalking a Brace of Partridges" (ca. 1712-1753) by Jean-Baptiste Oudry (1686-1755)

After the main character finds out about Maggie, she decides to "stalk her on the internet immediately"  (25).

Is "stalking" a fair description of what she does?

To what extent is it advisable or healthy for her to do this?

How likely is it to help her understand what has happened and is happening to her marriage or to help her process is emotionally?

How likley is it that she will learn something meaningful about Maggie and her husband's relationship with her from whatever she can find out about her online?

38. New book, new self


The narrator reports that when she was a little girl, she used to love the "book of hair" at her mother's stylist's shop, which included "colorful, tactful samples, little loops of real hair that were organized by gradation . . . You could hold a curl of your new color in your hand, hold it up to your face, see how it changed in the light" (38). She goes on to report that she was "fascinated" by "all these selves you could put on" (38).

Some might say that reading stories--like this novel--or hearing them also provide ways to "put on" different selves, take them for a turn, see what it feels like to be someone different, to face different kinds of challenges, and to make different kinds of choices. While some think of reading as nothing more than mindless entertainment, critic Kenneth Burke once observed, fiction provides readers with "equipment for living."

Do you think it is concerning that fewer people read novels these days than they did in the past? That Americans read less than Europeans? That men read less than women? (Click here to read more about recent trends.)

Why do you think readership rates are declining? What role do schools play in this trend?

What is the next book you want to read? Can you recommend a book you've recently read?

46. Truth Pollution


The narrator poses a series of questions that are the kind she has come across in "stupid online quizzes" that deal with the general question of "what lies you're willing to tell," such as "will you be the type of parent who tells lies about Santa Claus? The tooth fairy? The birds and the bees and death?" (43).

Later, when she tells her son a lie about Santa Claus and the tooth fairy, she insists that she "wanted to put the least possible number of lies into the atmosphere of our home, like they were exhaust fumes that would be bad to breathe in, that could stunt growth" (46).

Do you think adults tend to hide too much of the truth from children or do they expose them too early to truths they are not yet ready to confront?

When is it ok to hide truths from a loved one if you know that their emotional reaction might be both negative and inappropriate?

How important do you think it is to tell stories without exaggeration?

53. Waiting Rooms

"Waiting Room for the Beyond" (1988) by John Register

What did you think of the main character’s assertion that her cancer diagnosis “made every room a waiting room” (53)?

Since the human condition is terminal (we all die in the end), isn't this always true?

Do you think looking at life as a waiting room is morbid and depressing?

What are the potential benefits of thinking about life this way? What measures might someone take to foreground these benefits in their life? 

Does this relate back to Plato’s allegory?

59. Doors

"Three figures in the doorway. Marrakesh" (1932) by Zinaida Serebriakova.

Reflecting on the racial and class differences between her on one side (Asian-American, working-class) and Sam and Maggie on the other (white, wealthy), the main character describes herself as "a door to a wider world" and Maggie as "a door back into his own home. Someone his mother would love"(59).

This way of looking at relationships attributes special value to those that bridge racial and social class differences. Presumably, relationships of this kind are gateways to a wider world of experience.

Why do you think some people seek out relationships of this kind? More broadly speaking, what kind of people are drawn to new and different experiences and relationships and what kind of poeple are drawn to familiar experiences? How often is an interest in exploring difference associated with dissatisfaction with or disapproval of one's own background, race or social class? In the communities you grew up in, how are these kinds of experiences and relationships encouraged or discouraged?

60. And the winner is . . .

"Pollice Verso" (1873) by Jean-Léon Gérôme

What did you think about the main character’s complaint about "the way we talk about people who have 'lost' their lives" and her question, "If you die of cancer, does it make you a loser?"(60).

Do you agree that this way of phrasing things ("losing the battle") symbolically "robs you of your agency," implying that if  someone dies it is because they "didn't fight hard enough"(60)?

Or does putting it this way suggest that their death was heroic and not passive?

Do you think it is offensive or insensitive to refer to someone as "dying" instead of saying that they "passed" or they "passed away"? 

