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Sincerely Yours, The Breakfast Club

BRIAN: Dear Mr. Vernon. We accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. What we did was wrong, but we think you’re crazy to make us to write an essay telling you who we think we are. What do you care? You see us as you want to see us: in the simplest terms, the most convenient definitions. You see us as a Brain, an Athlete, a Basketcase, Princess, and a Criminal. Correct? That’s the way we saw each other at 7 o’clock this morning. We were brainwashed. – Opening monologue, The Breakfast Club (1985)

Above is one of the most famous monologues in film history. This is the tale of how it almost never was… or, at least, how it was almost never famous .

Floating around online is an early draft of The Breakfast Club script (PDF link). There is no date attached, nor does it specify exactly which draft it is: the front page is entirely missing. It is, however, significantly different to the film which made it to the screen. Detailing even the major changes is a task for another day, and would involve comparing the script not only with the final film, but also the deleted scenes on the recent brand new Blu-ray release .

But I thought comparing that opening monologue to the one in this unspecified draft might be fun. Let’s take a look at it…

…what’s that? It isn’t present in the film’s opening at all?

Yes, that famous opening monologue is entirely missing. There’s other images which made it into the final film, of the “rare tour of a high school at dawn on a Saturday”: the ‘Senior Spirit Soars’ banner, the graffitied locker. But the monologue – and its link with the imagery of the computer room, changing room, etc – is completely absent.

So, the question you’re presumably asking now: is the same monologue present at the end of the film in this draft? The answer is yes… but perhaps not quite how you’d expect.

Firstly, let’s remind ourselves of the version of the monologue in the final film, as it’s actually slightly different to the version at the beginning. 1

BRIAN: Dear Mr. Venon. We accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you’re crazy to make us write an essay telling you who we think we are. You see us as you want to see us: in the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain… ANDY: …and an athlete… ALLISON: …and a basketcase… CLAIRE: …a princess… JOHN: …and a criminal. BRIAN: Does that answer your question? Sincerely yours, The Breakfast Club.

Now, let’s take a look at how that moment is scripted in the earlier draft:

CLOSEUP – VERNON He’s puzzled by the paper. It’s not at all what he expected. We hear, one by one, the kid’s voices fade up, beginning with Brian. BRIAN (V.O.) Dear Mr. Vernon… We accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you’re crazy to ask us to write an essay telling you who we think we are. What do you care? You see us as you want to see us. John’s crazy and bad, Cathy’s beautiful and spoiled 2 , Andy’s strong and mature, Allison’s looney tunes and Brian’s brilliant. That’s pretty much how we see ourselves. What we found out, sir, was that we’re all crazy and bad and beautiful, and spoiled and strong and mature and looney tunes and brilliant. Take it or leave it… Sincerely yours, the Breakfast Club.

The basics are there… but stripped of any power at all. The descriptions of our heroes are just that: descriptions, not archetypes . “Beautiful and spoiled” is nothing compared to “a princess”. Moreover, part of the power is those archetypes being spoken in the first person: this early draft keeps those descriptions resolutely in the third, distancing us from everything we’ve just watched. Hell, even the sheer rhythm of the speech feels all wrong.

In rewriting, John Hughes turned the speech from something normal into something extraordinary. And by adding the monologue to the beginning of the film too, he not only increased its power tenfold, but gave the film a structure it previously lacked. As originally scripted, we simply meet our characters, and start the detention. In the final film, we immediately want to know the answer to the big question: what will our gang discover about themselves throughout the film?

It’s easy to get attached to the first draft of any writing, whether it’s something as complex as a screenplay, or just a short blog post. We all know that redrafting our work is the key to making it better. And yet emotionally, it’s sometimes difficult to force ourselves to do what needs to be done. We can all occasionally get attached to thinking our first stab at something is “pure”, and any subsequent attempt to improve it could ruin things.

The truth: if John Hughes can’t get it right first time, there’s no reason to think you have. And if he’d stuck to his first draft here, we’d have lost out on one of the single best moments of 80s cinema.

The art of writing is in the rewriting. That’s the cliche. But the above is the proof.

UPDATE (11/02/22): Hello there! This page gets a ludicrous amount of Google love, for reasons I have yet to ascertain. But if you enjoyed this, please take a look around the rest of the site, especially this stuff I vaguely think is quite good . Or don’t, y’know. But you can’t blame a guy for trying.

