Trespass

( 1 )

Overview

Two women, Chloe Dale, an artist comfortably ensconced in bucolic suburbia, and Salome Drago, a wily, seductive refugee from a country that no longer exists, confront each other in a Manhattan restaurant, and the battle lines are drawn. Toby Dale, son of the artist and ardent suitor of the refugee, is in no position to choose sides. Outside, the drumbeats for the impending invasion of Iraq drown out all argument, and those who object will soon be reduced to standing in the street. The story of two ...
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Overview

Two women, Chloe Dale, an artist comfortably ensconced in bucolic suburbia, and Salome Drago, a wily, seductive refugee from a country that no longer exists, confront each other in a Manhattan restaurant, and the battle lines are drawn. Toby Dale, son of the artist and ardent suitor of the refugee, is in no position to choose sides. Outside, the drumbeats for the impending invasion of Iraq drown out all argument, and those who object will soon be reduced to standing in the street. The story of two families—suspicious, territorial, naïve in their confidence that they are free of the past—Trespass unfolds with commanding force. It is a bracing, tender novel for the 21st century.
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Editorial Reviews

From the Publisher
“Brilliant and seductive.” —People (four stars)“Martin is an expert at combining simmering menace with a cool, merciless irony.” —Salon“Arresting. . . . Trespass is a literary treasure hiding in plain sight.”—Chicago Tribune “A wickedly diverting novel about the storm-driven erosion of Fortress America.”—Los Angeles Times “Mesmerizing. . . . a war novel that gives you a glimpse of what war might really mean. . . . Trespass revels in truth.” —The Washington Post Book World
Sue Halpern
There are many kinds of trespass, Martin suggests, some psychological, some physical and all disturbing. Still, it's difficult to feel Chloe's pain, because it lets loose her prejudices. In creating a character who is probably not unlike many of her readers, Martin is trespassing too, leaving hints that suggest our own self-righteousness, however well intentioned, may not stand up when tested, as Chloe's won't. It's a disquieting thought, and it persists throughout the second half of the book, when Toby goes after Salome and Brendan goes after Toby. At this point, the spectral book-within-the book that has appeared in italicized snippets—the anonymous story of an unhappily married Yugoslav woman who is unfaithful to her husband—begins to make sense. Once it does, categories like good and bad seem entirely inadequate…The dialogue in Trespass can occasionally be stilted, the plot turns a little too convenient—and the whole thing wraps up more neatly than the package warrants. Even so, Martin's novel is the best kind of moral fiction, the kind that interrogates morality itself.
—The New York Times
Carolyn See
The truth conveyed in Valerie Martin's novel Trespass is by now all too familiar: the horridness of pointless war, the terrible trauma it inflicts upon its victims, its awful persistence, so that in spite of all our anti-violence rhetoric, it breaks out periodically like cholera or the common cold. But Trespass is so remarkable in its choice of character, plot and place, so absolutely surprising in its outcome that it's wonderful not for its good intentions but for its extraordinary craft…This is a war novel that gives you a glimpse of what war might really mean—the high drama, the gasping excitement—beyond the same old bloodshed. Trespass revels in truth, whether power is listening or not.
—The Washington Post
Publishers Weekly

This thought-provoking novel by Orange Prize-winning Martin (for Property) opens deceptively, as the quiet story of a mother slowly adjusting to her 21-year-old son becoming an adult. In 2002, Chloe Dane is a loving mother and wife, an artist engrossed in illustrating a new edition of Wuthering Heightsand a protestor against the imminent invasion of Iraq. Her husband, Brendan, is a historian who doubts that his work has any value but is generally self-satisfied. When their only child, Toby, a junior at NYU, gets Salome Drago, his Croatian immigrant girlfriend, pregnant and hastily marries her, Chloe fears he was trapped by a calculating woman more interested in Toby's family's impressive house and property than in Toby. When Salome learns her mother, Jelena, whom she believed was killed by Serbs, is alive, she traces her to Trieste and abruptly departs to find her. Toby follows, and when the newlyweds decide to drop out of college and remain in Italy, Chloe sends Brendan to bring Toby home. A tragedy-one very convenient for the narrative-strikes while Brendan's in Italy, paving the way for a startlingly light resolution. Forgiveness doesn't come easy for the characters as they learn that nothing-not family, borders or survival-is inviolable. (Sept.)

