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• Author Biography

• Book Summary

• Study Guide

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Print biography

Mark Salzman graduated Phi Beta Kappa, Summa Cum Laude from Yale in 1982 with a degree in Chinese Language and Literature.  From 1982 to 1984, Mr. Salzman lived in China where he taught English at Hunan Medical College.  In 1985 he was the only non-Chinese invited to participate in the National Martial Arts Competition in Tianjin.

In January 1987 Random House published his first book, Iron and Silk, an account of the two years he spent in China.  The book was a finalist for the Pulitzer Prize for non-fiction, received the Christopher Award and the New York Public Library Literary Lions Award, and has since been translated into twelve languages.  Mr. Salzman wrote the screenplay and starred in the critically acclaimed film version of Iron and Silk, which was shot entirely on location in China.  His second book, The Laughing Sutra, a novel, was published that same year.  His third book, The Soloist, a novel about two cello prodigies of different generations, was published in January 1994, also received a Pulitzer nomination, and was a finalist for the Los Angeles Times Book Prize for fiction.  His memoir of growing up in suburbia during the 70's, Lost in Place, was published in 1995.  Alfred A. Knopf published his novel Lying Awake in September of 2000, which became a national bestseller, and he was awarded a Guggenheim fellowship for the year 2000-2001 to work on his next book.

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Print summary

“I’ll be thirty-six old this spring which is young for a retired concert soloist but old for a virgin.”  With these words, we are introduced to Renne Sundheimer who at a young age had a promising career as a concert cellist.  His talent, coupled with a strong stage mother, thrust him into a brilliant performing career.  Suddenly at age eighteen his ears became overly sensitive to his playing, affecting his sense of pitch.  Renne, a perfectionist, was no longer able to tolerate his own cello playing.  He becomes a cello teacher at a large university in Southern California, teaching uninspired students as he waits for his musical gift to return.  With the arrival of an unexpected young student, jury duty, and a possible love interest, Renee faces a remarkable upheaval in his life.

Through Renne’s teaching of a nine-year-old Korean student, whose gift mirrors his own, memories of his old cello teacher and their relationship are awakened.  As the events unfold, Renne begins to tell us about his childhood and adolescence and his brilliant performing career.  The issues and difficulties involved in raising gifted children are brought out.

The jury experience opens Renne’s eyes to other people’s foibles and personalities as he learns to cope with their conversations and perceptions.  The contrast between the congenial personality of the male defense lawyer and the sharpness of the female prosecutor and Renne’s reaction to them is telling.  “I felt myself resisting her arguments for the same reason that I don’t like being talked into things by ungraceful people.”  And when Renne becomes the possible love interest of a fellow juror, his insecurities with women surface.  In addition, the reader learns about Renne’s past relationships with childhood friends, concertgoers and even his colleagues at work.

Renne’s experience as a juror on the trial of a student accused of killing his Buddhist teacher becomes a defining experience.  Issues of mental illness, religion and parenting contribute to Renne’s awakening and changing perceptions of himself.  Renne becomes the lone voice against a guilty but insane plea and learns to handle his fellow jurors’ hostility.

These events prompt Renne to examine his life bringing him an acceptance and inner peace about who he has become.  Mark Salzman, while showing us the struggles of a concert cellist, raises issues that will resonate in the reader’s mind.

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Print guide

1. A critic says, “All of Mark Salzman’s characters are beautifully drawn.”  It’s true that good books often have characters that seem like people we might meet in real life.  Do you agree with the critic, or do you think some characters are more “beautifully drawn” than others?
   
   
2. Trace all the mentor-pupil relationships in the novel.  VonKemper/Renne/Kyung-hee are the obvious ones.  But what about Renne and the beautiful juror (Marie-Teresa) with whom he tries to have an affair?  What about Renne and the cat?  Notice how the mentor becomes the pupil and vice-versa.
   
   
3. Just like you and I might choose a suit or dress one day, jeans and sweatshirt another, authors may choose a writing style that suits their novel’s subject or theme.  Salzman’s style in The Soloist has been called “simple yet exquisitely fluid.”  Assuming the quote is accurate, why is a style like this just right for this story?
   
   
4. One of the book’s points is that Sundheimer was too harsh and critical of himself.  Some readers may see themselves in Sundheimer and, perhaps, try to take life a little less seriously.  Do you think a book’s message is what makes it valuable or good?  What about a novel that is not well written but has an inspiring message?
   