63. Love languages

"Forget it! Forget me!" (1962) by Roy Lichtenstein

On page 62, the narrator suggests that she and Sam had different love languages. While he easily expressed words of affection and always said "I love you" first, the love language that was her "native tongue" was acts of service as, for example, when she "spent . . . twenty minutes thoroughly cleaning his Brita pither with Q-tips" (62).

Here are the five "love languages" theorized by counselor/minister Gary Chapman in 1995:
  • Words of affirmation (compliments, encouragement)
  • Acts of service (doing helpful things)
  • Receiving gifts (thoughtful presents)
  • Quality time (undivided attention)
  • Physical touch (hugs, holding hands, etc.)
Do you think it is more important to make an effort to communicate your love for someone based on their natural "love language" preferences or is it more important for people to learn to appreciate the "love languages" that are most comfortable for the person who is expressing their love (a.k.a. their "native tongue")? Or is it more important to find a partner who expresses their love in a way that you value?

Is it on Sam to appreciate his wife's way of expressing her love? Is it on the narrator to learn to express her feelings more readily? Or are they a fundamental mismatch because of this important difference between them?

Do you find that you the way you express your love and the kind of love you like to receive are the same?



64. Cartesian Splits

"The Two Fridas" (1939) by Frida Kahlo

The narrator worries that she lives more in her mind than her body and that this may make her “less available” (63).

This reference to a mind body split in humans has a long history; indeed, it goes back at least as far as Plato (5th C BCE) and is referred to commonly now as Cartesian dualism (for the 17th century French philosopher, Rene Descartes).

Many contemporary thinkers maintain that this perception of difference is being amplified by our increased engagement with digital technology.

Option A:

Do you ever feel that you live more in your mind than in your body?

Option B:

Consider this passage:

"Kids live so fully in their bodies. They chases their senses with a gusto I no longer have access to. My kids love the way the floor glides beneath their knees as they slide across it. They love the dry crunch of browning leaves and the smoothness of my beaded bracelets. They love the sweet rush of Jell-O, the way it coats their tongues an unnatural color at the end."

Chase your senses with gusto. Report on the experience.

72. The Villain

Shelley Winters and Robert Mitchum in The Night of the Hunter (1955)

When the narrator introduces the subject of her impending break-up in a conversation with her son, she admits that she doesn't "want to turn their father into the villain" (72).

Is he the villain?

If he is, is it good to hide that from their children? Is it deceitful?

75. Tag Team

Randy Orton and Edge: A WWE double-team 

Faced with the end of her relationship, the narrator ponders whether she has it in her to “start again” (75); at the same time, because of her cancer, she wonders if starting over is even a “real possibility” (75).

Why do you think the author weighed her main character with these two crises at once?

78. Survival of the Chickenest

Ian McKellan as Gandalf in The Fellowship of the Ring (2001)

The narrator reports that "At the science museum, there's a computer game about survival of the fittest. You are in the middle of the food chain. You are a triangle. The circles are prey. The squares are predators. You can give your triangle points toward certain traits: speed, strength, intelligence, courage, fear. Everyone stocks up on the first four. The brave ones never make it out alive. From this, we learn: your fear will save you"(77).

Do you agree that fear is an underrated, unappreciated trait?

What is the relevance of this anecdote to the overall narrative?

Do you agree with the narrator's assertions that fear is active and visceral whereas worry is passive and mental. Consider how this relates to the earlier comment she made about being more identified with her mind than her body.

84. Secret

"I am its secret" (1993) by Shirin Neshat

What do you think of the narrator's decision to keep the news of her cancer from Sam (83)? Do you agree that "the better part" of her is right that "this vulnerability isn't his business anymore" (83) and an "intimacy he no longer deserves" (84)?

Is this the best decision for her family?

Do friends deserve intimacies?

Do family members?

Does the father of your children still count as a "family member"?

87. You Look Marvelous

Elena Anaya and Antonio Banderas in The Skin I Live In (2011) directed by Pedro Almodovar

The plastic surgeon the narrator meets with claims that plastic surgery is a "hands on medicine" (87).