Copyright 2007 Reed Business Information
Library Journal

Chloe Dale, commissioned to illustrate Wuthering Heights, lives contentedly in rural New York with husband Brendan, a history professor writing a book about the Crusades. Their life changes dramatically when son Toby introduces his girlfriend, Salome Drago, a brooding Croatian refugee with a disdain for the conventional. Chloe has misgivings about Salome, suspecting that she has trapped Toby into marriage when she becomes pregnant and the couple moves in. Chloe's nerves are further frayed from living under the same roof with someone who "has yet to bring so much as a dish to the table." Chloe is also disturbed by the presence of a menacing poacher who roams their property with a shotgun. Still another story is woven throughout in short, tantalizing passages. Jelena, Salome's mother, speaks about their family's tragic past, when their town was under attack by Serbs, and Orange Prize winner Martin (Property) describes the horrifying collapse of Yugoslavia in terms of such haunting human stories. Suddenly, the trespassers are no longer girlfriends and poachers but intruders from other countries and other cultures. A major novel; highly recommended for all public libraries. [See Prepub Alert, LJ5/15/07.]
—Donna Bettencourt

School Library Journal

When Toby introduces his mother to a new college girlfriend, his mother is unsettled by the broodingly serious young woman who has beguiled her only child. Salome soon announces that she's pregnant, leaving Toby's mother, Chloe, heartbroken and seething with suspicion about their marriage of necessity. His mother's animosity toward his beautiful new wife alienates Toby, while his father attempts to mediate as peacemaker. Chloe is also disconcerted by a poacher hunting rabbits on their property. After Salome's mother, long thought dead in war-torn Yugoslavia, is discovered alive in Trieste, Italy, Salome mysteriously disappears. This story of an affluent family in rural New York is more than its plot elements, crackling with suspense and edginess from the first page. Martin, winner of the Orange Prize for her novel Property, envelops the listener in the same disquieting atmosphere of trespass and violation that obsesses Chloe. Audie Award nominee Bernadette Dunne never takes sides, forcing the listener to assess each character's veracity. Highly recommended for all fiction collections.
—Judith Robinson

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Kirkus Reviews
What seems at first a tightly focused domestic drama about a middle-aged couple's reaction to their son's new girlfriend broadens onto a large socio-political canvas as liberal values run smack into fear of foreign invasiveness. Chloe, an illustrator working on an edition of Wuthering Heights, and her history professor husband, Brendan, researching a book about the Crusades, live in a comfortably rural setting outside Manhattan. The two are typically self-satisfied, self-aware members of the left-leaning bourgeoisie. Chloe in particular prides herself on her open-mindedness, but she is immediately put off when only son Toby, a junior at NYU, introduces his exotic new girlfriend Salome, with whom he is clearly besotted. Salome, a scholarship student who immigrated to Louisiana with her father and brother after her mother and other brother were killed in Croatia, strikes Chloe as judgmental and possibly predatory. More sanguine, Brendan recognizes with nostalgia the sexual frisson between Salome and Toby. Chloe's unease rises when Toby and Salome start living together. Salome becomes pregnant; she and Toby decide to marry; and all Chloe's alarms go off. At the same time, she feels increasingly threatened by a foreign trespasser who has been shooting rabbits on her land and may or may not have committed several other invasive, violent acts. With Iraq an ever-present backdrop, Martin builds a discomforting sense of menace: Is Chloe paranoid or is the threat real? Even Toby fights his doubts about Salome, especially when she disappears the day after their marriage. She's gone to Trieste to find her mother, who is not dead after all-she tells her story in italicized fragments throughout thenovel. Toby soon follows Salome. After Chloe sends Brendan to intervene, her worst fears are realized, however inadvertently, at home and abroad. A brilliant must-read from Martin (The Unfinished Novel and Other Stories, 2006, etc.), who captures the zeitgeist of contemporary America within a deeply personal context.
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Product Details

  • ISBN-13: 9781400095513
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 9/23/2008
  • Series: Vintage Contemporaries Series
  • Edition description: Reprint
  • Pages: 304
  • Sales rank: 1,466,375
  • Product dimensions: 5.10 (w) x 7.90 (h) x 0.90 (d)

Meet the Author

Valerie Martin is the author of three collections of short fiction, most recently The Unfinished Novel and Other Stories, and seven novels, including Italian Fever; The Great Divorce; Mary Reilly, the Dr. Jekyll and Mr. Hyde story told from the viewpoint of a housemaid, which was filmed with Julia Roberts and John Malkovich; and the Orange Prize–winning Property. She is also the author of a nonfiction work about St. Francis of Assisi: Salvation: Scenes from the Life of St. Francis. She resides in upstate New York.
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Read an Excerpt

PART ONE

Dark hair and lots of it, heavy brows, sharp features, dark eyes, dark circles under the eyes, dark looks about the room, at the maître d’, the waitress, the trolley laden with rich, tempting desserts, and finally, as Toby guides her to the table, at Chloe, who holds out her hand and says pleasantly, though she is experiencing the first tentative pricks of the panic that will consume her nights and disrupt her days for some time to come, “Salome, how good to meet you.”

