Saturday, December 10, 2005

The Godfather Returns


The Godfather Returns
By Mark Winegardner

Reading Group Questions and Topics for Discussion
by Tom Bligh © 2005.

1. The Godfather Returns begins with Nick Geraci’s unwanted assignment to kill his mentor. In chapter 11, the atomic bomb test in the desert hints at a turning point for the United States. What other events in this novel signify a changeover, a minor revolution taking place? How does the Corleone family attempt to adapt to these changes?

2. The novel opens against a setting of atomic bomb tests, Hollywood entertainers and their excesses, and Vegas nightlife. Taken together, what do these suggest about 1950s America?

3. In chapters 3 and 4, most of the major characters are traveling: Michael and Kay celebrate their fifth anniversary with a seaplane trip to Lake Tahoe, Tom Hagen meets with Ambassador Shea at the Vista del Mar Golf and Racquet Club, Francesca arrives in Tallahassee to start her freshman year at Florida State University, and Nick Geraci pilots two Dons from New York to Rattlesnake Island, headquarters of Vincent Forlenza. Discuss the significance of these journeys for the characters involved and how these events contribute to the story.

4. In chapter 21, Michael Corleone tells Tom Hagen: “This is America, my orphaned friend. Running from who we are is who we are.” What do you think he means? Do you agree or disagree?

5. As a protagonist, is Nick Geraci sympathetic? Why or why not?

6. Who is the hero of ? Nick? Michael? Fredo? Francesca? Which character is most worthy of your sympathy? What does the novel’s lack of traditional heroes suggest about its subject? About fiction in general?

7. Compare Fredo Corleone and Johnny Fontane. What is each man’s deepest wish? Name some personality flaws that hamper them.

8. Compare Fredo’s quest (Colma East) to Michael’s (family legitimacy). How are they similar? List the obstacles to these goals. Which scheme is more likely to succeed?

9. Describe the dynamic between Kay and Michael. Why does she remain in a marriage despite the crimes she attributes to Michael?

10. Discuss Fredo’s double life as a mirror of Michael’s double life as CEO of a corporation with legitimate business interests and boss of the country’s most powerful crime Family.

11. Compare the conflict between Nick Geraci and Michael Corleone to the Cold War between the Soviet Union and the United States. What other events from the novel mirror actual historic events?

12. Johnny Fontane is often considered a thinly-veiled version of Frank Sinatra, though he also shares much in common with Dean Martin, Al Martino, and many other Italian-American nightclub singers of this era. Try to identify the other characters in this novel who may have real-life counterparts.

13. Nick Geraci shoots a television set. Fredo Corleone kills a car. What do these actions reveal about these men?

14. Discuss Fredo’s forays into show business. Where is he successful? Where does he fail, and why? Can you make connections between Fredo’s manipulation of appearances to his brother Michael’s sleight of hand in covering up much of the Corleone Family’s illicit activity?

15. Michael’s military experience in the Pacific earned him medals. What does Michael learn from his war experiences? How does Michael’s understanding of murder influence his later decisions, particularly his plot involving Nick Geraci and Rattlesnake Island?

16. When Michael kills for the first time, it is as a soldier in the Pacific (chapter 21). Compare his reaction to this incident with Nick Geraci’s reaction to killing Tessio in chapter 1.

17. Tom Hagen and Fredo Corleone angrily confront each other twice in the novel, once at the 1956 political convention in Atlantic City (chapter 15), then again in 1957 after Fredo’s disastrous encounter with his wife, Deanna Dunn, her co-star, Matt Marshall, and an unlucky poodle (chapter 17). How would you describe the relationship between these two? What has elapsed in the time between these two encounters?

18. In an interview, described the world depicted in The Godfather and The Godfather Returns this way: “For the first time in American history, the government might be your enemy and the mobster on the corner might be your friend.” Discuss incidents in The Godfather Returns where it seems the actions of the government do not differ from those of the mob.

19. The Godfather Returns has two epigraphs. The first is a Sicilian proverb; the second reads: “They were killing my friends. —Audie Murphy, most decorated U.S. soldier of World War II, when asked how he had found the courage to fight an entire German infantry company.” Connect Murphy’s statement to this novel. What do you make of the fact that both Michael Corleone and Nick Geraci belong to a group Tom Brokaw famously praised as “the greatest generation”?

20. Chapter 15 shares a Corleone Family strategy: “To build power, sometimes one must control those who seem the least powerful.” A similar phrase comes up again in regard to the state trooper who foils the farmhouse meeting of the Families in chapter 20. How does this concept work? Why does it succeed?

21. The narrator believes the custom-built maple table which brought about “the single most devastating blow ever dealt to organized crime in America” should be in a museum. It’s not, though. Where is it? Do you find its new location significant? Ironic? Why?