   
5. Discuss the relationship between Renne and his mother and between Kyung-hee and his mother as it relates to the quote:  “When do you let children follow their own instincts, and when do you push them to do what you wish you had done yourself?” (p. 71)
   
   
6. During the trial, Mr. Weber takes responsibility for the crime committed by his son.  To what degree are parents responsible for their children’s failures?  How about their successes?
   
   
7. Some critics found Renne Sundheimer’s lack of sexual experience hard to believe.  Salzman made this character up.  The author could have made Renne less innocent.  Why didn’t he?  Why is it important to the novel to have its narrator and main character so sexually naïve?
   
   
8. Immigrants who were once very successful in their native country must sometimes take menial jobs in this country because of language difficulties, non-transferable educational degrees, etc.  In what way do you think this might affect their sense of self worth?  How might this influence their hopes for their children’s future?  How might it affect how their children see their own future?
   
   
9. “The Zen master Lin-chi was once asked by a monk, ‘What would you do if you were going somewhere, and you suddenly met the Buddha in the road?’  Lin-chi answered, ‘If you meet the Buddha in the road and he stands in your way, kill him!  If you meet the great Zen teachers of the past, kill them!  If you meet your parents, kill them!  That is the only way to be free!’ ” (p. 109)  What do you think this means?  What do you think this means to Renne?  What do you think this means to Philip?
   
   
10.  “In life, one must show both strength and gentleness.” (p. 57) How is this demonstrated in Renne’s life?  Does this seem true in your life?
    
    
11.  “We all crave a sense of dignity in our lives, but most of us find it an elusive goal.” (p. 284) Why was a sense of dignity (or self-worth) so hard for Renne?  Why is it for most of us?
    
    
12. How do we deal with not fulfilling our early dreams?  Is this much harder for a prodigy or is it true for everyone?  Is it related to the impossibility of the goal (perfect intonation, pure Zen enlightenment) or imperfections in ourselves?
    
    
13. Dr. Libertson gives the opinion that “religious experiences are episodes of nervous exhaustion brought on by sensory deprivation…” (p. 124) How does one tell the difference between a religious vision and euphoric delirium?
    
    
14. Renne speaks of music having texture.  “When I was very young one of the reasons I was able to hear a piece of music and then play it right back without having to look at a score was that for me each musical phrase had not so much a color or flavor as a texture, and if I could remember the sequence of textures, I could automatically reproduce the sounds.” (p. 154) What other senses can come into play when we listen or create music?
    
    
15. Do you believe that music/art can build bridges between cultures?  If so, how?
    
    
16. Do you think that justice was served in this case?  Does our current system of jury selection guarantee a “jury of our peers” and therefore a just outcome?
    
    
17. Attorney Mr. Graham reminds the court “mental illness by itself does not automatically make a man legally insane.” (p. 131) If someone has a mental illness such as schizophrenia, should they be held responsible for a crime they may commit?
    
    
18. Has there been a time you felt pressure to go along with others?  What are some of the challenges and issues encountered by standing up for your moral convictions?
    
    
19. “You cannot make great music happen, you can only prepare yourself for it to happen.”  (p. 274) Why did forcing himself to “go deeper” make Renne unable to play at all?  Can this also apply to other areas of our lives, such as sports, work, or relationships?
    
    
20. In what way was Renne’s experience in the trial his “graduate recital?” (p. 275)

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Print "How To"

Ideas for setting up a book discussion group from the Washington Center for the Book at the Seattle Public Library

• Preplanning and organizing the first meeting
• What makes a good book for discussion
• Reading critically
• Leading the discussion
• Some suggestions for participants
• Sample questions

1. Make clear what is expected of participants:
   Careful reading, active participation in selecting and discussing books, and having fun.
   
   
2. Decide what types of books your group wants to read:
   Only fiction? Prize winners? Classics? Anything and everything? Does the book have to be available in paperback?
   
   
3. Figure out the logistics:
   How long should the meetings be? (We find that the best discussions last between 45 and 90 minutes.) Will you meet at a library? Coffee shop? Private homes? Do reminder messages need to be sent out by email, mail, or phone?
   
   
4. Decide how the book club will be run:
   Will you have a leader? Will the same person be in charge for each meeting, or will you rotate leaders? Some groups bring in an outside “expert” (who may need to be paid). Do you want the leader to give a brief biography of the author and a selection of reviews of the book under discussion?
   
