We Need to Talk about Kevin

We Need to Talk about Kevin

by Lionel Shriver
We Need to Talk about Kevin

We Need to Talk about Kevin

by Lionel Shriver

Paperback(Movie Tie-in Edition)

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Overview

Eva never really wanted to be a mother—and certainly not the mother of a boy who ends up murdering seven of his fellow high school students, a cafeteria worker, and a much-adored teacher who tried to befriend him, all two days before his sixteenth birthday. Now, two years later, it is time for her to come to terms with marriage, career, family, parenthood, and Kevin’s horrific rampage, in a series of startlingly direct correspondences with her estranged husband, Franklin. Uneasy with the sacrifices and social demotion of motherhood from the start, Eva fears that her alarming dislike for her own son may be responsible for driving him so nihilistically off the rails.


Product Details

ISBN-13: 9780062119049
Publisher: HarperCollins Publishers
Publication date: 12/27/2011
Series: P.S. Series
Edition description: Movie Tie-in Edition
Pages: 432
Product dimensions: 5.36(w) x 8.22(h) x 1.04(d)

About the Author

Lionel Shriver's novels include The New Republic, the National Book Award finalist So Much for That, the New York Times bestseller The Post-Birthday World, and the Orange Prize winner We Need to Talk About Kevin. Her journalism has appeared in the Guardian, the New York Times, the Wall Street Journal, and many other publications. She lives in London and Brooklyn, New York.

Hometown:

Brooklyn, New York, and London, England

Date of Birth:

May 18, 1957

Place of Birth:

Gastonia, North Carolina

Education:

B.A., Barnard College of Columbia University, 1978; M.F.A. in Fiction Writing, Columbia University, 1982

Read an Excerpt

We Need to Talk About Kevin
A Novel

November 8, 2000

Dear Franklin,

I'm unsure why one trifling incident this afternoon has moved me to write to you. But since we've been separated, I may most miss coming home to deliver the narrative curiosities of my day, the way a cat might lay mice at your feet: the small, humble offerings that couples proffer after foraging in separate backyards. Were you still installed in my kitchen, slathering crunchy peanut butter on Branola though it was almost time for dinner, I'd no sooner have put down the bags, one leaking a clear viscous drool, than this little story would come tumbling out, even before I chided that we're having pasta tonight so would you please not eat that whole sandwich.

In the early days, of course, my tales were exotic imports, from Lisbon, from Katmandu. But no one wants to hear stories from abroad, really, and I could detect from your telltale politeness that you privately preferred anecdotal trinkets from closer to home: an eccentric encounter with a toll collector on the George Washington Bridge, say. Marvels from the mundane helped to ratify your view that all my foreign travel was a kind of cheating. My souvenirs -- a packet of slightly stale Belgian waffles, the British expression for "piffle" (codswallop!) -- were artificially imbued with magic by mere dint of distance. Like those baubles the Japanese exchange -- in a box in a bag, in a box in a bag -- the sheen on my offerings from far afield was all packaging. What a more considerable achievement, to root around in the untransubstantiated rubbish of plain old New York state and scrounge a moment of piquancy from a trip to the Nyack Grand Union.

Which is just where my story takes place. I seem finally to be learning what you were always trying to teach me, that my own country is as exotic and even as perilous as Algeria. I was in the dairy aisle and didn't need much; I wouldn't. I never eat pasta these days, without you to dispatch most of the bowl. I do miss your gusto.

It's still difficult for me to venture into public. You would think, in a country that so famously has "no sense of history," as Europeans claim, that I might cash in on America's famous amnesia. No such luck. No one in this "community" shows any signs of forgetting, after a year and eight months -- to the day. So I have to steel myself when provisions run low. Oh, for the clerks at the 7-Eleven on Hopewell Street my novelty has worn off, and I can pick up a quart of milk without glares. But our regular Grand Union remains a gauntlet.

I always feel furtive there. To compensate, I force my back straight, my shoulders square. I see now what they mean by "holding your head high," and I am sometimes surprised by how much interior transformation a ramrod posture can afford. When I stand physically proud, I feel a small measure less mortified.

Debating medium eggs or large, I glanced toward the yogurts. A few feet away, a fellow shopper's frazzled black hair went white at the roots for a good inch, while its curl held only at the ends: an old permanent grown out. Her lavender top and matching skirt may have once been stylish, but now the blouse bound under the arms and the peplum served to emphasize heavy hips. The outfit needed pressing, and the padded shoulders bore the faint stripe of fading from a wire hanger. Something from the nether regions of the closet, I concluded, what you reach for when everything else is filthy or on the floor. As the woman's head tilted toward the processed cheese, I caught the crease of a double chin.

Don't try to guess; you'd never recognize her from that portrait. She was once so neurotically svelte, sharply cornered, and glossy as if commercially gift wrapped. Though it may be more romantic to picture the bereaved as gaunt, I imagine you can grieve as efficiently with chocolates as with tap water. Besides, there are women who keep themselves sleek and smartly turned out less to please a spouse than to keep up with a daughter, and, thanks to us, she lacks that incentive these days.

It was Mary Woolford. I'm not proud of this, but I couldn't face her. I reeled. My hands went clammy as I fumbled with the carton, checking that the eggs were whole. I rearranged my features into those of a shopper who had just remembered something in the next aisle over and managed to place the eggs on the child-seat without turning. Scuttling off on this pretense of mission, I left the cart behind, because the wheels squeaked. I caught my breath in soup.