Which is weird logistically, but perhaps not emotionally . ↩

It’s commonly known that Claire in the film was originally called Cathy. I find it pleasing to actually see proof of it in the early script draft, though. ↩

One comment

RW on 8 December 2023 @ 7am

A year ago, you marveled at how much people come here and read this entry. I’d say it’s the same reason that we still come back and put that DVD or Blu-Ray in the tray and watch the movie. It’s the same reason why we punch our hands in the air to Simple Minds’ “Don’t You (Forget About Me)” every time we hear the song play. Like John Hughes creation, you’ve struck a nerve. Oh, not that instant, sharp throbbing pain of smacking a funny bone or something of that nature, but more of the nerve laid bare by revelation of our own Breakfast Club moment. Like Brian writes, “ …we found out is that each one of us is a brain… and an athlete… and a basketcase… a princess… and a criminal.” It revives something deep inside that many never even realizes is still inside us. I don’t find it surprising at all that people continue to find your page. Don’t you forget about you.

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Student's 19-word Fight Club essay given perfect grade by teacher

She's absolutely mastered this.

Jess Battison

Ugh, essays. Apart from the odd one or two people who seem to enjoy writing out words and words of work on a weeknight, essays fill the majority of us with dread.

Anyone who has had to sit and churn out one for school or university will know the pain of attempting to get every key bit of information into as few hundred words as possible.

Or even worse, having to waffle on for thousands of words about something.

Somehow students find the power to find ten different ways of saying the same thing in order to rack up that sacred word count.

But one pretty ballsy student decided to take a different approach for her essay about the legendary film, Fight Club .

She decided to write about the 1999 cult hit with Edward Norton and Brad Pitt , in which their characters decided to form a masochistic underground fight club.

And somehow, the student managed to do it in just 19 words - despite how much you might have to say about the film.

But what’s more incredible is that she managed to bag a 100/100 from her teacher for the ‘essay’.

Sharing this big win on X, Allison Garrett wrote: "The assignment description for essay 5 was to write a review of a movie that we had seen. The opportunity arose, and I took my chances."

So, what ground-breaking analysis did she demonstrate to earn such rave reviews?

Quoting the film's most iconic line, she opened her essay with: "The first rule of fight club is: you do not talk about fight club."

Adding at the bottom of the page: "That's it, that's my essay."

I mean, round of applause for the bravery there.

But she wasn't done just yet.

In the comment section, she wrote: "I cannot say that I am sorry because that would be a lie. Am I Proud? Yes."

And to prove that this was no joke, Allison also posted a screenshot of the comments made by her teacher after reading her 'essay'.

Now, most of us would be terrified after writing an essay like this, waiting to receive the mother of all bollockings from our teacher, but Allison's professor was just impressed - though they warned about trying the same thing with another member of staff.

They wrote on the comments section of the submission page: "I struggled over this grade for a long time. I finally decided you get a grade for a laugh and how relevant your review is for this particular movie.

"Let me warn you: do NOT try this kind of thing with other professors; they may not have my sense of humor."

Since it was shared, Allison's post gained a lot of attention online.

One person wrote: "I was always told life is about taking risks... I was scared to say the least."

Allison later added: "I got a 100 on the paper and passed the class with an A."

Topics: Education , TV and Film , Twitter

Jess is an Entertainment Journalist with a love of all things pop culture. Her main interests include keeping up with the Twitter girlies, waiting for a new series of The Traitors and losing her voice at a Beyoncé concert. She graduated with a first in Journalism from City, University of London in 2021 and has previously worked at MyLondon.

@ jessbattison_

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What About “The Breakfast Club”?

By Molly Ringwald

Image may contain John Hughes Human Person Clothing Apparel People and Emilio Estevez

Earlier this year, the Criterion Collection, which is “dedicated to gathering the greatest films from around the world,” released a restored version of “ The Breakfast Club ,” a film written and directed by John Hughes that I acted in, more than three decades ago. For this edition, I participated in an interview about the movie, as did other people close to the production. I don’t make a habit of revisiting films I’ve made, but this was not the first time I’d returned to this one: a few years back, I watched it with my daughter, who was ten at the time. We recorded a conversation about it for the radio show “This American Life.” I’ll be the first to admit that ten is far too young for a viewing of “The Breakfast Club,” a movie about five high-school students who befriend one other during a Saturday detention session, with plenty of cursing, sex talk, and a now-famous scene of the students smoking pot. But my daughter insisted that her friends had already seen it, and she said she didn’t want to watch it for the first time in front of other people. A writer-director friend assured me that kids tend to filter out what they don’t understand, and I figured that it would be better if I were there to answer the uncomfortable questions. So I relented, thinking perhaps that it would make for a sweet if unconventional mother-daughter bonding moment.

