1. On the day her daughter receieves a diagnosis of Angelman's
Syndrom, Alice says, "If we let her, [Gloria] would be happy." To
what extent do the 'normal' characters in Fierce
allow the disabled characters be happy? Apply the question to
society.
2. Resilient people adapt positively when faced with adversity
or trauma. Compare the degree of adversity faced and resilience
shown by Penny in We Were Scenes of Grief, and by Judith
in If the World was Flat. Do you see yourself as
resilient? Why or why not?
3. Penny has an epiphany in We Were Scenes of Grief
when she says of the unnamed officer, "I touched her hand. It felt
hot and firm like a rock on the beach. She smelled of seaweed and I
realized that if she was the beach, then I must be the sea."
What does this scene say about the importance of human connection?
Give examples from other stories of social connectedness and social
isolation. Do you think intimacy with others is necessary to
happiness, or that people can thrive despite loneliness?
4. In The Fierce with the Fierce, when Dulcey asks
Treeny, "Are you gone too?" Treeny answers, "I'm whatever you want
me to be."
Treeny provides comfort, but she is also a figment of Dulcey's
imagination. What does this self-deception say about Dulcey? Give
other examples where characters use self-deception as a coping
strategy. Have you ever used this strategy in your own life? Was it
effective? Why or why not?
5. In River Rising Tom recalls how, "Getting to
Everlasting, Yukon, all the way from Surrey, B.C., had not been
easy. He had tried twice before, when he was twelve and fourteen,
but both times the police had caught him before he got too far and
delivered him back to whichever foster home he was living in. This
time, however, he was the legal age to hit the road and run out of
money without anyone caring."
Do you see the experiences of Liam in The Indian Act, and
Tom in River Rising as an indictment against the foster
care system? How does a childhood of constant dislocation affect
schooling, peer interaction, and social bonding? Should at-risk
children be made available for adoption early in the process? Why
or why not?
6. In The Indian Act, Caucasian Liam says to Franky,
"Maybe I could learn the old ways too." Does he achieve this goal,
and, if so, in what way? How does the idyllic First Nations family
in The Indian Act differ from the mythological old
ananaksaq in Sedna, and the flawed but loving Yarddog
family in River Rising? Do their encounters with First
Nations culture change Clio or River? If so, in what ways?
7. Fierce starts with a quote from a
Robert Service poem: "There's a land where the mountains are
nameless, and the rivers all run God knows where." Water in the
form of rivers, oceans, rain, tears and even the overflow from a
bathtub plays important practical and symbolic roles in most of the
stories. Give examples and discuss the symbolism.
8. A classic Canlit theme is human vs. nature. Discuss instances
of stories in Fierce where nature is portrayed as
a) an enemy, and b) a divine force.
9. The title We Were Scenes of Grief applies
to all of the stories in Fierce to some degree.
How does psychologist John Bowlby's idea that grief is the ebb and
flow of processes such as shock and numbness, yearning and
searching, disorganization and despair relate to the characters in
Fierce?
10. Which definition of 'fierce' best applies to the
protagonists in the collection - "violently hostile" or "furiously
determined"? How does experience necessitate fierceness in Penny,
Dulcey, Cally, and Cricket? Does their fierceness resonate with you
or repel you? Do you consider yourself to be fierce, and, if so, in
what ways and why?
11. "He's already defaced everything else," Wanda says of her
son - a teenager who was born without a mouth or nose - when he
sketches an accusation against her drunkenness on the family's new
Maytag with an indelible felt pen. "Why not this too?"
How are puns, satire, black humour and absurdity used in Ugly
Cruising and to what effect? How are they used in the other
stories? Does black humour serve to hide or to reveal the
truth?
12. "Henry looked at Tom then, really looked. And he'd spoken,
just one phrase with the first letters transposed, "Sy mon." "My
son", wasn't much, but it was more than some people ever got in
their entire fucking lives."
When Henry claims Tom as his son in this brief moment of
recognition, the pain of decades-old abandonment seems to fall
away. How is the theme of parental acceptance/rejection explored in
Seaweed, The Indian Act, Like Utah's Bingham
Canyon Mine, and We Danced Without Strings? What is
the importance of parental acceptance in your own life?
13. In Like Utah's Bingham Canyon Mine suicidal Cindy
Gourlie is granted absolution by Gwen, a target of her childhood
bullying.
What role does forgiveness play in the other stories? In your
life?
14. Who is River referring to when she says, "Some things are so
ugly they're beautiful." What do you think she means, and do you
agree with her? Can this also be said of the book as a whole?