I should have been prepared, and often am -- girded, guarded, often to no purpose as it turns out. But I can't clank out the door in full armor to run every silly errand, and besides, how can Mary harm me now? She has tried her damnedest; she's taken me to court. Still, I could not tame my heartbeat, nor return to dairy right away, even once I realized that I'd left that embroidered bag from Egypt, with my wallet, in the cart.

Which is the only reason I didn't abandon the Grand Union altogether. I eventually had to skulk back to my bag, and so I meditated on Campbell's asparagus and cheese, thinking aimlessly how Warhol would be appalled by the redesign.

By the time I crept back the coast was clear, and I swept up my cart, abruptly the busy professional woman who must make quick work of domestic chores. A familiar role, you would think. Yet it's been so long since I thought of myself that way that I felt sure the folks ahead of me at checkout must have pegged my impatience not as the imperiousness of the secondearner for whom time is money, but as the moist, urgent panic of a fugitive ...

We Need to Talk About Kevin
A Novel
. Copyright © by Lionel Shriver. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.

Reading Group Guide

Introduction

In a series of compelling and introspective letters to her estranged husband, Franklin, Eva Khatchadourian dissects her married life and her mothering of her son Kevin and daughter Celia in the aftermath of Kevin's Columbine-like school slaying of seven classmates, a cafeteria worker, and a teacher.

Worried that her son's murderousness might have resulted from her deficits as a mother, Eva probes the most intimate and shocking aspects of her inner life, her marriage and her resentment of motherhood. This literary page-turner tackles the sensitive proposition that mothers can be unmoved by -- and even dislike -- their own children. Eva struggles with her lack of ready emotion when Kevin is first placed in her arms and with the subsequently hellish years of parenting a boy who both refuses to speak until the age of 3 and be potty trained until the age of 6, and who seems to enjoy nothing but the taunting of his mother. Having dramatically scaled back on her satisfying and profitable career, Eva becomes a stay-at-home mom who discovers that her son, while seemingly slow, is whip-smart and vindictive -- and cunning enough to play for his father with disastrous results. We Need To Talk About Kevin is a searing and complex look at the reasons couples decide to have children, the parent-child relationship, marriage, and the limits of love and loyalty.

Questions for Discussion

  1. Non-maternal, ambivalent mothers are one of the last taboos -- and Eva is a prime example. Were her motives for having a baby entirely selfish? And if so, how much can that have factored into the outcome of an abnormally difficult baby and apathetic child? Incontrast to Kevin, Celia was loving, needy and sweet -- and her mother's favorite, if not her father's. By the very end of the novel, has Eva's love for Kevin, or at least her primitive loyalty to him, finally become unconditional? How does this fit in with the feminist ideal of motherhood?

  2. Is Eva's view of Kevin colored by her ambivalence about motherhood in general, or perhaps by hindsight knowledge of his eventual violence? Is Eva responsible for creating a child she sees as a monster, or was he a monster all along?

  3. Eva's tone changes throughout the course of her letter-writing. She is in turns angry, frustrated and mystified. Could you describe Eva as a loving mother -- in deed if not in thought? Was Kevin overly indulged by a parenting style that let him potty train and learn at his own pace?

  4. Did the inclusion of a child into Eva and Franklin's stable, loving relationship cause the rift between them? Did the fact of a child threaten their marriage? How was Kevin perceived as a threat by Eva from conception? What expectations did Eva have of motherhood and how did she meet the reality of it? Was Franklin unsupportive of Eva?

  5. The irony of Eva having read Robin Hood to an ailing, needy Kevin at a time of almost shocking mother-son bonding is played out in the way Kevin massacred his fellow students and the teacher who took an interest in him. Since it is Eva who connects Kevin's fevered state with her recollection of his unusual interest in anything whatsoever, is it possible that Kevin's methods were meant to figuratively slay his mother?

  6. After Eva throws Kevin across the room, she takes him to the hospital. She confesses later on to Franklin, "However much I deserved rebuke, I still preferred the slow burn of private self-excoriation to the hot lash of public reproof." Are Eva's letters to Franklin her form of self-excoriation, though she is suffering public reproof as the mother of a mass murderer?

  7. Does Eva feel responsible for Kevin's series of nasty deeds and childhood "pranks?" Does she think she could have prevented any of it? Does she come to realize why Kevin would harm other children or does she give up trying to understand? How can we sympathize with a mother and father who saw all the warning signs but failed to stop the violence?

  8. Given that the story is told from Eva's perspective only, can she be trusted as reliable? How do you think Franklin's version of events would have differed? Might Eva choose to portray Kevin in childhood as more wicked than he really was, if only to make her seem less culpable for his crimes as a teenager?

  9. What were Eva's reasons for having a second child? Did Franklin forgive her for the deception? Was she repentant? How closely were her expectations met and was she gratified? How did Franklin's attitude toward Kevin and Celia differ?

  10. Toward the end of the novel, it is revealed that Kevin has more complicated feelings about his mother and some of the 9 people he murdered. This gives us a hint as to why he might have carefully planned and carried out Thursday. Does he seem pathetic or more deserving of compassion because he may have had a motive, after all?

  11. At the conclusion of the novel, did you find Eva sympathetic in a way you may not have initially? Do you think Eva has sympathy and forgiveness for herself? Is she able to accept Kevin, and to see his personality as, however uncomfortably, akin to her own?

About the Author

Lionel Shriver is a novelist whose previous books include The Female of the Species, Ordinary Decent Criminals, A Perfectly Good Family, and Double Fault. She writes frequently for the Wall Street Journal and Economist, and lives in London and New York.

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