Skip to Main Content
It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.
Book Club Reads From 2017
East of Eden by
“'I've been practising for a book for 35 years,' said Steinbeck of his most ambitious and autobiographical novel. East of Eden was first published in the summer of 1952 and by November had become the nation's number-one bestseller. Set in the farmland of California's Salinas Valley, the novel follows the relationships of two families, the Trasks and Hamiltons, and draws heavily on the biblical stories of Adam and Eve, and Cain and Abel, exploring the relationships between parents and children, between brothers and between people, history and place. Steinbeck also wrote of the book: 'It has to have a universal quality, or there is no point in writing it.' East of Eden also probes the nature of marriage and sexual love, through the person of one of Steinbeck's most memorable characters, Cathy Ames, a wild, independent but amoral woman, described as 'a monster'. At a time when American women were expected to find fulfillment in being home-makers, a woman without love for family bonds is dangerous and demonic. This strange, sweeping novel remains Steinbeck's most considered meditation on national and personal identity, 'the story of my country and the story of me'. “— The Guardian
In his journal, John Steinbeck called East of Eden “the first book,” and indeed it has the primordial power and simplicity of myth. Set in the rich farmland of California’s Salinas Valley, this sprawling and often brutal novel follows the intertwined destinies of two families-the Trasks and the Hamiltons-whose generations helplessly reenact the fall of Adam and Eve and the poisonous rivalry of Cain and Abel.Adam Trask came to California from the East to farm and raise his family on the new, rich land. But the birth of his twins, Cal and Aron, brings his wife to the brink of madness, and Adam is left alone to raise his boys to manhood. One boy thrives, nurtured by the love of all those around him; the other grows up in loneliness, enveloped by a mysterious darkness. First published in 1952, East of Eden is the work in which Steinbeck created his most mesmerizing characters and explored his most enduring themes: the mystery of identity, the inexplicability of love, and the murderous consequences of love’s absence. A masterpiece of Steinbeck’s later years, East of Eden is a powerful and vastly ambitious novel that is at once a family saga and a modern retelling of the Book of Genesis.
Here are the questions we discussed, February 22, 2017:
• What do you like best so far? What not so much?
• Do you think the brother is going to reappear?
• Do we have a reliable narrator?
• The narrator has inserted himself in the book several times? What context can we bring to that at this point?
• What is the deal with Cathy/Kate?
o Why is she described the way she is?
o Is she a caricature?
o Is she believable as a character?
• Are the other characters believable?
o Do they need to be?
• Is there anything that is confusing for you?
• Why do you think Steinbeck quoted the whole Cain and Abel story from the bible?
• Are Steinbeck’s thought processes about people simplistic?
• What did you think about the naming story?
• Do you have any questions you would like to ask the group?
For our second discussion on March 29, 2017 we had an extended discussion on what makes this book a "masterpiece."
West of Eden by
Publication Date: 2016-02-09
“Stein gives a sort of aerial view of five Los Angeles clans that amassed fortunes in the 20th century:[...] subjects [that] largely shaped the public imagination of the city [....T]his time instead of the decaying effect of hereditary wealth there is the explosive fallout of the quick trips up the class ladder that are a California specialty.[…]It’s possible that oral history as Stein practices it — with historians and other not personally involved experts in the mix, […] — is as close as we’re going to come to the real story of anything.”—Maria Russo, New York Times
NEW YORK TIMES BESTSELLER * An epic, mesmerizing oral history of Hollywood and Los Angeles from the author of the contemporary classic Edie Jean Stein transformed the art of oral history in her groundbreaking book Edie: American Girl, an indelible portrait of Andy Warhol "superstar" Edie Sedgwick, which was edited with George Plimpton. Now, in West of Eden, she turns to Los Angeles, the city of her childhood. Stein vividly captures a mythic cast of characters: their ambitions and triumphs as well as their desolation and grief. These stories illuminate the bold aspirations of five larger-than-life individuals and their families. West of Eden is a work of history both grand in scale and intimate in detail. At the center of each family is a dreamer who finds fortune and strife in Southern California: Edward Doheny, the Wisconsin-born oil tycoon whose corruption destroyed the reputation of a U.S. president and led to his own son's violent death; Jack Warner, the son of Polish-Jewish immigrants, who together with his brothers founded one of the world's most iconic film studios; Jane Garland, the troubled