THREE DAYS AND TWO KNIGHTS Book Club/Classroom Discussion Questions
THREE DAYS AND TWO KNIGHTS
Book Club/Classroom Discussion Questions
1. The footnote on Goblins (p69-71) strays into the topic of human nature. The narrator says, “Many great scholars still debate the balance of the human soul, some claiming human nature is innocent and kind and that exposure to society turns us to evil. . . . Others postulate that human nature is selfish and evil, and that society forces us to be good.” Which view resonates with you? Why? In what ways does Alanbart represent, within himself, both of these philosophies simultaneously?
2. On page 74, Alanbart remembers the story of “Bede’s Sparrow.” It’s an allusion to a medieval Christian parable (feel free to look it up online). In what ways is this short forgotten story still relevant to understanding our own lives today?
3. After Cathbad prophecies a death, Alanbart asks, “Why is it that blind people always think they can see the future?” (p75). In literary history, this statement is true; the Fates and Norns of Greek and Norse myth are blind, as is Tiresias from Oedipus and The Odyssey. What about physical blindness adds to the symbolic value of a prophet? Why?
4. On pages 81-83, Alanbart recounts a conversation between Gawain and Heather. Gawain says, “When I betrayed my chivalric values, I betrayed myself and in so doing, I betrayed you. I ceased to be the man you desired—the man who deserved you—and doomed our love from its very inception.” Here he suggests that personal honor is the most important element of a romantic relationship. To what degree is this statement a paradox? To what degree is it true?
5. In Chapter 10, Gawain and Scot argue back and forth about political ideals, after which Alanbart concludes, “You know, that’s the trouble with humanity—half of the dreamers want to carry us forward, kicking and screaming, into an unrealistic and unattainable future, and the other half want us to fall back into an imaginary ‘simpler time’ when everything was easy” (p94). In what ways can this conversation and Alanbart’s conclusion be seen as symbolic of modern American political conflict?
6. In his discussion with Heather about religion, Alabart says, “If there is an all-powerful God who created everything, then He must have created Lucifer to become Satan. If He has a Divine Plan, then Satan is part of that plan—evil, hatred, misery, disease, squalor, death—these must all be part of the plan. The other option is that Satan was a mistake. But if God made a mistake—especially one of that magnitude—how can you believe that He is all-knowing and all-powerful? It calls into question the supposedly ‘inevitable’ outcome of the cosmic battle between good and evil” (p119). This logic-based takedown of Christianity is rebutted by Heather’s faith-based response: “Heaven represents hope. In this harsh, short, and brutal existence, people have to have something to which to cling. Instead of living lives of abject despair, heads hung in defeat, and watering the soil with our tears, we live lives of hope, heads upraised to the sun, cheerful through impossible hardships—lending our hands to our neighbors. Even if, as you seem to argue, God is simply an idea in the human mind and Heaven is only a fiction, isn’t a life strengthened by faith better than one focused on the inescapable despair of mortality?” (p120). How is this contrast of attitudes symbolic of modern-day conflicts about religion? In what ways is Alanbart’s philosophy more mature than Heather’s? Heathers more than Alanbart’s?
7. Speaking on the topic of marriage, Heather says, “I do see marriage and children as my future, but I’m not ready to embrace it—not yet. I may sound like our friend Scot (whom you characterize as a fool) but I want to do something of note, some noble deed of heroic tenor that will strengthen my heart with courage in my latter years. I have doubts and fears and sorrows, just like any woman, but sometimes I feel that there is a greatness in me waiting to be let out—needing release. Other times, I feel like it is all just vanity and I am trying to play a part that wasn’t meant for me…” (p122). Discuss: has the struggle that Heather faces changed significantly over the millennium, or does it still seem like an ‘either-or’ choice for women today?
8. After reading Chapter 18, discuss: Outwardly and in their ideologies, Gawain and Scot couldn’t be more different, yet they share many similarities. How are these two warriors the same? How do these similarities keep them apart? How do they draw them together?
9. In Chapter 19, Malestair assesses his life choices with Heather. He says, “Realizing that I would never live up to my ambitions and considering myself in a disinterested way as a whole being, I created a picture of myself and my future: competent mediocrity” (p175). His decision to become a villain stemmed from a combination of three factors: his mental and physical abilities, his lack of leadership capacity, and his ambition. Does this confession make him a more or less sympathetic character? Why or why not?
10. Speaking of her love for Gawain, Heather says, “I fully realize that all men and women who are in love lie to themselves to one degree or another. Love, I’ve found, whitewashes its object. Any blemishes, crevices, or cracks are filled with pure and bright illusion, the root of which is vanity. Only over time does this brightness wear off” (p211). She suggests that we idealize our lovers, overlooking their blemishes and filling the cracks with wishful thinking so that we can feel better about ourselves and the choices we made. Is this true of your experience of love? What amount of this is healthy and normal, and at what point does it become a danger to the relationship?
