- Shopping Bag ( 0 items )
2. Readers get to know John only after his death, through the thoughts and memories of other characters. What kind of a man was he? Why, having lost John, does Eva find herself in a state of grief beyond her control, having feelings deeper than any she's ever experienced?
3. Is John a better father than Mark (215)? Why has John been able to connect with Daisy, a difficult child, so easily, and how did he earn her love (p. 51-56)? Does Daisy's interest in Sylvia Plath's poem "Daddy" (pp. 121-23) indicate that she feels betrayed by Mark?
4. John dies just as Daisy is entering adolescence and becoming acutely aware of sex (p. 57). Does Miller suggest that a strong connection exists between grief and sexual desire? What are the circumstances that make Daisy vulnerable to Duncan's advances?
5. What kind of a man is Duncan, and what perspective does the narrative take on him? How does the reader experience him? Why does Gracie not seem to know about the pedophilic aspect of Duncan's character? When Gracie realizes that Duncan is having an affair, what is her response, and how does it differ from Eva's response to Mark's infidelity (pp. 208-10, pp. 41-43)?
6. In what ways is Eva--to use the title of an earlier Miller novel--a "good mother"? How strong a character is she, and how vulnerable? What ideas and values guide her approach to mothering? Is there any way for her to help Daisy more than she does?
7. Eva's elder daughter Emily seems oddly untouched by the crisis her family goes through during the novel. Is this due to her age (she is about to go off to college), her beauty and self-confidence, or some other reason? Is it mainly a matter of timing or one of temperament that leads to the two stepdaughters' very different reactions to John's death?
8. For a while, Daisy feels good about her affair with Duncan: "She felt he offered her a new version of herself, one she more and more carried with her into her real life. She felt uplifted, in a sense; she felt an elevation over the daily ugliness of high school. She was less afraid, less shy. . . . And she loved the strange sex, which asked so little of her" (p. 156). How is this relationship different from one that Daisy might have had with a boy her own age? Why is it more dangerous? Do the positive aspects of this affair offset the moral failing that it reveals in Duncan?
9. Eva was drawn to John only slowly, "by the persistence and intelligence of his interest in her" (p. 78). How does this differ from her love for Mark? Is it surprising or disappointing that Eva chooses not to become involved with Mark again? Given the reader's access to Mark's thoughts about Eva, does Eva seem to be right or wrong in her belief that Mark is "unable to be faithful" (p. 137)?
10. Comment on the narrative voice used in the novel: Does it give us equal access to the thoughts of all characters equally? Which characters do we get to know best? What adjectives best describe Miller's prose style?
11. Given the story told to Theo by the members of his family (pp. 30-33; pp. 231-32) and the way Daisy looks back on Mark's role in ending her relationship with Duncan (pp. 242-45), discuss the various implications of the novel's title. Which characters are "lost in the forest," and how do they manage to find a way out?
12. Sue Miller has said that in the most enduring fiction--like Tolstoy's War and Peace--"you realize that everything comes back to the hearth. Yes, there was war, but the main focus was domestic: Who gathered around the hearth? Why were they there? What had they experienced? What stories did they tell?"* How does this idea work in Lost in the Forest? Is nurturing the idea of the hearth Eva's most essential and valued role? What does Miller suggest about the nature of familial bonds in our changing society?
13. How do the details of the Northern California setting establish the cultural landscape of the story? Are the rapid growth of the vineyard business and the changing nature of little towns like Saint Helena important to the story? What is the function of references to historical events, like the fatwah against Salman Rushdie and Noriega's surrender in Panama (p.139, p. 206)? How does Miller handle the passage of time in the novel?
14. Sue Miller's protagonists have mainly been women, and her novels have mainly focused on women's lives. When Eva gets older, "She's wondering, perhaps, if her story makes sense, if it means anything, or amounts to anything" (p. 230). How does this novel address such questions, and what answers, if any, does it offer?
15. Discuss the conversation that Mark has with Daisy when he realizes she's been sleeping with Duncan (pp. 219-28). How does his suggestion that she come and live with him redeem his earlier failings as a father and husband? Why does he promise Daisy that he won't tell Eva about Duncan?
16. Years later, in therapy with Dr. Gerard, how does Daisy work through the aftermath and the personal meanings of her relationship with Duncan? How damaging has it been? At the end of the novel, how do Daisy's thoughts about her role as Miranda in Shakespeare's The Tempest reflect the person she has become (p. 239, p. 247)?
17. Sue Miller has pointed out, "We live outside the world of religion yet with a diminishing awareness of its great importance."* In Lost in the Forest, Eva realizes "that maybe some of her problem was that she didn't believe in anything" (p. 76). As a self-consciously modern and intellectual parent, she has raised her children without the notion of God, yet throughout the novel she questions whether this has been a good decision. Does Eva's belief in parties and celebrations constitute a sort of contemporary version of faith? Does Eva's embrace of traditional religion at the end of the novel come as a surprise, or not (p. 234)?