daughter of an aspiring actress who could never escape her mother's schemes; Jennifer Jones, an actress from Oklahoma who won the Academy Award at twenty-five but struggled with despair amid her fame and glamour. Finally, Stein chronicles the ascent of her own father, Jules Stein, an eye doctor born in Indiana who transformed Hollywood with the creation of an unrivaled agency and studio. In each chapter, Stein paints a portrait of an outsider who pins his or her hopes on the nascent power and promise of Los Angeles. Each individual's unyielding intensity pushes loved ones, especially children, toward a perilous threshold. West of Eden depicts the city that has projected its own image of America onto the world, in all its idealism and paradox. As she did in Edie, Jean Stein weaves together the personal recollections of an array of individuals to create an astonishing tapestry of a place like no other. Praise for West of Eden "Compulsively readable, capturing not just a vibrant part of the history of Los Angeles--that uniquely 'American Place' Stein refers to in her subtitle--but also the real drama of this town . . . It's like being at an insider's cocktail party where the most delicious gossip about the rich and powerful is being dished by smart people, such as Gore Vidal, Joan Didion, Arthur Miller and Dennis Hopper. . . . Mesmerizing."--Los Angeles Times "Perhaps the most surprising thing that emerges from this riveting book is a glimpse of what seems like deep truth. It's possible that oral history as Stein practices it . . . is as close as we're going to come to the real story of anything."--The New York Times Book Review "Enthralling . . . brings some of [L.A.'s] biggest personalities to life . . . As she did for Edie Sedgwick in Edie: American Girl, [Stein] harnesses a gossipy chorus of voices."--Vogue "Even if you're a connoisseur of Hollywood tales, you've probably never heard these. . . . As ever, gaudy, debauched, merciless Hollywood has the power to enthrall its audience."--The Wall Street Journal "The tales of jaw-dropping excess, cruelty, and betrayal are the stuff of movies, and the pleasures are immense."--Vanity Fair "This riveting oral history chronicles the development of Los Angeles, from oil boomtown to Tinseltown."--Entertainment Weekly ("Must List")
Here are the questions we discussed on January 25, 2017:
• What did you think of the writing technique, i.e. the oral histories woven into a biography?
• Did the book change or enhance your view of the industry in Hollywood? How? Why?/Why not?
• Who was the most surprising person involved in this book for you?
• Who, of the oral history group, do you think added the most insight to this book?
• How did place figure in this book? Why did the author include the addresses on the chapters?
• How did you reconcile the current oral histories and the ones that appeared to be from another time or an unpublished book?
• How do you think the editor shaped this book?
• Why do you think she wanted to write this book?
• Does money and power corrupt here? How/how not? What was money and powers effect on these families?
• Which of the five families/stories was most compelling for you?
• How were these families related?
• Do you want to read more of this author’s works? Why? Why not?
• What did you like/not like about the book?
• Do you have any questions you would like to ask the group?
“Maggie and Hopey stories are mostly about punk rock, women's wrestling, bisexuality and southern Californian Latino culture [...]with Hernandez focusing increasingly on the complex relationships [...] as they try to make their way in the world in Hoppers, a barrio outside Los Angeles apparently based on the Hernandez brothers' own home town of Oxnard, California[...T]here is a detailed focus on everyday life as lived by characters facing the usual human problems, setbacks and tragedies [...The book] ultimately serves as a useful social history as much as it does a comic.” --Ian Sansom, — The Guardian
by Jaime Hernandez One of the most humane, graceful and imaginatively inexhaustible artists in American popular culture, Jaime Hernandez has created in Locas one of the great American novels of the last 25 years, graphic or otherwise. Maggie's story begins in the early-1980s Southern California rock scene, when it was shifting from the excesses of glitter rock to the gritty basics of punk and new wave. She quickly befriends Hopey Glass, a feisty anti-authoritarian punkette who quickly becomes Maggie's on-again, off-again lover and a constant presence in her life throughout the book. This book contains all the Maggie stories from the first Love & Rockets series.
Here are the questions we discussed, April 26, 2017.
• What is your initial reaction to this book? What is your reaction after reflection?
• How do the graphic images change your normal reading process?
• What does the book do with pictures that can’t be done with words?
• What do you think this story about?
• How is the economy of the 1980s and 1990s portrayed here?
• Do you empathize with Maggie? Do you understand Maggie? Is she fully developed as a character? Why? Why not?
