We Begin at the End

The novel shifts between the perspectives of Walk and Duchess. How does this narrative structure impact the reader’s role? Take the scene involving Star’s shooting and analyze what is gained or lost by this split perspective.

In many ways, Hal can be seen as the novel’s tragic hero. Research the definition of a tragic hero. Take us through scene-by-scene Hal’s movement toward redemption after he brings Duchess and Robin to his ranch and how that redemption, typical of tragic heroes, costs him his life.

Why does Duchess decide not to break up Robin’s adoptive home? How does that decision reflect her change of heart? Compare that moment to her bogus charge of being abused by the same parents. How has she changed?

Using the shooting of Star or the hit-and-run that killed her sister, offer a reading of the title. What does the novel say about the impact of the past?

In what ways is Vincent a kind of Christ figure? In a novel that criticizes the institutional church with its bogus sanctimony, how does Vincent, a convicted murderer, offer a genuine expression of Christian behavior?

“Maybe there aren’t degrees of bad,” the warden tells Walk. Is morality an absolute? Consider Walk’s perjury, Darke’s pursuit of Duchess, Walk’s killing of Darke, Robin’s shooting his mother, or Hal’s hiring the ex-con to ensure Vincent stays in prison. Which action is good? Which action is bad? Is the warden right?

Perhaps the most interesting (and easily ignored) character in Duchess’s emotional evolution is Thomas Noble. What does he teach Duchess? What does his love reveal to her? Is he like his last name, or is he a silly, naïve, childish fool?

Test the novel as a love story, specifically the renewal of the love between Walk and Martha. Is Vincent correct in saying you only get one shot at real love? Given Walk’s diagnosis and Martha’s quiet life without him, is this love selfish or redemptive?