It’s a strange experience, watching a younger, more innocent version of yourself onscreen. It’s stranger still—surreal, even—watching it with your child when she is much closer in age to that version of yourself than you are. My friend was right: my daughter didn’t really seem to register most of the sex stuff, though she did audibly gasp when she thought I had showed my underwear. At one point in the film, the bad-boy character, John Bender, ducks under the table where my character, Claire, is sitting, to hide from a teacher. While there, he takes the opportunity to peek under Claire’s skirt and, though the audience doesn’t see, it is implied that he touches her inappropriately. I was quick to point out to my daughter that the person in the underwear wasn’t really me, though that clarification seemed inconsequential. We kept watching, and, despite my best intentions to give context to the uncomfortable bits, I didn’t elaborate on what might have gone on under the table. She expressed no curiosity in anything sexual, so I decided to follow her lead, and discuss what seemed to resonate with her more. Maybe I just chickened out.

But I kept thinking about that scene. I thought about it again this past fall, after a number of women came forward with sexual-assault accusations against the producer Harvey Weinstein , and the #MeToo movement gathered steam. If attitudes toward female subjugation are systemic, and I believe that they are, it stands to reason that the art we consume and sanction plays some part in reinforcing those same attitudes. I made three movies with John Hughes; when they were released, they made enough of a cultural impact to land me on the cover of Time magazine and to get Hughes hailed as a genius. His critical reputation has only grown since he died, in 2009, at the age of fifty-nine. Hughes’s films play constantly on television and are even taught in schools. There is still so much that I love in them, but lately I have felt the need to examine the role that these movies have played in our cultural life: where they came from, and what they might mean now. When my daughter proposed watching “The Breakfast Club” together, I had hesitated, not knowing how she would react: if she would understand the film or if she would even like it. I worried that she would find aspects of it troubling, but I hadn’t anticipated that it would ultimately be most troubling to me.

It can be hard to remember how scarce art for and about teen-agers was before John Hughes arrived. Young-adult novels had not yet exploded as a genre. Onscreen, the big issues that affected teens seemed to belong largely to the world of ABC Afterschool Specials, which premièred in 1972 and were still around as I came of age, in the eighties. All the teens I knew would rather have died than watch one. The films had the whiff of sanctimony, the dialogue was obviously written by adults, the music was corny.

Portrayals of teen-agers in movies were even worse. The actors cast in teen roles tended to be much older than their characters—they had to be, since the films were so frequently exploitative. The teen horror flicks that flourished in the seventies and eighties had them getting murdered: if you were young, attractive, and sexually active, your chances of making it to the end were basically nil (a trope spoofed, years later, by the “Scream” franchise). The successful teen comedies of the period, such as “Animal House” and “Porky’s,” were written by men for boys; the few women in them were either nymphomaniacs or battleaxes. (The stout female coach in “Porky’s” is named Balbricker.) The boys are perverts, as one-dimensional as their female counterparts, but with more screen time. In 1982, “Fast Times at Ridgemont High,” which had the rare distinction of being directed by a woman, Amy Heckerling, got closer to an authentic depiction of adolescence. But it still made room for a young male’s fantasy of the actress Phoebe Cates striding topless in a soft-porny sprinkler mist.

And then Hughes came along. Hughes, who grew up in Michigan and Illinois, got work, after dropping out of college, writing ad copy in Chicago. The job brought him frequently to New York, where he started hanging around the offices of the humor magazine National Lampoon . He wrote a story called “Vacation ’58”—inspired by his own family trips—which secured him a job at the magazine and became the basis for the movie “National Lampoon’s Vacation.” Another story caught the eye of the producer Lauren Shuler Donner, who encouraged him to write what became “Mr. Mom.” Those movies helped him get a deal with Universal Studios. “The Breakfast Club” was to be his directorial début; he planned to shoot it in Chicago with local actors. He told me later that, over a July 4th weekend, while looking at headshots of actors to consider for the movie, he found mine, and decided to write another movie around the character he imagined that girl to be. That script became “Sixteen Candles,” a story about a girl whose family forgets her sixteenth birthday. The studio loved the script, perhaps because, in form at least, it had more in common with proven successes—“Porky’s” et al.—than it did with “The Breakfast Club,” which basically read like a play.