The hand she grasps is lifeless and she releases it almost at once. Toby pulls a chair out, meeting his mother’s eyes over the truncated handshake with a look she characterizes as defiant. “My mother, Chloe Dale,” he says.

“Hello,” the young woman says, sinking into the chair. Toby lays his fingers upon her shoulder, just for a moment, very much the proprietor, and Salome sends him a weak smile.

On the phone Toby said, “You’ll like her. She’s different. She’s very serious.”

Which meant this one was not an airhead like Belinda, who had ruined an entire summer the year before. On hearing Toby’s description, Brendan warned, “Brace up. Young men go for extremes.”

“That's true,” Chloe agreed. “You certainly did.” She recollected Brendan’s mad poet and the bout with the anorexic alcoholic, but she herself had not been a model of probity—the misunderstood artist who read too much William Blake and spent a semester poring over accounts of the Manson murders in preparation for a series of lithographs depicting dismembered female bodies.

The waitress approaches, brandishing heavy, leather–backed menus. Toby reaches for one, so does Chloe. Salome keeps her hands in her lap, forcing the waitress to stretch across the table and slip it in place between the knife and fork. “Can I get you something to drink?” she inquires.

“Let’s have a bottle of mineral water for the table,” Chloe says, “and I’ll have a glass of the white Bordeaux.”

“That sounds good,” Toby agrees. “I’ll have the same.”

Salome’s eyes come up from the menu and rest on Toby’s mouth. “Coffee,” she says.

She doesn’t drink. Is that a good sign?

“She lives on coffee,” Toby chides indulgently, as if he’s letting his mother in on some charming secret. Chloe studies the young woman, who has lowered her eyes to the menu again, a faint smile playing about her lips.

She’s confident, Chloe thinks. “So, how did you meet?” she asks.

“We’re in the same poli–sci class,” Toby says. “It’s a big lecture. I spotted Salome, but we didn’t actually talk until we both showed up at a meeting to organize a campus antiwar group.”

“That’s good,” Chloe says. “You won’t have to go through boring arguments about politics.”

“What kind of arguments?” Salome asks offhandedly, still studying the menu.

“About politics,” Chloe replies. “You’re already in agreement.” The drinks arrive and the conversation is suspended while the waitress pours out the water, arranges wineglasses and Salome’s coffee, which comes in a silver pot with a smaller silver pitcher of cream. “Shall I give you a few minutes to decide on your orders?” she asks.

“I think so?” Chloe says to her son, who replies, “Yes. I’m not ready yet.” All three fall silent, concentrating on elaborate descriptions of food. “What are you having?” Chloe asks Toby.

“I’m not sure,” he says. “Maybe the salmon.”

Salome pushes the menu aside, nearly upsetting her water glass, but her reflexes are quick and she steadies it with a firm hand laid across the base. Her fingernails, Chloe notes, are short, filed straight across. For a moment all three are fascinated by this decisive movement—no, the glass is not going to tumble—then, for the first time, Salome directs upon Chloe the full force of her regard. It’s unsettling, like seeing a spider darting out crazily from some black recess in the basement. “Why would an argument about politics necessarily be boring?” Salome asks, her voice carefully modulated, free of accusation, as if she’s inquiring into some purely scientific matter—why does gravity hold everything down, why does light penetrate glass but not wood.

Toby is right. There is nothing ordinary about this young person. “Well, not necessarily,” she concedes. “But sometimes when people disagree strongly on principle, and there’s no reconciliation possible, it can get pretty dull, pretty…” she pauses, looking for the noninflammatory word …“unproductive.”

“Salome loves to argue about politics,” Toby observes, temporizing, as is his way.

Lives on coffee, loves to argue. Could there be a connection?

“I don’t actually love it,” Salome corrects him. “But when it’s necessary, I never find it boring.”

Fast work. Chloe now stands accused of calling Toby’s new love interest boring.

She takes a sip of her wine, casting her eyes about the room in search of the waitress. It’s an attractive, tastefully appointed room, richly paneled, with dark, solid furnishings, damask cloths, strategic flower arrangements, and the glint of glass and copper. The food is excellent, though, of course, absurdly expensive. She chose Mignon’s because she knows Toby likes it, and it’s close to the university. She took the train, an hour and a half to Grand Central, and then another twenty minutes on the subway, which put her four crosstown blocks from Mignon’s. It’s twelve forty–five, she has an appointment midtown with her editor at three thirty, plenty of time for a leisurely lunch with her son and his new girlfriend. It’s intended as a treat for them; they’re students who eat grim cafeteria food or the cheap and nourishing fare served in Ukrainian restaurants on the Lower East Side. Her eyes settle on Toby, who looks anxious, pretending interest in the menu. She turns to Salome, who is ladling sugar into her black coffee, two full teaspoons.