Does that seem right to you?

Is "making people beautiful" a way to heal them?

What are the dangers of this kind of medicine?

90. Listen

"Beethoven's Trumpet" (with Ear)" (2007) by John Baldessari

The narrator characterizes a good partner as "someone I want to tell my life to" (90), which is how she once thought of Sam.

What are the most important, overlooked, or underrated qualities of a good listener?

Are some people good listeners in general or is "good listening" specific to certain relationships in certain contexts?

92. "Oops"

The narrator confesses "One of the things I find funniest in this dark little world is misplaced quotation marks." The example she gives is a sign that reads "FRESH" LEMONADE! ONLY $2!

Seeing quotation marks around "FRESH" made her "double over with laguther," which offended Sam, who made the lemonade sign.

Which of the following statements do you identify with most and why (you can choose more than one):

1) I also find misplaced quotation marks to be funny.

2) I consider misplaced quotation marks to be an embarrassing indicator of an inferior education.

3) I know why the quotation marks are misplaced, but it doesn't strike me as funny or embarrassing. I don't usually notice that kind of thing. Who cares?

4) I am annoyed by people who look down on those who misplace quotation marks. 

5) I'm not sure why the quotation marks are misplaced, and I'd like learn.

6) I'm not sure why the quotation marks are misplaced, and I don't care to learn.

7) If the message is conveyed effectively, the quotation marks are not "misplaced."

93. What's the point?

"Ennui" (ca. 1914) by Walter Sickert

The narrator's children differentiate between personal anecdotes, which have "no particular shape or message to hammer home," and "real" stories, which do (93). Her children prefer "stories."

Is this preference a reflection of their age? Do adults also prefer narratives that have a "message to hammer home"?

What is the purpose of shapeless anecdotes that don't offer a payoff message or a clear takeaway? Is entertainment value their only measure of worth?

95. Inside emotions

"The Great War" (1964) by Renee Magritte

The narrator reports that her parents "made a clear distinction between inside emotions and outside emotions, like home clothes and street clothes, things you could peel off at the boundary of home. Emotions you could feel publicly include: joy, excitement, gratitude, and maybe surprise. You could get away with bordeom or annoyance if you wer ablee to scrub it from your face quickly enough. Inside emotions were the rest of them: anger, sadness, fear" (95).

How important would you say it is to maintain these boundaries in public?
Is it important to avoid embarassment or to avoid making other people uncomfortable?
Would you describe yourself as someone who strictly maintains these boundaries?

98. Hates

Woody Harrelson and Christopher Walken in Seven Psychopaths (2012)

The narrarator works on "a list of things I have grown to hate about doctors' offices" (98).

Do you think it might be therapeutic to create such a list about a place you hate? Or would the process encourage you to focus on the negative and thereby amplify it?

Try creating a list of things you hate about a particular place. Be as concrete as possible. Don't share the list here, but when you finish, characterize the experience.

Did it affect your mood in a positive or negative way?

102. I am the roles I play?

Natalie Portman in Black Swan (2010)

Throughout the novel, the narrator reflects on her identity. When she was her son's age, she decided she wanted to be a writer and "clung to that identity. I thought it fit me in the way few other identities died at the time. I chased this sense of identity through high school and to college . . . Eventually, the ream caved under the weight of more tangible realities" (27).

A few pages later, she remarks on the “truest self” (31), the “core” (35) self. On page 102, she reflects on how roles (mother, wife, friend, occupation etc.) can both reinforce and undercut identity.

(Side note: Did you know that the study of identity formation is an area of specialization in the academic disciplines of philosophy and psychology?)

What are your (look – identity is in that word!) thoughts on  the relationship between roles and personal identity?

Is there a core self that is completely independent of the roles you play? Do roles do little more than mask the core self? Or is your core identity shaped by the roles you play--at work, in the family, with your friends, in public?

108. Shall Remain Nameless

"Hefeng - Gentle Breeze" (2021) by Hung Liu

The narrator claims that “my real name lived and died in the mouth of my mother” (108), as it was a Chinese name that was "stripped away in kindergarten" by an American teacher who told her she had to pick "An American name" (108).