I am deeply disappointed that the 50 + year-old man (friend of the family-very typical) gets away with seducing a teenage girl who is very "lost" at this point in her life. The author's style of writing is easy to follow and does make the reader contemplate some life issues and some American cultural issues. I have read other books by this writer and I do think she is very good at describing contemporary society, but I also like accountability. This story left me with a bad/sad feeling.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted May 5, 2010
The book was easy to read, although the author's writing style was sometimes difficult to follow. There were a lot of broken sentences. The characters were developed well, but no one was ever happy. The characters experienced: tragic death, divorce, child abuse, complete sadness and therapy sessions. It was not a book to make you feel good.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.ThePassionPlay
Posted May 2, 2010
Daisy and I are complete opposites. Complete opposite lives, complete opposite personalities. I'm not extremely quiet, withdrawn; I have never cut piano lessons much less taken them; I never lied to my mother or went on a sexual journey with a man three times my age. Why, then, do I feel this vibe of similarity? It's the absent father. But, having an absent father has never fazed me like it did Daisy. It did more than faze her, actually. However, as I conclude, I daresay that I envy Daisy; I envy Daisy's father for my father; I envy that in the end, she got to know him, and he got to know her. Mark realized that Daisy needed him and he needed her. (Something my father failed to recognize). They both were wounded in some deep way, and they needed one another in order to heal. Even if there was still a scar left behind.
Sue Miller's Lost in the Forest shows the importance of BOTH parents in the lives of their children. And, though this was not my type of book, I still give her props for it; it was well written and realistic. I liked it.
Anonymous
Posted June 24, 2008
Iwas very disappointed in the book. A Middle aged man having an affair w// a minor. He should have been sentenced to prison.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted August 27, 2005
I read Sue Miller years ago (While I Was Gone and The Good Mother). I must have liked her style to read multiple books, but after reading this one, I doubt I will read others. Other reviewers have gone into plot details. (I'll just note that the character who was seduced was 15, not 14, as if that makes a difference.) I thought that Miller's descriptions were 'gratuitous' if you will.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted May 17, 2005
If you have read some of Sue Miller's earlier works, such as the Good Mother and While I Was Gone, you may find this book a disappointment. If you are a fan of Sue Miller, you will probably want to read it anyway. It is an easy read, and Sue Miller mesmerizes with her reflective, dreamy writing style. The plot sets in motion, after the main character's second husband is killed by a car. Most of story is the build up for what is about to happen to Daisy, the main characters 14 year old daughter. Grieving for her stepfather, she gets sucked into a sexual affair with a 50 some year old man. This is the climax of the story, and everything quickly winds down after a few titillating pages of her sexual coming of age. I was halfway through the book, lost in Sue Miller's dreamy writing style, before I realized, there would be no closure about what happened to the stepfather who was killed? We don't know, if he was killed by a hit and run driver? There is no discussion of a court case, regarding who might have hit him, and there is no mention of any police involvement. All this is glossed over. I felt that overall the story was rather weak and predictable. Eva the main character witnessed the violent death of her husband as did their three year old son. There is very little reference to the trauma that someone would experience as a result of witnessing such a terrible death of a loved one. I was also disappointed that there weren't any vibriant discriptions of the Northern California area, where the book is to take place. She writes a lot about it raining a lot there, which doesn't sound right. While she manages to wrap everything up at the end, the last chapter is very far removed from the story. You meet the characters many years later, and it is hard to related to it.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted July 10, 2005
I felt the book was an easy read, as others have said, but I was disappointed by many things one of which is where is the anger when it's found out that the 14 year old is having an affair with her mother's friend who is 50 -- anyway, not easy for me to recommend this book.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted April 14, 2005
This mesh of characters and various lifestyles is interesting and well done. Each point of view is a bit limited, but you can taste of feelings of each person involved, not too much just the right amount of exposure to experiences all of us have had and have viewed in others. Excellent read for someone wanting to be taken away from their life and surroundings.
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted January 6, 2010
No text was provided for this review.
Anonymous
Posted October 25, 2008
No text was provided for this review.
Anonymous
Posted April 20, 2010
No text was provided for this review.
Anonymous
Posted January 18, 2009
No text was provided for this review.
Anonymous
Posted December 17, 2011
No text was provided for this review.
Anonymous
Posted July 22, 2011
No text was provided for this review.
Overview
For nearly two decades, since the publication of her iconic first novel, The Good Mother, Sue Miller has distinguished herself as one of our most elegant and widely celebrated chroniclers of family life, with a singular gift for laying bare the interior lives of her characters. In each of her novels, Miller has written with exquisite precision about the experience of grace in daily life–the sudden, epiphanic recognition of the extraordinary amid the ordinary–as well as the sharp and unexpected motions of the human heart away from it, toward an unruly netherworld of upheaval and desire. But never before have Miller’s powers been keener or more transfixing than they are in Lost in the Forest, a novel set in the vineyards of ...