   
5. Choosing the books to discuss:
   Choosing what books to read is one of the hardest, most enjoyable, frustrating, and important activities the group will undertake. Members of the group should be prepared to compromise and to read outside their regular areas of interest. (Some people will drop out if the books chosen are not what they want to read; don’t worry, this is a normal occurrence.) Go with the majority opinion, but remind people that there can be a big difference between “a good read” and “a good book for a discussion.” (See next section.) Choose books well in advance (at least three months). People need to know what’s coming up so they can read ahead. In addition, you don’t want to have to spend time at each meeting deciding what to read next.

During a book discussion, what you’re really talking about is everything that the author hasn’t said – all those white spaces on the printed page. For this reason, books that are plot driven (most mysteries, westerns, romances, and science fiction/fantasy) don’t lend themselves to book discussions. In genre novels and some mainstream fiction (and often in nonfiction) the author spells out everything for the reader, so that there is little to say except, “Gee, I never knew that” or “Isn’t that interesting.” Librarians, booksellers, and friends can often supply you with suggestions of good books to discuss.

(Incidentally, this “everything that the author hasn’t said” idea is why poetry makes such a rich topic for discussion.)

See Recommended Books for Discussion,  
       www.spl.org/booklists/recreading.html   

Asking questions, reading carefully, imagining yourself in the story, analyzing style and structure, and searching for personal meaning in a work of literature all enhance the work’s value and the discussion potential for your group.

1. Make notes and mark pages as you go:
   Reading for a book discussion – whether you are the leader or simply a participant – differs somewhat from reading purely for pleasure. As you read a book in preparation for a discussion, ask questions of yourself and mark down pages you might want to refer back to. Make notes like, “Is this significant?” or “Why does the author include this?” Making notes as you go slows down your reading but saves you the time of searching out important passages later.
   
   
2. Ask tough questions of yourself and the book:
   Obviously, asking questions of yourself as you read means you don’t know the answer yet, and sometimes you never will discover the answers. Don’t be afraid to ask hard questions because often the author is presenting difficult issues for that very purpose. Look for questions that may lead to in-depth conversations with your group and make the book more meaningful.
   
   
3. Pay attention to the author’s message:
   As with any skill, critical reading improves with practice. Remember that a good author uses every word in a text deliberately. Try to be aware of what the author is revealing about herself and what she wants you to learn about life from her perspective.
   
   
4. Analyze themes:
   Try to analyze the important themes of a book and to consider what premise the author started with. Imagine an author mulling over the beginnings of the story, asking himself, “what if … ” questions.
   
   
5. Get to know the characters:
   When you meet the characters in the book, place yourself at the scene. Think of them as you do the people around you. Judge them. Think about their faults and their motives. What would it be like to interact with them? Are the tone and style of their dialogue authentic? Read portions aloud to get to know the voices of the characters.
   
   
6. Notice the structure of the book:
   Sometimes an author uses the structure of the book to illustrate an important concept or to create a mood. Notice how the author structured the book. Are chapters prefaced by quotes? If so, how do they apply to the content of the chapters? How many narrators tell the story? Who are they? How does the sequence of events unfold to create the mood of the story? Is it written in flashbacks? Does the order the author chose make sense to you?
   
   
7. Make comparisons to other books and authors:
   Compare the book to others by the same author or to books by other authors that have a similar theme or style. Often, themes run through an author’s works that are more fully realized by comparison. Comparing one author’s work with another’s can help you solidify your opinions, as well as define for you qualities you may otherwise miss.

Leading the discussion:

1. Come prepared with 10 to 15 open-ended questions. Questions that can be answered yes or no tend to cut off discussion quickly.
   
   
2. Alternatively, ask each member of the group to come with one question. Readers will focus on different aspects of the book, and everyone will gain new insights as a result.
   
   
3. Questions should be used to guide the discussion and keep it on track, but be ready to let the discussion flow naturally. You’ll often find that the questions you’ve prepared will come up naturally as part of the discussion.
   
   
4. Remind participants that there are not necessarily any right answers to the questions posed.
   
   
5. Don’t be afraid to criticize a book, but try to get the group to go beyond the “I just didn’t like it” statement. What was it about the book that made it unappealing? The style? The pacing? The characters? Has the author written other books that you liked better? Did it remind you of another book that you liked or disliked? Remember that many of the best book discussions center on books that many group members disliked.
   
   
6. Try to keep a balance in the discussion between personal revelations and reactions and a response to the book itself. Of course, every reader responds to a book in ways that are intimately tied to his or her background, upbringing, experiences, and view of the world. A book about a senseless murder will naturally strike some sort of chord in a reader whose mother was killed. That’s interesting, but what’s more interesting is how the author chose to present the murder, or the author’s attitude toward the murderer and victim. It’s often too easy to let a group drown in reminiscences. If that’s what the whole group wants to do, that’s fine, but keep in mind that it’s not a book discussion.