• Are the other characters believable? Do they need to be? Why? Why not?
• Were there any plot points that we can help each other understand?
• Is it really a story of Maggie and Hopey’s romance or finding each other again? Why? Why not?
• Do you agree with the critics that the artist/author portrays females well or realistically? Why? Why not?
• What does this book add to the conversation about gender roles and ambiguous sexuality?
• Did you have any new insights into the community that the author/artist is portraying?
• Do you have any questions you would like to ask the group?
Learning Las Vegas by
[The book] showcas[es] the cultural legacy, history, and people of this New Mexican community. Beautifully illustrated with full color photography, this is a case study in how the town's history can be viewed as two combined and yet distinctive populations: Hispanic and Anglo. ...T]his community located in the southernmost range of the Rocky Mountains is home to some 900 buildings on the National Register of Historic Places. A unique and seminal work[...]” -- Midwest Book Review
Las Vegas, New Mexico, is the subject and muse of this provocative case study of "place", exploring the history and geography but most centrally walking the town and landscape and meeting the people whose lives tell of the rich complexity of the location. To start with topography, Las Vegas translates as "The Meadows". The name refers to the series of spacious grasslands fanning out from the slopes of the Sangre de Cristo Range where the mountains form the western terminus of the Great Plains. This fine location allowed Las Vegas, situated as it was on the Santa Fe Trail and with the arrival of the railroad, to become New Mexico's handsomest, most prosperous town. Throughout the opulent years from 1821 through the first decades of the twentieth century, merchants and businessmen amassed considerable wealth in grain and lumber from Mora and San Miguel counties, along with wool, hides, and metals from the Pecos and Mesilla valleys. The region's decline was spelled out by the rerouting of the railway along with changes in manufacturing. Today's Las Vegas is a proud but fading shadow of its former self, captured in human terms, in families and memories, and still in the dreams of its people. Elizabeth Barlow Rogers, an accomplished cultural historian and photographer, includes portraits of some sixty residents interviewed extensively for the project and dozens of photographs detailing the town's architecture, public spaces, and natural features. To comprehend the layout of Las Vegas and study its architecture, Rogers walked its streets, exploring the outlying villages and ranches with traces of the Santa Fe Trail at Fort Union and elsewhere. To visualize its past, she delved deeply in archives and histories. To feel the pulse of the present, Rogers interviewed Las Vegans representing different cultural backgrounds, ages, and walks of life and immersed herself in local events and social gatherings. The result is an authentic portrait of a unique cultural place.
Here are the questions we discussed, May 31, 2017:
• Did the photographs draw you into the story? Why? Why not?
o How did they enrich/not enrich the book?
o Why do you think they aren’t labelled?
o What does the book do with pictures that can’t be done with words?
• What did Barlow Rogers bring to this book that a local wouldn’t have? Did not?
• Does Barlow Rogers give a complete story about the town? Why/Why not?
o What is the effect of her being an outsider? An Anglo?
• Who was your favorite person interviewed for the book? Least favorite?
• What was your conclusion about Tiny and the patron system?
• How does this book elucidate America’s struggle with non-urban economies?
o Are the economic problems in Las Vegas similar to other small cities, town?
o Are they really economic problems?
o Is Las Vegas sustainable in ways that large urban centers are not? Why/Why not?
• What will make or break Las Vegas in the future? How could it have a future other than the “tourist” economy?
• What do you like best about Las Vegas? Least?
• Do these kinds of books get written about other places in the U.S.? Why? Why not?
• How does this book make the “specialness” of Northern New Mexico apparent?
• Do you think the author’s interjections with her many opinions enhanced or detracted from the story? Why? Why not?
Now and at the Hour of Our Death by
“This year I was internally rearranged by “Now and at the Hour of Our Death,” a piece of lyric reportage by a Portuguese journalist, Susana Moreira Marques. It’s an account of hospice care in a rural region of Portugal, but it’s also a long poem built of morphine and gauze and ragged breathing and roadside crosses. Its glimpses splintered into me and have not left.” — Leslie Jamison, New York Times
A nurse sleeps at the bedside of his dying patients; a wife deceives her husband by never telling him he has cancer; a bedridden man has to be hidden from his demented and amorous eighty-year-old wife. In her poignant and genre-busting debut, Susana Moreira Marques confronts us with our own mortality and inspires us to think about what is important. Accompanying a palliative care team, Moreira Marques travels to Tr#65533;s-os-Montes, a forgotten corner of northern Portugal, a rural area abandoned by the young. Crossing great distances where eagles circle over the roads, she visits villages where rural ways of life are disappearing. She listens to families facing death and gives us their stories in their words as well as through her own meditations. Brilliantly blending the immediacy of oral history with the sensibility of philosophical reportage, Moreira Marques's book speaks about death in a fresh way.
