Questions and Topics for Discussion
1. The central relationship in this story is the one between Samuel Hawley and his daughter, Loo. In what ways are they similar, and in what ways are they different? How do Hawley and Loo evoke the special bond between fathers and daughters?
2. So much of this story begins at “The Greasy Pole.” What did you like about this particular chapter? How does it color your under- standing of the distinctive town of Olympus, Massachusetts? How does it shift your perspective of Hawley, as a father and as a man?
3. Discuss the theme of secrets. What are the secrets that drive the action of the novel? How do secrets bring characters together? How do they drive them apart?
4. So many great stories are founded on the distinctions between heroes and villains, but in this novel, the line between the two is not so easily discernable. Who do you feel are the heroes of this story? Who are the villains? How did this novel make you rethink how you define good and evil?
5. Discuss the structure of this novel. How does the switch between past and present contribute to the arc of the story? How does it deepen our understanding of Hawley and Loo, and connect these two very different coming-of-age stories?
6. In this novel we are taken on a road trip across America. How do the themes of travel and searching play a role in this story? Which setting did you enjoy the most? When Hawley and Loo finally settle in Olympus, how does this new, permanent home impact them?
7. As we get to know Hawley and Loo, we begin to understand that “Loo’s mother had been dead for years but she had never been invis- ible.” How does Lily play a role in the novel, even though she is no longer with her husband and daughter? How does her absence drive their actions and motivations?
8. While so much of this novel concerns the stories of relation- ships between characters, there is also great significance in the relationships between these characters and nature—for example, Lily and Loo’s fascination with the stars, or Hawley’s interactions with a whale. How does the natural world contribute to the story- lines of these characters and help them find their places in the universe?
9. This novel focuses on the love between a parent and child, but there is also romantic love between Hawley and Lily, Mary Titus and Principal Gunderson, and especially Loo and Marshall Hicks. Do you think any of these romantic relationships are successful? Why do you think Lily stays with Hawley? How does Loo’s bond with Marshall change her?
10. Objects carry immense significance in this novel, from the watches to the star map to the bathroom shrine of Lily’s things. For Hawley and Loo, these objects represent important memories. How do these pieces of the past influence the present? How do characters’ memories help or hurt them? Which objects did you remember the most after you’d finished reading the book?
About this Author
A Conversation Between Karen Russell and Hannah Tinti
Karen Russell’s debut novel, Swamplandia!,
was chosen by The New York Times
as one of the Ten Best Books of 2011, was the winner of the 2012 New York Public Library Young Lions Fiction Award, and was named a Pulitzer Prize finalist. Russell has been featured in The New Yorker’s
20 Under 40 list, and was chosen as one of Granta
’s Best Young American Novelists. She is a Guggenheim Fellow and a 2013 MacArthur Fellow. She is also the author of two short story collec- tions published by Knopf: St. Lucy’s Home for Girls Raised by Wolves
(2006) and Vampires in the Lemon Grove
(2013), which was a New York Times
bestseller. She is the 2017 Endowed Chair at Texas State Uni- versity’s MFA program. Karen Russell:
I’m always curious where other writers begin. What was the first image you had for this book? Did you start with Hawley and his daughter, Loo, in their current lives, or did you begin with the secrets of Hawley’s past? Hannah Tinti:
The first spark of this novel came from my desire to write a love story. One of my favorite books is Jane Eyre,
and the mo- ment Jane meets Mr. Rochester is such an iconic scene—he is literally thrown at her feet. So I started by sketching out my own meeting of two people (which is actually still in the book—when Marshall washes up at Loo’s feet from the ocean). Once I had that boy and girl together, I wrote a paragraph for each of their backgrounds, and that included a description of the girl and her father clamming on the shore. Right away, the father began to dominate the story. He was a lot more inter- esting than the boy or the girl. But what was his name? While walking through one of the old cemeteries in Salem, Massachusetts, where I grew up, I came across one that struck me: Samuel Hawley.
Hawley’s name and those brief paragraphs were fragments that I carried around with me for months. They didn’t come together until I sat down and wrote about the greasy pole. That was the break- through, when the novel fell solidly into place. The Greasy Pole is based on a real contest that I grew up going to and still attend each year when I can. It takes place each summer in Gloucester, Massa- chusetts, during a celebration of Saint Peter, the patron saint of fisher- men. A forty-five-foot pole is attached to a pier and set horizontally above the water, then covered with grease and lard. A flag is attached to the end. The first man who manages to walk the pole and reach the flag wins. These fishermen break their arms and smash out teeth as they slip off the pole into the harbor, all for the simple glory of capturing the flag and being carried through the streets in triumph. I put the character Samuel Hawley on that pole and began to sketch out a scene. When his turn came to enter the contest, I de- scribed him physically for the first time, and realized that his skin was covered with scars. Once the scars appeared, I wanted to know the stories behind them. Hawley’s body became a map of the book
that I was going to write. KR:
The central conceit of the novel is that it weaves back and forth through time. Every other chapter dives into Samuel Hawley’s past life and tells the story of one of his “bullets”—a moment where he narrowly evaded being killed and earned another scar as a conse- quence. How did this fabulous idea come to you, and how is this structure important for the story you wanted to tell? HT:
I wrote the first bullet chapter to explore Hawley’s backstory. I needed to find out how he got those scars. The marks we carry on our physical bodies are full of memory—stories that usually get shared only with the people we’re most intimate with. That’s what I wanted to uncover. The more I wrote, the more intrigued I became with the idea of telling the story of a man’s whole life this way— brief flashes of meaning with many blank years in between that the reader would have to imagine. I began to write short pieces, skipping through Samuel Hawley’s criminal past, each story revealing one moment where he’d found a way to keep living, starting when he was sixteen and ending when he was nearly fifty.
