The
Fairfax Library Book Discussion Group will meet Thursday, June 9th at 7 p.m. in
the meeting room of the Fairfax Library to discuss our June book Mary Coin
by Marisa Silver.
Discussion
questions are below.
Here
are some links for additional background and information:
Sod
houses in Nebraska
2008 Modesto Bee
article and PBS
article about the woman behind the photo
Library of
Congress video (11.5
min)
about the FSA photo collection and another
video (14.5
min.)
with the history and tips for researching the collection.
Link to photo on
Library of Congress website and the
other photos taken
We
will NOT meet in July or August and will resume our monthly discussions
Thursday, September 8th.
After
a fun summer for everyone, we have the following books to look forward to
reading and discussing:
Thurs.
Sept. 8th Circling
the Sun by Paula McLain
Thurs.
Oct. 13th Inherent
Vice by Thomas Pynchon
Thurs.
Nov. 10th Season
of the Witch by David Talbot
Thurs.
Dec. 8th Our Souls at Night by Kent Haruf
Thanks
for reading with us. I look forward to seeing you at the Fairfax Library.
Beth Bailey-Gates
Friends
of the Fairfax Library
DISCUSSION
QUESTIONS
Mary Coin by Marisa Silver
1. Were you familiar with Dorothea
Lange’s Migrant Mother photograph before reading Mary Coin? If so, what
assumptions did you bring to your reading experiences about the photograph? The
photographer?
2. When readers are first introduced to Mary, she is in the midst of her adolescence. How would you characterize her as a teenager? Do these personality traits stick with her throughout the novel? How does her grandfather’s legacy as the “Cherokee Murderer” impact her?
3. After being photographed in the Indian princess garb, Mary remarks that “she felt the queer nature of her power, how it made her feel strong and diminished all at once.” (46) How is this sentiment echoed throughout the novel? Relate this statement to Vera’s perspective of power behind the camera.
4. On page 6, Walker asserts that he tells his children “all his foundational stories, no matter how humiliating.” When considering his relationship with his own father, why does Walker approach parenting in this way? Is it effective? Explore other ways that his childhood has influenced his personal and work-related decisions in adulthood.
5. Mary and Vera both contend with economic hardships throughout the course of the novel, eventually becoming the breadwinners for their families. How do these experiences affect their self-image? Their relationships with their children? Their spouses?
6. The words “For sure, you’ll be lame so” echo in Vera’s mind throughout the novel, yet on page 119 she also notes that her limp is one of her greatest advantages. How does photography help her overcome her self-consciousness?
7. Vera initially views photography solely as an occupation, while Everett is an “artist.” How does her conception of her career change over the course of the novel? Does she ever see herself as an artist? Discuss her ambitions in relation to the expected gender roles of the time.
8. Compare the marital history of Mary and Vera. Are their marriages borne out of love? Necessity? What do they learn from their failed marriages? How do they assert independence in their relationships?
9. On page 224, Walker states that “his image of his grandfather must be a construct derived from largely from photographs” rather than his own recollections. What does this imply about the influence of objects and photographs on memory? Do photographs manipulate—or even create—memories? Relate to modern-day culture. Does our constant documentation via cell phone photography and social media manipulate memory?
10. Walker, Mary, and Vera all express guilt over how they have raised their children. Discuss their concerns and characterize their parenting styles. How do they interact with their children? What do they celebrate about parenthood? What do they regret?
11. When Mary travels to the Goodwill in Chapter 31, she realizes “how silly the idea of owning was in the end.” (272) Given this, why do you think she buys back all of her items? Explore this in connection with the culture of poverty that Mary was raised in.
12. On page 184, Vera admits that she is “embarrassed” by her most famous photograph. Why does she have that reaction? Is she ever comfortable with her fame?
13. The scene where the famous photograph is taken is described twice in the novel, once from Mary’s point of view, once from Vera’s. Discuss the differences in the way the two women experience this encounter. What are the ethical ramifications for both women?
14. When Mary visits the gallery in Chapter 36, she is looking at the photograph when she overhears someone say “You can see it all in her face.” Discuss the irony of this arrangement. What does this assert about the relationship between the viewer and the subject in art? About perception and truth?
15. Discuss the last line of the novel: “There is no erasure.” Why do you think the author chose to end Mary Coin on this note?
2. When readers are first introduced to Mary, she is in the midst of her adolescence. How would you characterize her as a teenager? Do these personality traits stick with her throughout the novel? How does her grandfather’s legacy as the “Cherokee Murderer” impact her?
3. After being photographed in the Indian princess garb, Mary remarks that “she felt the queer nature of her power, how it made her feel strong and diminished all at once.” (46) How is this sentiment echoed throughout the novel? Relate this statement to Vera’s perspective of power behind the camera.
4. On page 6, Walker asserts that he tells his children “all his foundational stories, no matter how humiliating.” When considering his relationship with his own father, why does Walker approach parenting in this way? Is it effective? Explore other ways that his childhood has influenced his personal and work-related decisions in adulthood.
5. Mary and Vera both contend with economic hardships throughout the course of the novel, eventually becoming the breadwinners for their families. How do these experiences affect their self-image? Their relationships with their children? Their spouses?
6. The words “For sure, you’ll be lame so” echo in Vera’s mind throughout the novel, yet on page 119 she also notes that her limp is one of her greatest advantages. How does photography help her overcome her self-consciousness?
7. Vera initially views photography solely as an occupation, while Everett is an “artist.” How does her conception of her career change over the course of the novel? Does she ever see herself as an artist? Discuss her ambitions in relation to the expected gender roles of the time.
8. Compare the marital history of Mary and Vera. Are their marriages borne out of love? Necessity? What do they learn from their failed marriages? How do they assert independence in their relationships?
9. On page 224, Walker states that “his image of his grandfather must be a construct derived from largely from photographs” rather than his own recollections. What does this imply about the influence of objects and photographs on memory? Do photographs manipulate—or even create—memories? Relate to modern-day culture. Does our constant documentation via cell phone photography and social media manipulate memory?
10. Walker, Mary, and Vera all express guilt over how they have raised their children. Discuss their concerns and characterize their parenting styles. How do they interact with their children? What do they celebrate about parenthood? What do they regret?
11. When Mary travels to the Goodwill in Chapter 31, she realizes “how silly the idea of owning was in the end.” (272) Given this, why do you think she buys back all of her items? Explore this in connection with the culture of poverty that Mary was raised in.
12. On page 184, Vera admits that she is “embarrassed” by her most famous photograph. Why does she have that reaction? Is she ever comfortable with her fame?
13. The scene where the famous photograph is taken is described twice in the novel, once from Mary’s point of view, once from Vera’s. Discuss the differences in the way the two women experience this encounter. What are the ethical ramifications for both women?
14. When Mary visits the gallery in Chapter 36, she is looking at the photograph when she overhears someone say “You can see it all in her face.” Discuss the irony of this arrangement. What does this assert about the relationship between the viewer and the subject in art? About perception and truth?
15. Discuss the last line of the novel: “There is no erasure.” Why do you think the author chose to end Mary Coin on this note?
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