Here are the questions we discussed, June 28, 2017 at the Arboretum Library:
• What is this book about? Is this book about death? Is it about rural Portugal? Why? Why not?
• How does the Portugal of the story resonate with our own Mediterranean climate area? Or Not?
• What makes this book great as it is? Or how could it be made better?
• Who was your favorite person interviewed for the book?
• Why didn’t she describe the deaths when she wrote the interviews of the individuals?
• What age were you when you realized the impact of death?
• How do you think she is different after this experience she had?
• Is it “luminous and full of grace?” Why? Why not? Profound? Why? Why not?
• How did the individual interviews add to what the author was trying to do?
• Do you identify with the dying, the families, the author? In what ways?
My Bad by
“[...I]t’s a mystery and a good one. Still, it is the people, the dialogue, the humor and the sense of place that make [...it] so compelling. [...He] brings to life the old Northside, its culture, its people, its music and color. […] Ramos writes about North Denver better than anybody. …[It] is a fine mystery with an unexpected ending, but it is also a view by an insider into the life of one of Denver’s unique neighborhoods that may one day disappear.” —Sandra Dallas, Denver Post
Ex-con Gus Corral is fresh out of jail and intent on keeping his nose clean. He's living in his sister's basement, which he shares with a cat or two, Corrine's CDs and their father's record collection. The blues music in particular strikes a chord, matching the way he feels about his current state.Things start to look up when Gus gets a job working as an investigator for his attorney, Luis Móntez. An activist in the Chicano Movement of the 1960s and 1970s, Móntez is slowing down and getting close to retirement, and he figures the felon can do the legwork on his cases. When María Contreras comes to see the lawyer about her dead husband's "business partner"--someone she has never heard of who's demanding his share of the profits of a business she knew nothing about--Móntez has Gus look into the situation.Narrating the story in alternating chapters, Gus and Luis recount their run-ins with suspicious characters as they learn that there's more to the case than meets the eye. The widow's husband owned and operated a local bar, not a Mexican folk art import company called Aztlán Treasures. And word on the street is that he was murdered on his boat in the Sea of Cortez. Soon, the dead bodies are piling up and the pair is surrounded by shadowy figures that point to money laundering, drug smuggling and even Mexican crime cartels.The follow-up to Desperado, Ramos' first novel featuring Gus Corral, My Bad races to a walloping conclusion in a Rocky Mountain blizzard, leaving fans of crime novels--and Chicano literature--eagerly awaiting the next installment in his mile-high noir.
Here are the questions discussed July 26, 2017:
• Did you feel this fit the genre type “noir.” What does “noir” mean to you
• What did you think about the alternating chapter with the different main characters?
• Were there any plot points that confused you?
• Were there any plot points that weren’t believable?
• What did you like best about the main characters?
• Did the chapter quotes and soundtrack add resonance for you? How?
• Did the end (what they did with the money) change your opinion of the main characters? Why? Why not?
• What did you think about the Denver of the story? How does it compare to our own stories of changing neighborhoods?
• How did the author portray female characters?
• What is one thing you might have changed about this book to make it better?
A Lady's Life in the Rocky Mountains by
"[She] is one of a kind, incredibly bold -- a burly mountain man would have had trouble keeping up with some of her innumerable cross-country treks in a single Colorado autumnal visit. Her lyrical penned descriptions of the Colorado Front Range will never be equaled [...]. Isabella was an astute observer who revels in her depictions and opinions. Anyone […] should […] read this frequently reprinted classic and […] revel in its lush descriptions of the austere Great Plains, the dingy, dusty, unruly towns and the magnificent mountain scenery and extremely colorful pioneer characters.” —Panayoti Kelaidis, Goodreads.com [original pub. 1878]
In 1872, Isabella Bird, daughter of a clergyman, set off alone to the Antipodes 'in search of health' and found she had embarked on a life of adventurous travel. In 1873, wearing Hawaiian riding dress, she rode her horse through the American Wild West, a terrain only newly opened to pioneer settlement. The letters that make up this volume were first published in 1879. They tell of magnificent, unspoiled landscapes and abundant wildlife, of encounters with rattlesnakes, wolves, pumas and grizzly bears, and her reactions to the volatile passions of the miners and pioneer settlers. A classic account of a truly astounding journey.