She feels a stab of pity for the young woman, so clearly out of her element and on the defensive. Meeting the boyfriend’s mother is never fun; for one thing, one gets to see one’s lover transformed into some older woman’s son. But it could be so much worse, she wants to tell Salome. You should have seen my mother–in–law, a true harridan, and the worst part was that Brendan thought his mother was fascinating and acted like a giddy puppy in her presence, falling all over himself in his effort to please her. Whereas Chloe is charming, everyone says so, and her relations with her son are genial. These self–congratulatory musings relax her, and when Salome raises her cup to her lips, darting a quick, nervous glance at Chloe over the rim, she sends the girl a sympathetic smile. “You’re right,” she says. “Politics is serious. Especially in these dismal times.”

“Can you believe the arrogance of this clown!” Toby exclaims. “Now we don’t need the United Nations. The rest of the world is just irrelevant.”

“He’s a puppet,” Salome says. “The dangerous ones are standing right behind him.”

The waitress appears, ready to take their orders. Chloe feels a quiver of interest in Salome’s choice; doubtless she is a vegetarian. Toby orders the salmon; Chloe her usual duck salad. The waitress, a bright–eyed redhead—why couldn’t Toby fall for someone like her?—looks attentively at Salome, her pen poised above her pad.

“I’ll have the Caesar salad, no anchovies,” Salome says.

Very pure, Chloe will tell Brendan. No alcohol, no meat, no fish.

The waitress retreats. Toby takes a roll from the bread basket and begins slathering it with butter. “There’s going to be an antiwar rally in the park on the fifteenth,” he says. “We’ve got about eighty people signed up already.”

“Excellent,” Chloe says. “I’ll tell your father. He’s so enraged, he needs an outlet.”

Toby nods, stuffing half the roll into his mouth. He is always hungry. He developed an appetite when he was fifteen, it’s never let up, and he still doesn’t have an ounce of fat on him. Chloe takes up the basket and offers it to Salome, who chooses a wheat roll and places it carefully on Chloe’s bread plate. If she takes no bread herself, Chloe reasons, the girl will never know her mistake. “Are you majoring in political science too?” she asks, setting the basket close to her son.

“No,” Salome replies. “International relations, with an emphasis on the Balkans.”

“How unusual.”

“She’s a Croat,” Toby announces.

Chloe takes this information in quietly, uncertain how to respond. Does it explain the passion for politics? Are Croats Muslims? “But you don’t have an accent,” she says.

“I grew up in Louisiana,” Salome says.

Croats in Louisiana? Chloe thinks.

“Her father is the Oyster King,” Toby says.

Chloe takes another sip of her wine, thinking of the Tenniel illustration of the Walrus and the Carpenter inviting an attentive clutch of unwary oysters for a pleasant walk, a pleasant talk, along the briny beach. “What made you decide to come to New York?” she asks.

“I got a scholarship.”

“She’s very smart,” Toby adds needlessly.

“It must be quite a change for you,” Chloe observes. “Do you like it here?”

For a moment Salome’s eyes meet Chloe’s, but distantly, disengaging at once in favor of a leisurely survey of the room, as if her answer depended upon the framed photographs of Parisian street scenes arranged along the far wall, the quality of the table linens, the low hum of chatter from the other diners, the neat white blouse of the waitress, who, Chloe notices with relief, is approaching their table, skillfully balancing three plates, on one of which she recognizes her duck salad. For God’s sake, she thinks, impatience constricting her throat around a jumble of words that must not be said, I wasn’t asking for your opinion of this restaurant. Toby sits back in his chair, his eyebrows lifted in anticipation, waiting, now they are both waiting, for the verdict of this odd, dark creature he has extracted, it now appears, from some refugee swamp and set down before his mother in a perfectly respectable corner of New York. Salome’s eyes pass over his attentive face and settle upon her coffee cup, which is empty. She lifts the silver pot and pours a ribbon of black liquid into the porcelain cup. “Not much,” she says.

***

“You see,” Toby chides Salome when they are on the sidewalk watching his mother disappear into the ceaseless flow of pedestrians. “That wasn’t so bad.”

“I don’t think she liked me,” Salome says.

“She likes who I like,” Toby assures her, though this is not, strictly speaking, true. He knows his mother won’t criticize any friend of his to his face, but that doesn’t mean she has no feelings in the matter. He hadn’t expected Salome to charm his mother, but he’d assumed they would find some obscure common ground of femaleness to ease the inevitable tension. That hadn’t happened, and not, he admits, for lack of trying on his mother’s part. Salome leans into him so that he feels the soft give of her breast against his arm. She is embarrassed that she acquitted herself poorly, he concludes, and anxious that he might be displeased.