A good discussion depends in large part on the skills we develop as participants. Here are some suggestions (based on the New York Public Library’s book discussion program):

1. SPEAK UP! Group discussion is like a conversation; everyone takes part in it. Each speaker responds to what the person before him said. Nobody prepares speeches; there should be a spontaneous exchange of ideas and opinions. The discussion is your chance to say what you think.
   
   

2. LISTEN thoughtfully to others! Try to understand the other person’s point of view. Don’t accept ideas that don’t have a sound basis. Remember, there are several points of view possible on every question.
   
   

3. BE BRIEF! Share the discussion with others. Speak for only a few minutes at a time. Make your point in as a few words as possible. Be ready to let someone else speak. A good discussion keeps everyone in the conversation.
   
   

4. SHARE YOUR VIEWPOINT AND EXPERIENCE! Don’t expect to be called on to speak; enter into the discussion with your comments of agreement or disagreement. When you find yourself disagreeing with other people’s interpretations or opinions, say so and tell why, in a friendly way. Considering all points of view is important to group discussions.
   
   

5. COME WITH YOUR OWN QUESTIONS IN MIND! As you read the selection, make note of the points on which you’d like to hear the comments of group members.

What should you be thinking about when you read a book for discussion? What kinds of questions make for interesting discussions? These are important questions because they lead to the heart of what book groups do: read, think about, and discuss literature. You don’t have to have a background in literary criticism to be in a book group. Here is a list of some common questions to think about when reading a book for a reading group.

1. How do the characters function in this book? Are they thin and uninteresting, or well developed, with many different facets of personality? Are certain characters more “real” than others? Why or why not?
   
   

2. Is the protagonist sympathetic or unsympathetic? Why?
   
   

3. What themes – motherhood, self-discovery, wilderness, etc. – recur throughout the book? How does the author use these themes? Do they work?
   
   

4. Why do certain characters act the way they act? What motivates a character to do something that she would not normally do? Does she have an axe to grind, a political ideology, a religious belief, a psychological disorder? Is there anything that you would call “out of character”? Does the character grow over the course of the story?
   
   

5. What types of symbolism are in this novel? What do these objects really represent? How do characters react to and with these symbolic objects?
   
   

6. Think about the broader social issues that this book is trying to address. For example, what does the author think about anarchy versus capitalism as a means of life? How is a particular culture or subculture portrayed? Favorably? Unfavorably?
   
   

7. How do you feel about these characters? Do their experiences fit or clash with your own experiences? How so? Which character do you identify with? Is it possible to identify with any of these characters?
   
   

8. Where could the story go from here? What is the future of these characters’ lives? What would our lives be like if we lived in this story? Could the civilization portrayed really exist? What if?
   
   

9. What does that character mean when he says “…”? How does the author use certain words and phrases differently than we would normally use them? Does the author make up new words? Why would he do that?
   
   

10. How does the arrangement of the book help or detract from the ideas in the novel? Does the arrangement contribute to themes or symbols? How is the book structured? Flashbacks? From one or multiple points of view? Why do you think the author chose to write the book this way?
    
    

11. Does this book fit into or fight against a literary genre? How does the author use [science fiction, humor, tragedy, romance] to effect in the novel? Does this book typify a regional (southern, western) novel? How?
    
    

12. How does this book relate to other books you have read? Would this book make a good movie? Is there a film adaptation of this book? How does the film compare to the book? What is brought out or played down in the film version?
    
    

13. Is the setting of the book important to the theme? Why? How realistic is the setting?
    
    

14. What did the author attempt to do in the book? Was it successful?
    
    

15. What is the author’s worldview?
    
    

16. Were the plot and subplots believable? Were they interesting? What loose ends, if any, did the author leave?
    
    

17. What is the great strength – or most noticeable weakness – of the book?

For more information, contact:

Washington Center for the Book
  at the Seattle Public Library
800 Pike Street
Seattle, WA  98101

http://www.spl.org/wacentbook/centbook.html

This guide for book discussion groups was developed by the Washington Center for the Book at the Seattle Public Library. The Washington Center for the Book is a member of the Audiences for Literature Network, made possible by the Wallace-Reader’s Digest Funds – eight leading centers dedicated to building and sustaining audiences for literature.

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