While the past drives much of the novel, I wanted it to be in conversation with the present, and for objects and characters to jump back and forth between the two timelines. Each bullet adds another piece to the present narrative—which is held by Hawley’s daughter, Loo. In this way, the reader gets to be a detective, picking up clues and slowly filling in the picture. I wanted the structure of the book to be a call and response. The father’s experiences in the past and his daughter’s experiences in the present are intricately linked—two separate coming-of-age stories that eventually flow together, like a confluence of two rivers. KR:
I love how the story ranges in setting all over the United States. Each time we turn the page, we might find ourselves in Alaska or the desert or the Midwest. How did you decide where to set Hawley’s bullet chapters? Did your travels over the years inform the book? And how did you come up with Olympus, Massachusetts, where Hawley lives in the present with Loo? HT:
Early on I decided that, with this book, I would write about places that I knew. Each of the settings are worlds I have visited or lived in, and feature bits of my own experiences. I’ve stayed at a great camp in the Adirondacks. I got caught in a dust storm in the middle of the Arizona desert. Whidbey Island is a place close to my heart, as is the ferry ride from Mukilteo. I have visited prairie dog towns in Wyo- ming. And I’ve walked in midnight sun and watched Childs Glacier calve in Alaska. As for Olympus, Massachusetts—where Hawley and Loo live—that is the only fictional setting in the book. I based it on Gloucester—home of the Greasy Pole, and a place where I lived for a year after college, waiting tables. I called the town Olympus in a nod to Greek mythology. It gave me some creative license and allowed me to shape the world of Hawley and Loo in more mythic proportions. KR:
Hawley reminds me of Clint Eastwood in an old spaghetti western—you’re a little frightened of him even as you root for him, but his essential goodness is never in doubt. How did you develop him as a character, and were movies an influence as you wrote? HT:
Movies were definitely an influence. I grew up with Star Wars
and Indiana Jones.
But also classic films like the Marx Brothers’ pic- tures and the original King Kong
(1933). Because of this I tend to write with a focus on visual elements, and I’m very aware of pacing and the reader’s experience. I want them to be surprised and have fun and also to be emotionally moved. Like when you’re on a roller coaster, screaming with fear and dread and excitement and joy but at the end you get the wash of adrenaline and relief, and you stum- ble away grateful to be alive, stunned, and maybe even a little weepy, and for a brief period of time the world is brought into a sharper focus.
As for Hawley, he became the beating heart of the novel as soon as he stepped onto the greasy pole. He takes part in the contest not for glory, but to help his daughter. This act opened up the idea of the reluctant hero for me. I started reading myths and looking at heroes in different cultures and finally landed on Hercules (a.k.a. Herakles). Famed for his twelve labors and rewarded by the gods—Hercules set
out on his quest after murdering his own wife and children, and later committed more terrible acts. Say the name Hercules, though, and a strong and powerful man comes to mind. A legendary hero.
I took the structure of Hercules’s myth and used it as a frame- work for Hawley. The number twelve also became important, not only because of its connection to the recording of time and the zo- diac (which comes into play with Loo) but also because it set a chal- lenge for me as a writer. How could I make a man get shot twelve times, and the reader know that he is going to get shot, and still have each episode feel unpredictable? I spent many years working that out. And over those years I fell for Samuel Hawley, who, despite all of his violent tendencies, is driven by the need to cure his own lone- liness. He is on a desperate search for love. KR:
This is a book where some scary things happen. Yet it’s also a story about love and connection, especially between a parent and child. No matter what Hawley and Loo are going through, his desire to protect her is so clear to the reader. Can you talk a bit about how their relationship evolved as you wrote the book? HT:
In each of Loo’s chapters, she learns something. She starts by shooting her first gun. Then she has her first fight. Her first drink. Her first kiss. Her first job. Her first car. Her first heartbreak. And she also commits her first crime. Her father acts as her protector and teacher, until eventually Loo begins to forge her own path. Samuel Hawley is a classic masculine hero, tough and rugged. But as his daughter’s coming-of-age story intertwines with his own, Hawley ends up being saved by Loo—not once but twice—and by the final chapter of the book, she is the one who rises. She becomes the true hero, and Hawley (like Hercules) takes his place among the stars. KR:
In addition to your writing, you’re known for your work as the co-founder and editor of one of my favorite literary magazines, One Story.
How does being an editor inform what you do as a writer? HT: One Story
has been one of the greatest joys and most rewarding experiences of my life. Together with Maribeth Batcha, I co-founded the magazine in 2002, and was editor in chief for fourteen years. I’m now executive editor. We’re a nonprofit organization, and publish one story at a time, allowing authors to take center stage, and giving our subscribers an intimate, focused reading experience. When One Story
launched we made the rule to never publish an author more than once, so we have run stories from over 250 different writers from around the world. Editing these diverse voices has been enor- mously educational, and has made me acutely aware of how a reader maneuvers his or her way through a story. It also makes me hard on myself. I constantly stop and tinker with sentences, and often can see only the flaws in my own work.
While that side can be hard to turn off at times, being an editor has been a great gift. It taught me to respect the magic that happens in the creative process, while also understanding the mechanics be- hind the page. It has provided a way for me to support and celebrate emerging writers, something I feel very strongly about. And it’s in- troduced me to a generous group of readers who love books as much as I do. I am thankful for the people I have met, and for the authors who have trusted me with their words. Now, with Twelve Lives,
I’m trusting readers with my own. It’s a delicate thing, like handing over your heart. So I’m grateful for everyone holding this book and lis- tening.