Here are the questions we discussed, Wednesday, August 30, 2017.
• Did she have a love affair with the ‘desparado’.
• Is there hyperbole? If so, what? And what do you attribute her need for it to? If not, why not?
• Did you believe her stories? What did or didn’t you believe?
• What was your favorite exploit she had? Why?
• How is this writing of its time? Is it modern too? How?
• Who is your favorite character? Why?
• How is Isabella different from you and me?
• What was your favorite place? Why?
• What did she mean when all these people were “clothed in rags”?
• What historical fact did you like best that you didn’t know before?
Parable of the Sower by
“[The book] is a modern classic of the dystopian future subgenre of science fiction. In a future Southern California plagued by drought, massive economic inequality, and violence, Lauren Olamina, a young African American woman, who can literally feel your pain, sets out to found a new religion and head north to a better life. This is book is ostensibly a journal she keeps of her journey. [...]There is action, there is philosophy, and there are political lessons. Olimina battles sexism, racism, ageism, and the dark impulses of late capitalism, all while falling in love and contemplating the meaning of life. […] Butler has the chops to develop her characters, and advance the plot, without sacrificing the larger political and cultural issues she wishes to engaged in.”—MiloandtheCalf.com
In California in the year 2025, a small community is overrun by desperate scavengers, as an eighteen-year-old African American woman sets off on foot on a perilous journey northward.
Here are the questions discussed, September 27, 2107:
• Did you perceive that towards the end there was less violence or did you feel that you had become desensitized to it? What does the violence teach the reader?
• What did you gain from the chapter beginning poems?
• Did the author convince you that the narrator was a teenager? How or why not?
• How did it feel to read this book in our current political climate?
• Were there any plot points that were confusing to you?
• What happened to the radio? Why didn’t it help in other situations instead of only in the instance of avoiding San Francisco?
• What was the point of making Olamina’s love interest 40 years older than she was and her father’s age? Did you trust him?
• What was the overarching message of this book? Was there one?
• What did you like best about this book? Least?
• The book was about evenly divided between the time in the neighborhood and the journey. What do you think the reasoning for that was?
• What is one thing you might have changed about this book to make it better?
• This book was published in 1993. Do you think she was reacting to the crack cocaine epidemic? Why? Why not?
Distant Neighbors by
“The heart of the book is the close exchange of two concerned and wise observers working to understand their life and the world[...H]ere their guards are down, and they talk directly admitting their confusions and struggles to understand their culture and even each other. [...]Both men go on to write of their daily work and doings, yet their continual awakening to and recording of the world and their minds and hearts moves these letters. It’s a shared journey that is carefully documented by editor Chad Wriglesworth in notes and index. —Larry Smith, New York Journal of Books
In 1969 Gary Snyder returned from a long residence in Japan to the Sierra foothills, where he intended to build a house and settle with his wife and sons. He had just published his first book of essays,Earth House Hold. A few years before, Wendell Berry left New York City for farmland in Port Royal, Kentucky, where he built a small studio and lived with his wife. Berry had just publishedLong-Legged House. These two founding members of the counterculture had yet to meet, but they knew each other's work and soon began a correspondence. Neither man could have imagined the impact their work would have on American political and literary culture, nor the impact they would have on one another. They exchanged more than 240 letters from 1973 to 2013, bringing out the best in each other as they grappled with faith and reason, discussed home and family, worried over the disintegration of community and commonwealth, and shared the details of the lives they'd chosen with their wives and children. None can be unaffected by the complexity of their relationship, the subtlety of their arguments, and the grace of their friendship. This is a book for the ages.
Here are the questions we discussed Wednesday, October 25, 2017:
• What was your main takeaway with this book?
• Would you take Gary Snyder’s planting advice? Why? Why not?
• What are the letters a record of?
• How did Gary and Wendell’s relationship change over time?
• What was the point of publishing these letters?
• What role did women play in their worlds?
• What is the main difference in their belief systems?
• What do they want for the world? Do you agree? Why? Why not?