22. Like The Godfather and the film versions of The Godfather by Francis Ford Coppola, The Godfather Returns tells a profoundly American story, touching on issues of ethnicity, immigration, assimilation, and racism. It also critiques and challenges American success stories, complicates the mythic American dream, and satirizes capitalism, corporations, and democratic government. The novel provides several possible causes for the Mafia’s decline, including: “The tendency in all businesses created by first-generation immigrants to be destabilized by the second generation and ruined by the third.” Discuss this notion from chapter 20.

23. What pressures or circumstances influence Tom Hagen’s surprising action at Louie Russo’s supper club in chapter 30?

24. There’s a subtle, playful motif of doubles in this novel. To mention a few: double bed, double Scotch, double doors, double crosses, double-parked cars, even characters who do double-takes and speak double-talk. Both the Cuban dictator and Nick Geraci survive assassination attempts through the clever use of a double. The novel features a set of literal twins, Francesca and Kathy, as well as several pairings of figurative twins: Michael and Tom, Michael and Geraci, Michael and Vito, Tom and Vito, Francesca and Sonny, Fausto Geraci and Vito Corleone. Explore these similarities and differences.

Several events recur in different contexts (the giving and receiving of watches, airplane flights, Michael bribes a theater owner, Hagen bribes an ice cream stand owner, etc.). The novel depicts characters mirroring each other (Phil Ornstein and Johnny Fontane in chapter 4). Fredo destroys three mirrors, one in the men’s room at Tony Molinari’s funeral in 1955, the other two in his room at the Château Marmont in 1959. There’s a double-header ball game and a restaurant named Two Toms. Characters echo each other’s phrases too: “Breakfast is the most important meal of the day,” to name just one. What is the effect of these repetitions, mirror images, and doppelgangers?

25. Consider the multiple meanings of the book’s title. To where does the Godfather return? If the title is a reference to Michael, which characters also return in this novel, and what kind of returns are they?

Saturday, October 08, 2005

Old Haunts

Old photographs of Halloweens long past. Faded, out-of-focus snapshots. Far away memories of the chilly Autumns of our childhoods. Turn of the Century, to the '60s & '70s.

This site is great! It's got a few of my favorite things, including a photo of one of those old Ben Cooper Halloween costumes--Batman, in this case--just like the cool one I wore as a kid.

Monday, September 12, 2005

A letter from Bret Lott, editor of The Southern Review

To the Community of Writers, Readers, Teachers, Students, Editors
and Anyone Else Within the Sound of This Email--

Bret Lott here, editor of The Southern Review on the campus of LSU
in Baton Rouge, Louisiana. I am writing to you and to everyone you
can forward this email to with an opportunity to help victims of
the hurricane. Forgive this rather long email, but it is important
to the welfare of many hurricane evacuees in our area -- please
read this all the way through.

No doubt you know the sorrow and hardship that has been visited on
residents of our state because of Hurricane Katrina and the
flooding caused by the breach of the levee in New Orleans. No doubt
you know as well of the thousands of displaced persons who have
lost everything because of the evacuation of that city.

As a result of so many New Orleans area universities and colleges
closing down for who knows how long, LSU has taken on almost 2800
new students who were displaced by losing their homes and their
schools; in addition, many students who were already enrolled at
LSU have also suffered great losses. These students have
experienced hardships that few of us will ever know: they have
lost their homes, their personal belongings, their books, their
food -- everything, including, for many, the college or university
at which they were enrolled. To help meet their needs -- and these are
IMMEDIATE and GENUINE needs -- the LSU Foundation has set up
Hurricane Katrina Relief Fund.

Strangely and beautifully and sadly enough, the latest issue of The
Southern Review -- mailed to subscribers just week before last,
right as the hurricane was making way for the Gulf Coast -- has
turned out to be a very special issue for the artwork on the cover
and that featured inside. The artist, Billy Solitario, lives near
GULFPORT (and I trust you have seen the pictures of the devastation
there); as of this writing, we have not been able to contact him.
The paintings themselves are of the Gulf Coast --one of them is
even titled "Spiral Cloud over Levee," another one titled "Storm
Over the Mississippi"; still others in the portfolio are of barrier
islands on the Gulf Coast -- places that don't even exist anymore.
The artwork was selected about a year ago, and the synchronicity of this is a little too much to think about -- the issue, which went out just two weeks ago, celebrates a coastland that is, suddenly,
gone. Also, and again the synchronicity of this is too much to behold, the lead poems in this issue are by Peter Cooley, poet at now-closed Tulane University; we have heard that he is safe in Houston at the time of this writing.

Here is where the community of folks to whom this email is
addressed can help (and please read the following instructions
CAREFULLY as they are being written this way so as to allow all of
us to help each other legally!).