11. In Chapter 25, the fact that Heather is not a virgin and that Alanbart is becomes evident. Interestingly, lack of virginity is seen as shameful to Heather, just as virginity is seen as shameful to Alanbart. Why does this double-standard exist? What are its effects on men and women and their relationships? Can it these societal notions be changed?
12. Within the footnote on dragons (p253) is the assertion that the definition of ‘monster’ involves combining attributes of “human and creature.” Is this an accurate definition of monstrosity? Why or why not? Apply it to other popular monsters.
13. Chapters 16 and 21 have to do with the nature of bravery. Alanbart sheds his cowardice, but claims that lack of fear isn’t true bravery. His story about Wiglaf from Beowulf suggests that true courage and heroism can be attained only by the weak who step up against impossible odds when they have a chance to flee and face no consequence. Then, in Chapter 29, Alanbart metaphorically becomes Wiglaf, sacrificing his life to a dragon, armed only with a yellow wooden shield and no hope of victory. Does this act make him more brave than Scot, Gawain, or Heather? Why or why not?
14. On page 232 and again on 270, Gawain and then Scot make the assertion that “honor comes before affection,” meaning that personal honor and integrity is a more important element in decision making than emotional attachment. Is this true in the context of the novel? In your life experience?
15. On page 288, Arthur quotes from the parable of the prodigal son from the gospel. How does inclusion of this allusion add to the scene? In what ways is its use ironic?
16. In closing, it may be helpful to discuss hero archetypes. Many are used in this novel. Hero archetypes include: Epic Hero, a person of high social status with superhuman abilities who represents the values of his or her people; Medieval Romantic Hero, a person of high social status who follows the code of chivalry and must undergo a test of love—either to prove his love or fight against forbidden love; Tragic Hero, a person of high social status who has a fatal character flaw or personality trait that, taken to extremes, causes his or her downfall or death; Romantic Hero, an outsider who rejects the rules of conventional society and who is more focused on internal than external conflict; and the Antihero, a protagonist who embodies those characteristics that are more commonly associated with a villain. Do Alanbart, Heather, Gawain, Scot, Arthur, and Mordred fall into these premade categories? How do the categories overlap within some characters? Do any characters transition between categories?
Book Club/Classroom Discussion Questions
1. The footnote on Goblins (p69-71) strays into the topic of human nature. The narrator says, “Many great scholars still debate the balance of the human soul, some claiming human nature is innocent and kind and that exposure to society turns us to evil. . . . Others postulate that human nature is selfish and evil, and that society forces us to be good.” Which view resonates with you? Why? In what ways does Alanbart represent, within himself, both of these philosophies simultaneously?
2. On page 74, Alanbart remembers the story of “Bede’s Sparrow.” It’s an allusion to a medieval Christian parable (feel free to look it up online). In what ways is this short forgotten story still relevant to understanding our own lives today?
3. After Cathbad prophecies a death, Alanbart asks, “Why is it that blind people always think they can see the future?” (p75). In literary history, this statement is true; the Fates and Norns of Greek and Norse myth are blind, as is Tiresias from Oedipus and The Odyssey. What about physical blindness adds to the symbolic value of a prophet? Why?
4. On pages 81-83, Alanbart recounts a conversation between Gawain and Heather. Gawain says, “When I betrayed my chivalric values, I betrayed myself and in so doing, I betrayed you. I ceased to be the man you desired—the man who deserved you—and doomed our love from its very inception.” Here he suggests that personal honor is the most important element of a romantic relationship. To what degree is this statement a paradox? To what degree is it true?
5. In Chapter 10, Gawain and Scot argue back and forth about political ideals, after which Alanbart concludes, “You know, that’s the trouble with humanity—half of the dreamers want to carry us forward, kicking and screaming, into an unrealistic and unattainable future, and the other half want us to fall back into an imaginary ‘simpler time’ when everything was easy” (p94). In what ways can this conversation and Alanbart’s conclusion be seen as symbolic of modern American political conflict?