The narrator then remarks on how many people must “scrub [themselves] down to the bone for survival” (108).

Imagine that you moved to a different country as a child and people insisted that you abandon the name your parents had given you and respond to a name that reflected their culture because they didn't want to try to learn how to pronounce or spell your name.

What effect might that have on you? Would that help you feel like a part of the culture? Or would it remind you that your true self (like your true name) could never be fully accepted?

In your experience, how common is it for people to "Americanize" someone's name or the pronunciation of it? If someone agrees to such a change or even requests it, is that sufficient reason to accept the practice without pushing back?

Can mispronouncing someone's name be fairly characterized as a micro-aggression?

116. Lists and Letters

"Still Life with a Skull and a Writing Quill" (1628) by Pieter Claesz

What do you think of the recommendation by a fellow patient that the narrator write letters to her kids “just in case” (106) (a fellow patient who she says she no longer sees – for “good or bad” on 116)? 

Why do you think the narrator focuses on writing lists (like the one on page 106) and not letters (the kind of "sentimental"thing someone like Maggie might do [106])?

What does this say about the kind of person she is?

118. Woulda, Coulda, Shoulda

"In a Park" (c. 1874 ) by Berthe Morisot

What keeps the narrator from wanting to imagine a fantasy version of her life where she never made eye contact with Sam at the bar where they met (118)?

Is there a valuable life lesson in her reflections on why she don't like to play that game?

Or is it an example of trying to make peace with the negative (bitterness about an unhappy marriage) by associating it with some positive repercussions?

124. Gifts of Time

"Mother and Child" (ca. 1980-1990) by Lin Fengmian

The narrator says waiting with her mother to see the doctor when she had cancer reminded her of the times when she was "waiting in those hair salons as a kid, waiting for my mother to be restored to some livelier version of herself" (124).

What is the impact of the narrator's story of her mother’s cancer and the role she played for her as a caretaker?

How does this shape her narrative and the narrative generally?

127. The Stories We Tell


Just as the main character likens herself, Sam, and their relationship to celestial forces (the earth, the rain the sun), she also likens them to animal ones, namely, whimsically as Shark and Lion, in conjunction to bath towels they had for Noah and Lily. She asserts that these animals are “the wild things we used to be” (127), and in making this remark, the author brings us back to a reference made on line 4 of page 1, Maurice Sendak’s Where the Whild Things Are.

Why do you think special attention is drawn to this other source (Where the Wild Things Are)? What is special about the narrative it tells and what parallels exist to this one? (If you haven't read the 1963 picture book Where the Wild Things Are or haven't read it recently, check it out at the library, online or at a local bookstore. The audiobook is literally 5 minutes long.

Consider the narrator's choice to reference this book twice by the light of her observation on page 128 about what "the kind of stories you choose to tell say about you." What does this story tell us about the narrator? Or the author?

Consider the main character's decions to start telling her children Chinese folk tales (page 39 and later) and the way she sees these stories as tangled up with her identity? How are you as a reader analogous to the children in the story in the sense that you are hearing these narratives too?

Do you or your family have any favorite stories or anecdotes that you frequently retell? What might they tell listeners about the story-tellers? Similarly are there any books or movies that you frequently re-watch? What do they say about your values and worldview?

D

128. Nooses

"Old Man with Noose" (1923)
by Kathe Kollwitz
When Noah tells the narrator that he likes "'nice stories' before bed," the narrator describes such stories as "the kind with happily-ever-afters that end in a neat little bow like a noose around the imagination" (128). That's a particularly dark way of describing stories with happily-ever-afters.

Why might the narrator think that happily-ever-after stories strangle the imagination?

Consider how this observation might relate to Sam's strategy of jumbling up bedtime stories in a crazy way that the children find delightful?

Does the author herself have a penchant for metaphorical flights of fancy and jarring juxtapositions that interrupt traditional reader expectations of narrative flow as she jumps from one section to the next?

How is the author's narrative style different from or similar to the main character's way of reading the children bedtime stories?