“It doesn’t matter,” she says. As they turn south, toward the university, she slips her hand into his. At the light she reaches up to touch his cheek, and, when he looks down, rises up on her toes to brush his lips with her own. He accepts the kiss, bringing his hand to her chin to hold her lips to his a moment longer. They have two hours before his roommate will return from his job, and they will spend them sprawled on the futon that takes up most of the space allotted to Toby. It is a perfect fall day, cool and dry; the leaves on the stunted trees plugged into squares of colorless, vitrified dirt along the sidewalk have already turned an anemic yellow. Toby wants to sprint the few blocks to the apartment just to have a few more minutes of being in bed with Salome. He passes his arm around her back, urging her to a speedier pace. The fineness of the bones beneath her skin, the slenderness of her waist, send a shiver of excitement from his stomach to his groin. She is right; it doesn’t matter what his mother thinks of her, or his father, or anyone else for that matter. That they will feel strongly, one way or the other, is inevitable, because Salome is so entirely different from any woman he has ever known. Compared to the officious graduates of expensive prep schools who are made anxious by her opinions, the city denizens with their tongue studs and tattoos, the scholarship girls from the Midwest who greet one another with shouts and hugs after an hour apart, Salome is a jaguar among nervous chickens. “Pretty exotic, Toby,” his roommate observed upon meeting her. “Are you sure you’ve got the energy for that?”

He doesn’t deny that she’s difficult. She has few friends, only her roommates, two theater majors she dismisses with a wave of the hand. Her room, formerly a walk–in closet, is hung with embroidered pictures. There’s a shelf crammed with statues of her favorite saints and votive candles, which she lights to solicit favors. On Sundays she wraps her hair in a lace shawl and goes off to Mass at the Croatian church on 51st Street, after which she receives her weekly call from her father, the Oyster King. While she talks, Toby stretches out on her narrow mattress, baffled by her harsh, impenetrable language. Her voice rises to a shout, she sounds furious—he can’t imagine what it would feel like to address either of his parents with so much force—then abruptly she is calm and affectionate. The conversation invariably ends with what he takes to be cooing endearments.

When she waits for him in the coffee shop, she passes the time crocheting lace squares which she will give out to the professors who earn her admiration. Those who displease her must put up with such serious and close questioning that they blanch when they see her hand shoot up in the midst of her somnolent peers.

She brings the same energy and essential forthrightness to the minimalist bedroom where they will soon pounce on each other with feline exuberance, tussling for the fun of it. She will start throwing off her clothes as soon as they are inside the door, pulling Toby toward the bed with an impatience that delights him. Her hair falling over his face smells of cloves, the perfume of her skin is complex, warm, spicy. When she wraps her arms and legs around his back, she holds him so tightly he can feel the taut vibration of her muscles, and her breath in his ear is quick and even to the end.
As they turn the last corner to the apartment, his mother is the farthest thing from his mind, so it surprises him when Salome says, “What I don’t understand is why your mother volunteered your father for the rally. Why doesn’t she come herself? Is she afraid she’ll get arrested?”

From the Hardcover edition.

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Introduction

“An enrapturing and ruthless storyteller, Valerie Martin possesses a predator’s ability to mesmerize her prey.” —Chicago Tribune

The introduction, discussion questions, suggestions for further reading, and author biography that follow are intended to enhance your group’s discussion of Valerie Martin’s Trespass, an ambitious intellectual thriller about a comfortable, cultivated American family forced into sudden proximity with the discomfiting, the lawless, and the wild—particularly the wildness of history. To Chloe Dale, the initial threat is Salome Dragovich, the smart, sexually confident young woman with whom her cherished son Toby has fallen in love. That Salome is also a refugee from the brutal war in Croatia only complicates her feelings. Is this girl, who seems to live on coffee and argument, someone to be resented or pitied or feared? And why does Chloe’s husband Brendan refuse to see what a threat she is?

At the same time, Chloe is disturbed by a poacher who is stalking the woods near her Connecticut home, shooting whatever animals catch his fancy with little regard for his neighbors’ property lines or safety. Oddly, the poacher, too, is a foreigner, though no one seems to know what country he comes from. Chloe thinks of him as Middle Eastern, an idea that may be partly inspired by the impending U.S. invasion of Iraq. Chloe, Brendan and Toby are united in their outrage at their country’s imperial venture but feel helpless to stop it.

A further layer of narrative concerns the Dales’ professional lives. Chloe is an illustrator, and her latest project is a new editionof Emily Brontë’s Wuthering Heights, a novel that has a dark, resentful outsider at its heart. Brendan, a historian, is writing a book on the Crusades and the ambivalent figure of Frederick II, the Christian emperor who deeply respected Islam and was excommunicated for it by the Pope, with catastrophic repercussions for relations between the European and Arab worlds.

