• World War I Day by Day, by Ian Westwell, MBI Publishing Company, 2004
• Life Class, by Pat Barker, Doubleday, 2008
• Suite Française, by Irène Némirovsky, Knopf, 2006
• Madame Bovary, by Gustave Flaubert, Modern Library Edition, Random House, 1992. Translated by Francis Steegmuller
Thanks also must be given to Julien Sanchez and the Toul Visitors Bureau for their timely and important research on their historic and lovely town during World War I; to Jean-Marie Jac-queme for his French translation skills. Also, as a reminder to the reader, the Red Cross is an internationally recognized trademarked symbol used during times of war and natural disaster.
This book could not have been written and edited without the exceptional skills of my beta readers, Scott Colella, Ricardo DeFrutos, Michael Grenier, Robert Pinsky, and my wonderful writing colleague who is now sadly missed, Leslie Lombino Schultz. All, in their way, contributed to the final creation of The Sculptress. I also have relied upon a community of writers, from the members of Florida Romance Writers in South Florida, to the equally inspiring members of the Writers’ Room of Boston. Special thanks go out to Karen Kendall, Kathleen Catalano, and Traci E. Hall for their sage advice and unwavering support.
Writing is never easy, but the process is one of the most gratifying in the world. I love it, even though it often drives me to insanity. I shudder to think what my life would have been like had I not immersed myself in the world of books as a child. This novel, my fifth for Kensington, was written nearly twelve years ago and has undergone extensive revision since the initial draft.
I write about women who have taken a stand in history—sometimes they are overwhelmed by their fictional circumstances, but their struggle is always real, always worth fighting for. A reader told me a few years back that I must have had a “strong” mother to write such heroines. I did. I thank my mother, Gretchen, for giving me the fortitude and discipline necessary to undertake such a daunting task as the creation of a novel. I would also be remiss if I didn’t mention my former writing partner, and still wonderful friend, Jenifer Otwell, who provided a huge stepping-stone on this journey.
As always, thanks go to my astute editor, John Scognamiglio, for his faith in this book; and to my steadfast agent, Evan S. Marshall, for his business and literary acumen.
A READING GROUP GUIDE
THE SCULPTRESS
V. S. Alexander
ABOUT THIS GUIDE
The suggested questions are included
to enhance your group’s reading of
V. S. Alexander’s The Sculptress
DISCUSSION QUESTIONS
1. The inspiration for The Sculptress came from Flaubert’s novel Madame Bovary. Do you see parallels between the two books? If so, what are they?
2. Emma from Madame Bovary and Emma from The Sculptress have two decidedly different character endings. Do you believe this was because societal roles for women had softened from 1856 (Bovary’s publication date) to World War I?
3. Are the issues that Emma struggled with in the book still prevalent today?
4. “The War to End All Wars” became a common catchphrase for World War I. How did the war change women’s lives, including their fashions?
5. The war was also supposed to “make the world safe for democracy.” Do you believe that happened?
6. If the book were set in contemporary time, how would Emma have reacted to her circumstances? Her pregnancy? Her relationships with Linton, Andrew Stoneman, and Tom?
7. Would you have liked to see Emma and Linton come together as a couple?
8. Who was the most likable character in the book?
9. Besides Everett, who do you believe was the least likable character in the book?
10. The book closes with Emma seeing Linton’s face on the drawing pad. Do you believe she and Tom get back together?
