One City, One Story 2002



2002 ONE CITY ONE STORY
June 28 – August 10, 2002 

Discussion Toolkit:  Study Guide

Study 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)