As Salome becomes a more exigent and abrasive presence and the poacher a more intrusive one, tensions within the family mount. People say things they don’t mean or mean too much. Violence becomes more than a metaphor. And the enthralled reader comes to see how thin a membrane separates the personal from the political, memory from history. Trespass is a work of seriousness, tragic depth, and spellbinding narrative power.

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Foreword

1. What is Chloe’s initial impression of Salome? What about her does she find so threatening? Are these the same traits that make her attractive to Toby (and, incidentally, to Brendan)? Are Chloe’s perceptions accurate? What clues does the author plant to suggest that she may not be entirely reliable? Conversely, about what does she turn out to be a more accurate judge—and not just of Salome’s character?

2. Early on Toby tries to reassure his mother by telling her that Salome is “very serious.” (2) Is he right? What are the possible reasons for Salome’s seriousness, and in what ways might those reasons contribute to both her allure and her destructiveness? One synonym for seriousness is gravity. Have the events in Salome’s past given her more gravity than the other young women Toby has known? What other characters in the book possess a similar gravity, and what lies behind it?

3. Salome has her own opinions about Chloe. The older woman’s seemingly offhand remark about political arguments strikes her as a deliberate insult; her protectiveness of Toby translates as contempt for him. Might any of Salome’s perceptions be correct, or do they stem from the same paranoid and totalizing world view that makes her accuse Toby of siding against her and later causes her to turn violently against her father? What other characters in the novel see the world in similar terms, and with what results?

4. Chloe doesn’t come to fear and dislike Salome; she feels that way about her from the first, so that even the girl’s gaze makes her think of “a spider darting out crazily from some black recess in thebasement.” (6) The poacher, too, inspires her immediate foreboding and antipathy. Putting aside the question of whether her fears are justified, might they be self–fulfilling? Might Brendan be right when he later observes that “Chloe is making herself sick”? (90) Where else in the novel do people’s fears and suspicions become self–fulfilling?

5. Speaking of spiders, other species play a large supporting role in Trespass. Some characters resemble animals, as Salome, for instance, is said to resemble a fox. In her illustrations for Wuthering Heights, Chloe gives Cathy a totemic goshawk. We might also note Chloe’s beloved cat Mike and the poacher’s dog, whose breed is as indeterminate as its owner’s nationality. The militias who run amok through the novel’s Croatian sections, leaving a wake of the dead, proudly call themselves the Wolves. What does the presence of animals do for Trespass? In what ways do animals serve as stand-ins for the book’s human actors, and how does the novel’s changing perspective on them (to Brendan, a fox is a predator, but the one Toby remembers seeing in a museum was trapped and helpless) mirror its approach to human character?

6. What is the significance of Chloe’s illustrations for Wuthering Heights? How do her thoughts about that novel and its characters seem to comment on people and events in her own life? Are Wuthering Heights’s two houses literary ancestors of the ones inhabited by the Dales and the Dragoviches? When Chloe characterizes Heathcliff as “the vengeful orphan, the ungrateful outsider” (210), is she really thinking of Salome, or perhaps of the poacher? Might Heathcliff, a savage trespasser for whom grave–robbing is the highest expression of love, be a prototype for men like Milan and his army of butchers?

7. In an exchange with Toby’s parents, Salome dismisses her family’s Cajun neighbors as ignorant. It’s one of the few times in the novel when the characters are united in laughter. But the Dales, too, are sometimes ignorant. Chloe wonders if Croats are Muslims and mistakes the poacher for a Middle Easterner. Even characters who are better acquainted with the facts often misinterpret them, as Toby does when he thinks that his bride has left him for MacAlister instead of her mother. Discuss the role that ignorance and misinterpretation play in Trespass.

8. How does Brendan’s work–in-progress on the life of Frederick II reflect or anticipate events in the novel? What lessons might some of the novel’s characters derive from the story of the emperor’s relations with the Sultan of Jerusalem? What might that story have to teach George Bush, who once described the war on terror as a crusade? How might it be read by the Wolves of wolf town? How does Brendan’s view of Frederick as a pragmatic, but not too reliable, deal–maker compare to his academic rival’s portrait of him as a secret apostate? In what way is all of Trespass a book about the conflict between pragmatists and ideologues or, put another way, between realists and fanatics?

9. The novel offers two views of this conflict. They might be summed up by two aphorisms. There’s the one that the youthful Chloe used to keep taped to her bedroom door: Those who restrain passion do so because theirs is weak enough to be restrained. (77) And there’s the one that Brendan remembers while attending a decidedly limp peace rally: The best lack all conviction. (82) The aphorisms would seem to be in agreement, until you remember the second half of Yeats’s line: The worst are full of passionate intensity. How would you describe the novel’s position on the split between pragmatists and fanatics? At what moments does the author tip her hand?

