Lord of Misrule (35 page)

For discussion

1. What does Maggie’s arrival at Indian Mound Downs establish about the way things work at the track? What do Medicine Ed and Deucey’s reactions to Maggie demonstrate about the pecking order at the track?
   
2. Why do Ed and Deucey put up with the deprivations and humiliations of their daily routines? What comforts or satisfactions does hanging out at the track provide?
   
3. What aspects of Maggie’s past and character account for her attraction to Tommy? What qualities make him appealing to her? What are the implications of her recognition that “He wasn’t quite right in the soul, really” [
   this page
   ]?
   
4. Deucey tells Maggie, “I wrote the book on two-faced false-hearted luck, girlie, anything you want to know about going it on your own at the races, come to me” [
   this page
   ]. What roles does Deucey assume in Maggie’s life? What does she teach Maggie, either directly or by example, about being a woman in a man’s world?
   
5. In what ways does Medicine Ed embody the characteristics of racetrack habitués at every level, from owners to grooms, petty crooks to inveterate fans? What does he demonstrate about the opposing pulls of actual experience and the fantasies and hopes that shape our lives?
   
6. Gordon has discussed the similarity between Medicine Ed and Two-Tie, describing them as “lonely and childless old men deeply tired of the daily work they do, facing their last years without the protection of family” [National Book Foundation interview with Bret Anthony Johnston]. What reasons does Two-Tie offer for the way his life turned out? In what ways does his Jewish background shape his identity and influence his worldview?
   
7. At the beginning of the novel, Maggie projects a girlish innocence and an eagerness to experience life. How does she change over the course of the novel? What light do her musings at the end of the novel [
   this page
   -
   this page
   ] shed on what she has lost and gained? What do her reactions to Tommy’s deterioration reveal about the woman she has become?
   
8. In a review in
   The Washington Post
   [November 16, 2010] Jane Hamilton wrote, “[Gordon’s] four horse characters—Mr. Boll Weevil, Little Spinoza, Pelter and Lord of Misrule—are bursting with personality.” From their names to their histories to their performances in races, how does Gordon bring out the distinctive qualities of each horse? Does she avoid anthropomorphizing them? What does the novel show about the gap between human assumptions and the horses’ innate intelligence and their accommodations to the regimens and expectations imposed by humans?
   
9. One critic called Maggie’s “relationship with horses the most erotic one in the book” [Bob Hoover,
   Philly.com
   11/27/10]. Do the descriptions of Maggie’s tending to the horses (
   this page
   ,
   this page
   , and
   this page
   , for example) support this judgment?
   
10. Luck is a central theme in
    Lord of Misrule
    . For Tommy, “[luck] came because you called to it, whistled for it, because it saw you wouldn’t take no for an answer” [
    this page
    ]. According to Maggie, “A person had to see himself, or herself, as lucky not just once in a while, but plugged into a steady current of luck, like an electrical appliance.… People who thought they couldn’t lose—Joe Dale Bigg, for one—were some kind of machinery” [
    this page
    ]. How are these different approaches or concepts reflected in the actions taken by Tommy and Bigg? Are any of the characters able to resist or defeat the whims of luck and chance? If so, what allows them to do so?
    
11. Most of the novel is written in the third person. How does Gordon make the thoughts and the conversational styles of each character distinct? Discuss her use of racetrack slang and nicknames, invented words, and dialect in bringing to life an unfamiliar milieu and its denizens.
    
12. Why does Gordon switch to the second person in the chapters devoted to Tommy? What are the benefits and the limitations of this unusual narrative voice? Does it bring Tommy into sharper focus? How does his self-image differ from the perceptions of others and in what ways does it confirm them? What do the intimate tone, uninhibited language, and graphic sexual descriptions of these sections add to the novel?
    
13. Does the structure of the novel—the chapter-by-chapter focus on particular horses and races—enhance the reader’s involvement with the story? Does it help to illuminate the diverse factors that influence the characters’ actions? How does it affect the progress of the plot and the build-up to the final race?
    
14. Gordon weaves many literary and religious allusions into the story. The name of Hansel’s horse, the Mahdi (the redeemer of the world in Islamic religion), is one example; what other references can you identify? What literary motifs or narrative traditions are evoked in the accounts of the horses’ lineage [
    this page
    ]; Tommy’s obsession with a long-lost twin [
    this page
    ,
    this page
    ] and the “might-could-be twin brothers” Mr. Boll Weevil and the Mahdi [
    this page
    ]; the description of Lord of Misrule [
    this page
    -
    this page
    ]; and Two-Tie’s relationships with Maggie and Donald?
    
15. Gordon’s writing style—her use of metaphor, poetic imagery, literary and religious allusions and references—is unusual in a novel about lowlifes and violent acts. Do you find the seemingly incompatible juxtaposition effective?
    
16. The world of thoroughbred horse racing has been the subject of several popular books and films, including Laura Hillenbrand’s bestselling
    Seabiscuit
    . What does
    Lord of Misrule
    share with other depictions of racing you have read or seen? What new insights does it provide into the racing community?
    

Suggestions for further reading

Bill Barich,
Laughing in the Hills
; Malcolm Braly,
On the Yard
; Nicholas Evans,
The Horse Whisperer
; Dick Francis,
Crossfire
; Laura Hillenbrand,
Seabiscuit
; William Murray,
Dead Heat
; William Nack,
Secretariat
; Peter Shaffer,
Equus
; Jane Smiley,
Horse Heaven

Jaimy Gordon teaches at Western Michigan University in Kalamazoo. She is the author of three previous novels,
Bogeywoman
,
She Drove Without Stopping
, and
Shamp of the City-Solo
, and has published poetry, plays, short stories, and essays. She has received awards from the National Endowment for the Arts, the Provincetown Fine Arts Work Center, the Bunting Institute of Radcliffe College, and an Academy Award from the American Institute of Arts and Letters.