1 -- YOU SEND THE SOUTHERN REVIEW A CHECK FOR $8 (EIGHT DOLLARS)
MADE OUT TO "LSU FOUNDATION," AND WRITE ON THE MEMO LINE "HURRICANE
STUDENT RELIEF FUND." MAIL THAT CHECK TO:

THE SOUTHERN REVIEW
OLD PRESIDENT'S HOUSE
LSU
BATON ROUGE LA 70803

PLEASE INCLUDE YOUR NAME AND MAILING ADDRESS WHEN SENDING THE CHECK.

Or

CALL THE SOUTHERN REVIEW AT 225-578-5108 or 225-578-5041 AND GIVE
US YOUR VISA NUMBER AND NAME AND ADDRESS

2 -- I SEND YOU A FREE COPY OF THIS ISSUE OF THE SOUTHERN REVIEW.

Please note that these two actions -- your donation, our sending
you a free copy -- are MUTUALLY EXCLUSIVE (does anyone out there
recognize yet the legal hoops I am having to jump through in order
simply to help students in dire need of help? Sheesh!). Please note
as well that it just so happens that the cover price for an issue
of The Southern Review is $8 (eight dollars), BUT YOU ARE FREE TO
DONATE AS MUCH AS YOU WISH.

Order as many as you want -- use them as gifts with the good
knowledge that because of your generosity help is going to students
in need; use them in your classes as a means to help your students
rally to the aid of their comrades here at LSU; give them to anyone
and everyone you know. And please forward this email to as many
people as you know so that they might also be able to contribute to
a worthy fund, and to enjoy the issue itself.

But finally, please note that NOT A SINGLE PENNY WILL COME EVEN REMOTELY CLOSE TO THE COFFERS OF THE SOUTHERN REVIEW; THIS IS SOLELY AN EFFORT TO GET MONEY TO STUDENTS IN NEED AND TO CELEBRATE THROUGH THE PAGES OF THE SOUTHERN REVIEW THE BEAUTY OF A COAST THAT HAS LARGELY BEEN LOST.

I know that to many out there this may sound like some sort of mercenary effort to advertise our journal and somehow to make money through the loss of others. Indeed, we will in fact be losing money in all this.

But you have my word -- Bret Lott -- that we will in no way profit
from these mutually exclusive actions.

I know the outpouring will be a great one, and please know that we
here at The Southern Review are prepared to handle the deluge of
good will you are already sending our way. Thank you for reading
all the way through this email, and thank you as well for what you
have already done for the hurricane relief efforts.

Sincerely, and with thanks to all --

Bret Lott
Editor and Director

Wednesday, August 10, 2005

The Circus Fire


Stewart O’Nan’s swift, clean prose captures the sad afternoon in Hartford, Connecticut on July 6, 1944 when a Ringling Bros. and Barnum & Bailey Circus tent caught fire, causing the deaths of 167 people. Vivid and wholly re-imagined, The Circus Fire depicts ordinary people who saved lives and the panic-stricken who rushed for the exits, trampling women and children. This is nonfiction, not historical fiction; the author does not recreate dialogue or invent scenes. O’Nan’s achievement is in depicting the Hartford of 1944 and getting the particulars just right; he tells us what the children wore to the circus that day and which snacks they bought on their way to their seats; his description of the fire, which raged for just minutes, is masterful--the smells of ashes and burning canvas palpable. The book recounts the disaster's effect on the city of Hartford, including the the circus management, and the victims recovering in hospitals. Myths continue to surround the fire and its cause remains a mystery. O’Nan suggests possibilities and sets a few facts straight, but he isn’t so much a debunker as he is a storyteller, one true to his story.

Tuesday, July 26, 2005

Some late July news

Hey kids, I just found out my , "Inventions," will appear in the autumn issue of .

Tuesday, June 28, 2005

Fourth of July preview

Freedom Summer

The recent conviction of Edgar Ray Killen got me thinking about this novel, written by my friend Bill Heath, who was my undergraduate English professor. I recommend it.

William Heath's novel, The Children Bob Moses Led brings alive the optimism of Freedom Summer. While working toward equality and mutual understanding, the Summer Project workers show the first signs of the counter-culture.

The Curious Incident of the Dog in the Night-time

Also people think they're not computers because they have feelings and computers don't have feelings. But feelings are just having a picture on the screen in your head of what is going to happen tomorrow or next year, or what might have happened instead of what did happen, and if it is a happy picture they smile and if it is a sad picture they cry.

p. 119
The Curious Incident of the Dog in the Night-time
by Mark Haddon

Summer reading

"What makes a person into a person who matters is to have ideals, then to realize everything's tainted, then to grow up and reimpose your ideals upon the unjust and indifferent world."
-- Crooked River Burning, p. 375

Mark Winegardner's second novel shows why Cleveland rocks. The novel plays with the leeway between truth and fact, especially when it comes to local lore and hometown heroes.