6. In his discussion with Heather about religion, Alabart says, “If there is an all-powerful God who created everything, then He must have created Lucifer to become Satan. If He has a Divine Plan, then Satan is part of that plan—evil, hatred, misery, disease, squalor, death—these must all be part of the plan. The other option is that Satan was a mistake. But if God made a mistake—especially one of that magnitude—how can you believe that He is all-knowing and all-powerful? It calls into question the supposedly ‘inevitable’ outcome of the cosmic battle between good and evil” (p119). This logic-based takedown of Christianity is rebutted by Heather’s faith-based response: “Heaven represents hope. In this harsh, short, and brutal existence, people have to have something to which to cling. Instead of living lives of abject despair, heads hung in defeat, and watering the soil with our tears, we live lives of hope, heads upraised to the sun, cheerful through impossible hardships—lending our hands to our neighbors. Even if, as you seem to argue, God is simply an idea in the human mind and Heaven is only a fiction, isn’t a life strengthened by faith better than one focused on the inescapable despair of mortality?” (p120). How is this contrast of attitudes symbolic of modern-day conflicts about religion? In what ways is Alanbart’s philosophy more mature than Heather’s? Heathers more than Alanbart’s?
7. Speaking on the topic of marriage, Heather says, “I do see marriage and children as my future, but I’m not ready to embrace it—not yet. I may sound like our friend Scot (whom you characterize as a fool) but I want to do something of note, some noble deed of heroic tenor that will strengthen my heart with courage in my latter years. I have doubts and fears and sorrows, just like any woman, but sometimes I feel that there is a greatness in me waiting to be let out—needing release. Other times, I feel like it is all just vanity and I am trying to play a part that wasn’t meant for me…” (p122). Discuss: has the struggle that Heather faces changed significantly over the millennium, or does it still seem like an ‘either-or’ choice for women today?
8. After reading Chapter 18, discuss: Outwardly and in their ideologies, Gawain and Scot couldn’t be more different, yet they share many similarities. How are these two warriors the same? How do these similarities keep them apart? How do they draw them together?
9. In Chapter 19, Malestair assesses his life choices with Heather. He says, “Realizing that I would never live up to my ambitions and considering myself in a disinterested way as a whole being, I created a picture of myself and my future: competent mediocrity” (p175). His decision to become a villain stemmed from a combination of three factors: his mental and physical abilities, his lack of leadership capacity, and his ambition. Does this confession make him a more or less sympathetic character? Why or why not?
10. Speaking of her love for Gawain, Heather says, “I fully realize that all men and women who are in love lie to themselves to one degree or another. Love, I’ve found, whitewashes its object. Any blemishes, crevices, or cracks are filled with pure and bright illusion, the root of which is vanity. Only over time does this brightness wear off” (p211). She suggests that we idealize our lovers, overlooking their blemishes and filling the cracks with wishful thinking so that we can feel better about ourselves and the choices we made. Is this true of your experience of love? What amount of this is healthy and normal, and at what point does it become a danger to the relationship?
11. In Chapter 25, the fact that Heather is not a virgin and that Alanbart is becomes evident. Interestingly, lack of virginity is seen as shameful to Heather, just as virginity is seen as shameful to Alanbart. Why does this double-standard exist? What are its effects on men and women and their relationships? Can it these societal notions be changed?
12. Within the footnote on dragons (p253) is the assertion that the definition of ‘monster’ involves combining attributes of “human and creature.” Is this an accurate definition of monstrosity? Why or why not? Apply it to other popular monsters.
13. Chapters 16 and 21 have to do with the nature of bravery. Alanbart sheds his cowardice, but claims that lack of fear isn’t true bravery. His story about Wiglaf from Beowulf suggests that true courage and heroism can be attained only by the weak who step up against impossible odds when they have a chance to flee and face no consequence. Then, in Chapter 29, Alanbart metaphorically becomes Wiglaf, sacrificing his life to a dragon, armed only with a yellow wooden shield and no hope of victory. Does this act make him more brave than Scot, Gawain, or Heather? Why or why not?
14. On page 232 and again on 270, Gawain and then Scot make the assertion that “honor comes before affection,” meaning that personal honor and integrity is a more important element in decision making than emotional attachment. Is this true in the context of the novel? In your life experience?
15. On page 288, Arthur quotes from the parable of the prodigal son from the gospel. How does inclusion of this allusion add to the scene? In what ways is its use ironic?
16. In closing, it may be helpful to discuss hero archetypes. Many are used in this novel. Hero archetypes include: Epic Hero, a person of high social status with superhuman abilities who represents the values of his or her people; Medieval Romantic Hero, a person of high social status who follows the code of chivalry and must undergo a test of love—either to prove his love or fight against forbidden love; Tragic Hero, a person of high social status who has a fatal character flaw or personality trait that, taken to extremes, causes his or her downfall or death; Romantic Hero, an outsider who rejects the rules of conventional society and who is more focused on internal than external conflict; and the Antihero, a protagonist who embodies those characteristics that are more commonly associated with a villain. Do Alanbart, Heather, Gawain, Scot, Arthur, and Mordred fall into these premade categories? How do the categories overlap within some characters? Do any characters transition between categories?
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