10. One of Trespass’s observations is that people’s most extreme attitudes often contain their opposites and sometimes give way to them. Having spent her adolescence seething at her family’s repressiveness, Chloe grows up to be someone whom even mild–mannered Brendan characterizes as “bourgeois,” (117) a householder who prizes rituals and religiously keeps a fire burning in her cabin’s woodstove. Do you find it significant that that woodstove is one of the few things Salome seems to like about her future mother–in–law? What does Salome—who at times seems willing to wage war against the entire world in the service of her desires—actually desire? Might it be to become as comfortably bourgeois as Chloe?

11. Of course, Salome may not want to be like Chloe so much as she wants to take her place. This may be the true reason for their mutual antipathy, as it may be the reason Chloe becomes so upset when the young woman asks how much land she and Brendan own. Is the threat posed by a trespasser the fact that the trespasser wants what we have—our property, our game, our lovers, our children—and is prepared to do anything to possess them? Which of the novel’s other characters might be described as a trespasser? Which of them most fears falling victim to one? Do any of Martin’s characters occupy both roles?

12. It may be her fear of her future daughter–in–law that causes Chloe to think of Goya’s horrifying painting of Saturn devouring his children, and to perceive that the reason someone might eat a child is “to keep him from replacing you.” (177) The implication is that a trespasser may be far less dangerous than someone who is defending himself from being trespassed against. Consider Andro’s catastrophic reaction to the trespasses of his mother and sister. Consider that Iraq was invaded in the name of America’s national security. Consider that the men who destroy Jelena and her family think of themselves as defenders of an old way of life.

13. Of all the novel’s characters, only Jelena is introduced obliquely, and she’s the only character who speaks for herself. When does it become apparent that the voice that periodically breaks into the Dale narrative is hers? When do we realize the identity of her interlocutor? Why might Martin have chosen to do this? How does Jelena’s harrowing story affect your perception of earlier events or the book’s other characters? Is it significant that Jelena’s sections are relatively short until after Chloe’s accident? Is it really Jelena who takes her place?

14. In this respect, how do you view the unfolding relationship between Brendan and Jelena? Is this relationship about love or something less savory: a bereaved widower’s flight from grief or a poor and uprooted woman’s quest for security? Is it an instance of the strange gravity possessed by those who have known history, and suffered it? What does it mean that at the novel’s end, Jelena is “the foreign woman”? (317)

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Reading Group Guide

1. What is Chloe's initial impression of Salome? What about her does she find so threatening? Are these the same traits that make her attractive to Toby (and, incidentally, to Brendan)? Are Chloe's perceptions accurate? What clues does the author plant to suggest that she may not be entirely reliable? Conversely, about what does she turn out to be a more accurate judge—and not just of Salome's character?

2. Early on, Toby tries to reassure his mother by telling her that Salome is “very serious [p. 4].” Is he right? What are the possible reasons for Salome's seriousness, and in what ways might those reasons contribute to both her allure and her destructiveness? One synonym for seriousness is gravity. Have the events in Salome's past given her more gravity than the other young women Toby has known? What other characters in the book possess a similar gravity, and what lies behind it?

3. Salome has her own opinions about Chloe. The older woman's seemingly offhand remark about political arguments strikes her as a deliberate insult; her protectiveness of Toby translates as contempt for him. Might any of Salome's perceptions be correct, or do they stem from the same paranoid and totalizing world view that makes her accuse Toby of siding against her and later causes her to turn violently against her father? What other characters in the novel see the world in similar terms, and with what results?

4. Salome instantly inspires feelings of fear and dislike in Chloe, so that even the girl's gaze makes her think of “a spider darting out crazily from some black recess in the basement [p. 5].” The poacher, too, inspires her immediate foreboding and antipathy. Putting aside the question of whether her fears are justified, might they be self-fulfilling? Might Brendan be right when he later observes that “Chloe is making herself sick [p. 83]? ” Where else in the novel do people's fears and suspicions become self-fulfilling?

5. Speaking of spiders, other species play a large supporting role in Trespass. Some characters resemble animals, as Salome, for instance, is said to resemble a fox. In her illustrations for Wuthering Heights, Chloe gives Cathy a totemic goshawk. We might also note Chloe's beloved cat Mike and the poacher's dog, whose breed is as indeterminate as its owner's nationality. The militias who run amok through the novel's Croatian sections, leaving a wake of the dead, proudly call themselves the wolves. What does the presence of animals do for Trespass? In what ways do animals serve as stand-ins for the individuals in the book, and how does the novel's changing perspective on them (to Brendan, a fox is a predator, but the one Toby remembers seeing in a museum was trapped and helpless) mirror its approach to human character?