• What did you like best about this book? Least?
• Could you live the way they do? What would you like about it? Not like?
• Is their lifestyle feasible for a large population? Why? Why not?
• What did you like/ not like about their descriptions of nature, weather, farming, etc.?
Tombs of the Vanishing Indian by
Publication Date: 2012-06-26
“[The play] was inspired by Marie's visit to the Southwest Museum of the American Indian, an entity of the Autry National Center. That visit, coupled with stories of those who were sent to Los Angeles in the 1950s and the ways Indians are made to vanish in society gave rise to this powerfully compelling play. Tombs weaves together the stories of three sisters who, along with their mother, were made to relocate to LA from Oklahoma only to find themselves lost down three very different tunnels. We follow each of the women as they struggle with the choices they have to make and the choices that have been forced upon them.”—Native Voices at the Autry
As part of the federal government's assimilationist termination and relocation policies of the 1950s, three Native sisters and their mother are moved from Oklahoma to Los Angeles. As these four women try to re-establish connections to a new land, each finds herself lost. The narrative interweaves with another historical injustice--the forced sterilization of thousands of Native women in the 1970s. Inspired by true events, the play is a poetic excavation of the lost stories of displaced Aboriginal people. Cast of four women and three men.
Here are the questions we discussed November 27, 2017. :
• What was one thing you learned from this play?
• Did you read the Tongva? Why? Why not?
• What are some ways in which you could tell that the cultural thinking was different than the dominate culture?
• Does this play change your thinking? Why?/Why not? About what?
• What did you wish you could have seen or heard as a theater audience?
• Would you go to a play like this? Why? Why not?
• Any confusing plot points you need cleared up?
• Why was the Lone Woman there?
• What did you like best about this book? Least?
• Could you imagine the set? What did it look like?
• Which character was your favorite? Why?
All over Coffee by
Publication Date: 2007-04-01
"[...The] collection [..] evocatively demonstrates the evolution of his eponymous San Francisco Chronicle strip. The juxtaposition of floating scraps of over-heard, disconnected conversations and masterful pen and ink drawings of San Francisco, the city he lovingly documents, reminds us of the serendipity of city life, its physicality and atmosphere, its unanticipated discoveries, its random intersections, its coincidences and ironies. Madonna opens a window into the specificity of place, time and circumstance, providing an articulate perspective and critique of where and how we live." —Cathy Jensen Simon, SMWM Architects.”
In February 2004, theSan Francisco Chronicle began printing an enigmatic feature called "All Over Coffee." Almost immediately, letters of love and hate, confusion and praise poured in. Accustomed to the familiar formats of comic strips and cartoons, some readers struggled to understand a creation that seemed to live both within and beyond those boundaries. All Over Coffee blends the timing of comics with the depth of poetry. Artist and writer Paul Madonna has fused art, literature, and comics by pairing timeless cityscapes with philosophical musings and poignant stories in masterfully rendered ink-wash drawings that surpass the art of Ben Katchor in elegance and architectural detail. His work has been compared to "a meeting of the tone of Edward Gorey, the uniqueness of Chris Ware, and the artfulness of Raymond Pettibon." Quirky, whimsical, and often profound,All Over Coffee's stunning imagery and thoughtful writing combine to create a conceptual world, both dreamlike and familiar. This selection will delight anyone who has ever lived in or visited San Francisco--or dreamed of doing so--with its original, off-the-beaten-path view of the city and its inhabitants. Paul Madonna moved to San Francisco and began to self-publish comics after graduating from Carnegie Mellon University's fine arts program and an internship atMAD magazine. In 2002 he launched his incredibly popular website, www.paulmadonna.com, posting a new cartoon each week. In 2004 theSan Francisco Chronicle and SFGate.com picked up his strip "All Over Coffee," which continues to appear weekly.
Here are the questions discussed on December 20, 2017:
• Did the exegesis at the end help you like the book more? Why? Why not?
• Did the book help you like San Francisco more? Why? Why not?
• What did you like best about the book? Least?
• Did you think you understood what he was up to as you read through the strips? Why? Why not?
• What did you think about the pictures? What did you think about the text? What did you think about them together?
• What was the text about?
• Does this strip reflect current San Francisco?
• Why do you think he left people out?
• What is one thing he could have done differently with this to make you like it better?
• Which one did you like best? Least? Why?
• How is his drawing?