9 Honors Summer Reading- Fishbowl Discussions

To Kill a Mockingbird Fishbowl Questions

1. A Bildungsroman or coming-of-age story is a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood (coming of age), and in which character change is thus extremely important. Can or should To Kill a Mockingbird be categorized as a coming-of-age novel, or is it more complex than that? Think about specifics: e.g. How do Jem and Scout’s views of Boo Radley change during the book? Why does Jem cry when the hole in the tree is filled with cement?

2. Atticus tells the children several times that they need to walk in someone else's shoes before judging the person. Describe times when Atticus, Scout or Jem walk in someone else's shoes. How does this change how they view the situations? What role does this advice play in sympathy and compassion?

3. At one point Jem describes four kinds of "folks" in Maycomb County: "our kind of folks don't like the Cunninghams, the Cunninghams don't like the Ewells, and the Ewells hate and despise the colored folks." What does To Kill a Mockingbird teach us about how people cope with issues of race and class in 1930s Alabama? What significance, if any, do you think these characterizations have for people living in other parts of the world?

4. In the last few lines of To Kill a Mockingbird Scout says, "he was real nice..." and Atticus replies, "most people are, Scout, when you finally see them." Do you agree that most people in the novel are nice once you see them? How is Atticus able to see the good side of people despite all he has experienced? Can you?

5. In Scout's account of her childhood, her father Atticus reigns supreme. How would you characterize his abilities as a single parent? How would you describe his treatment of Calpurnia and Tom Robinson vis a vis his treatment of his white neighbors and colleagues? How would you typify his views on race and class in the larger context of his community and his peers?

6. The title of Lee's book is alluded to when Atticus gives his children air rifles and tells them that they can shoot all the blue jays they want, but "it's a sin to kill a mockingbird." At the end of the novel, Scout likens the "sin" of naming Boo as Bob Ewell's killer to "shootin' a mockingbird." Do you think that Boo is the only innocent, or mockingbird, in this novel?

7. Scout ages two years-from six to eight-over the course of Lee's novel, which is narrated from her perspective as an adult. Did you find the account her narrator provides believable? Were there incidents or observations in the book that seemed unusually "knowing" for such a young child? What event or episode in Scout's story do you feel truly captures her personality?

8. One of the chief criticisms of To Kill a Mockingbird is that the two central storylines -- Scout, Jem, and Dill's fascination with Boo Radley and the trial between Mayella Ewell and Tom Robinson -- are not sufficiently connected in the novel. Do you think that Lee is successful in incorporating these different stories? Were you surprised at the way in which these story lines were resolved? Why or why not?

House on Mango Street Fishbowl Questions

1. From the beginning, Esperanza senses she does not want to end up inheriting her great-grandmother’s “place by the window . . . the way so many women sit their sadness on an elbow” [“My Name” p. 11]. How does Esperanza emotionally and physically separate herself from the other women: Marin, Sally, Rafaela, Minerva, or Ruthie? Will her solution in “Beautiful & Cruel” [“I am one who leaves the table like a man, without putting back the chair or picking up the plate” p. 89] be an effective one? How is her self-esteem formed, and how does it evolve over the course of the novel? What obstacles will Esperanza have to overcome, and what battles will she have to fight as she carves a future for herself?

2. A Bildungsroman or coming-of-age story is a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood (coming of age), and in which character change is thus extremely important. Can or should The House on Mango Street be categorized as a coming-of-age novel, or is it more complex than that?

3. How do the children who inhabit Mango Street become the men and women portrayed in the novel? For instance, what circumstances explain how the Vargas children, Meme Ortiz, the girls Esperanza plays with, and her own sisters grow into the adults of Mango street such as Esperanza’s parents, the husbands and fathers in the neighborhood, the young wives, and the older single adults such as Earl and Ruthie? Is the children’s fate inevitable? How does Esperanza set an example for how they can shape their own futures?

4. Cisneros’s prose has been described as “poetic” and “lyrical.” What characteristics of the stories made these critics choose these descriptive words? What other words might be used to describe the selections in The House on Mango Street and why? Are the selections in The House on Mango Street most aptly labeled (a) stories, (b) sketches, (c) vignettes, or (d) poems, and what characteristics make them one or the other? How does Cisneros make the collection of sketches or stories work together as a book structurally and thematically?