6. What is the significance of Chloe's illustrations for Wuthering Heights? How do her thoughts about that novel and its characters seem to comment on people and events in her own life? Are Wuthering Heights's two houses literary ancestors of the ones inhabited by the Dales and the Drago? When Chloe characterizes Heathcliff as “the vengeful orphan, the ungrateful outsider” [p. 195], is she really thinking of Salome, or perhaps of the poacher? Might Heathcliff, a savage trespasser for whom grave-robbing is the highest expression of love, be a prototype for men like Milan and his army of butchers?

7. In an exchange with Toby's parents, Salome dismisses her family's Cajun neighbors as ignorant. It's one of the few times in the novel when the characters are united in laughter. But the Dales, too, are sometimes ignorant. Chloe wonders if Croats are Muslims and mistakes the poacher for a Middle Easterner. Even characters who are better acquainted with the facts often misinterpret them, as Toby does when he thinks that his bride has left him for Macalister instead of her mother. Discuss the role that ignorance and misinterpretation play in Trespass.

8. How does Brendan's work-in-progress on the life of Frederick II reflect or anticipate events in the novel? What lessons might some of the novel's characters derive from the story of the emperor's relations with the Sultan of Jerusalem? What might that story have to teach George W. Bush, who once described the war on terror as a crusade? How might it be read by the wolves of wolf town? How does Brendan's view of Frederick as a pragmatic, but not too reliable, deal-maker compare to his academic rival's portrait of him as a secret apostate? In what way is all of Trespass a book about the conflict between pragmatists and ideologues or, put another way, between realists and fanatics?

9. The novel offers two views of this conflict. They might be summed up by two aphorisms. There's the one that the youthful Chloe used to keep taped to her bedroom door: “Those who restrain passion do so because theirs is weak enough to be restrained” [p. 71]. And there's the one by Yates that Brendan remembers while attending a decidedly limp peace rally: “the best lack all conviction” [p. 76]. The aphorisms would seem to be in agreement, until you remember the second half of Yeats's line: “the worst are full of passionate intensity.” [p. 76] How would you describe the novel's position on the split between pragmatists and fanatics? At what moments does the author tip her hand?

10. One of Trespass's observations is that people's most extreme attitudes often contain their opposites and sometimes give way to them. Having spent her adolescence seething at her family's repressiveness, Chloe grows up to be someone whom even mild-mannered Brendan characterizes as “bourgeois,” [p. 108] a householder who prizes rituals and religiously keeps a fire burning in her cabin's woodstove. Do you find it significant that that woodstove is one of the few things Salome seems to like about her future mother-in-law? What does Salome—who at times seems willing to wage war against the entire world in the service of her desires—actually desire? Might it be to become as comfortably bourgeois as Chloe?

11. Of course, Salome may not want to be like Chloe so much as she wants to take her place. This may be the true reason for their mutual antipathy, as it may be the reason Chloe becomes so upset when the young woman asks how much land she and Brendan own. Is the threat posed by a trespasser the fact that the trespasser wants what we have—our property, our game, our lovers, our children—and is prepared to do anything to possess them? Which of the novel's other characters might be described as a trespasser? Which of them most fears falling victim to one? Do any of Martin's characters occupy both roles?

12. It may be her fear of her future daughter-in-law that causes Chloe to think of Goya's horrifying painting of Saturn devouring his children, and to perceive that the reason someone might eat a child is “to keep him from replacing you [p. 164].” The implication is that a trespasser may be far less dangerous than someone who is defending himself from being trespassed against. Consider Andro's catastrophic reaction to the trespasses of his mother and sister. Consider that Iraq was invaded in the name of America's national security. Consider that the men who destroy Jelena and her family think of themselves as defenders of an old way of life.

13. Of all the novel's characters, only Jelena is introduced obliquely, and she's the only character who speaks for herself. When does it become apparent that the voice that periodically breaks into the Dale narrative is hers? When do we realize the identity of her interlocutor? Why might Martin have chosen to do this? How does Jelena's harrowing story affect your perception of earlier events or the book's other characters? Is it significant that Jelena's sections are relatively short until after Chloe's accident? Is it really Jelena who takes her place?

14. In this respect, how do you view the unfolding relationship between Brendan and Jelena? Is this relationship about love or something less savory: a bereaved widower's flight from grief or a poor and uprooted woman's quest for security? Is it an instance of the strange gravity possessed by those who have known history, and suffered it? What does it mean that at the novel's end, Jelena is “the foreign woman” [p. 288]?

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  • Anonymous

    Posted November 24, 2007

    A reviewer

    This is an astonishingly good book. Valerie Martin, whom I had never heard of before, is an exquisitely talented author. EVERYTHING about this novel is top-rate: the characterizations (in particular), the intermingled themes, the carefully planned structure, the writing itself. I have rarely been so taken with a book. I wanted it to go on and on. I have had many eastern European immigrants in my ESL classes, so the book held special interest to me, but even if I hadn't, I would still have loved it!

    1 out of 1 people found this review helpful.

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