A meeting was arranged, we hit it off, and I filmed “Sixteen Candles” in the suburbs of Chicago the summer after I completed the ninth grade. Once we were done shooting, and before we began filming “The Breakfast Club,” John wrote another movie specifically for me, “Pretty in Pink,” about a working-class girl navigating the social prejudices of her affluent high school. The film’s dramatic arc involves getting invited and then uninvited to the prom. In synopsis, the movies can seem flimsy—a girl loses her date to a dance, a family forgets a girl’s birthday—but that’s part of what made them unique. No one in Hollywood was writing about the minutiae of high school, and certainly not from a female point of view. According to one study, since the late nineteen-forties, in the top-grossing family movies, girl characters have been outnumbered by boys three to one—and that ratio has not improved. That two of Hughes’s films had female protagonists in the lead roles and examined these young women’s feelings about the fairly ordinary things that were happening to them, while also managing to have instant cred that translated into success at the box office, was an anomaly that has never really been replicated. (The few blockbuster films starring young women in recent years have mostly been set in dystopian futures or have featured vampires and werewolves.)

I had what could be called a symbiotic relationship with John during the first two of those films. I’ve been called his muse, which I believe I was, for a little while. But, more than that, I felt that he listened to me—though certainly not all the time. Coming out of the National Lampoon school of comedy, there was still a residue of crassness that clung, no matter how much I protested. In the shooting script of “The Breakfast Club,” there was a scene in which an attractive female gym teacher swam naked in the school’s swimming pool as Mr. Vernon, the teacher who is in charge of the students’ detention, spied on her. The scene wasn’t in the first draft I read, and I lobbied John to cut it. He did, and although I’m sure the actress who had been cast in the part still blames me for foiling her break, I think the film is better for it. In “Sixteen Candles,” a character alternately called the Geek and Farmer Ted makes a bet with friends that he can score with my character, Samantha; by way of proof, he says, he will secure her underwear. Later in the film, after Samantha agrees to help the Geek by loaning her underwear to him, she has a heartwarming scene with her father. It originally ended with the father asking, “Sam, what the hell happened to your underpants?” My mom objected. “Why would a father know what happened to his daughter’s underwear?” she asked. John squirmed uncomfortably. He didn’t mean it that way, he said—it was just a joke, a punch line. “But it’s not funny,” my mother said. “It’s creepy.” The line was changed to “Just remember, Sam, you wear the pants in the family.”

My mom also spoke up during the filming of that scene in “The Breakfast Club,” when they hired an adult woman for the shot of Claire’s underwear. They couldn’t even ask me to do it—I don’t think it was permitted by law to ask a minor—but even having another person pretend to be me was embarrassing to me and upsetting to my mother, and she said so. That scene stayed, though. What’s more, as I can see now, Bender sexually harasses Claire throughout the film. When he’s not sexualizing her, he takes out his rage on her with vicious contempt, calling her “pathetic,” mocking her as “Queenie.” It’s rejection that inspires his vitriol. Claire acts dismissively toward him, and, in a pivotal scene near the end, she predicts that at school on Monday morning, even though the group has bonded, things will return, socially, to the status quo. “Just bury your head in the sand and wait for your fuckin’ prom!” Bender yells. He never apologizes for any of it, but, nevertheless, he gets the girl in the end.

If I sound overly critical, it’s only with hindsight. Back then, I was only vaguely aware of how inappropriate much of John’s writing was, given my limited experience and what was considered normal at the time. I was well into my thirties before I stopped considering verbally abusive men more interesting than the nice ones. I’m a little embarrassed to say that it took even longer for me to fully comprehend the scene late in “Sixteen Candles,” when the dreamboat, Jake, essentially trades his drunk girlfriend, Caroline, to the Geek, to satisfy the latter’s sexual urges, in return for Samantha’s underwear. The Geek takes Polaroids with Caroline to have proof of his conquest; when she wakes up in the morning with someone she doesn’t know, he asks her if she “enjoyed it.” (Neither of them seems to remember much.) Caroline shakes her head in wonderment and says, “You know, I have this weird feeling I did.” She had to have a feeling about it, rather than a thought, because thoughts are things we have when we are conscious, and she wasn’t.

Thinking about that scene, I became curious how the actress who played Caroline, Haviland Morris, felt about the character she portrayed. So I sent her an e-mail. We hadn’t seen or spoken to each other since she was twenty-three and I was fifteen. We met for coffee, and after we had filled each other in on all the intervening years, I asked her about it. Haviland, I was surprised to learn, does not have the same issues with the scene as I do. In her mind, Caroline bears some responsibility for what happens, because of how drunk she gets at the party. “I’m not saying that it’s O.K. to then be raped or to have nonconsensual sex,” Haviland clarified. “But . . . that’s not a one-way street. Here’s a girl who gets herself so bombed that she doesn’t even know what’s going on.”

There was a time in my early twenties when I had too much to drink at a party and ended up in a bedroom sitting on the edge of a bed with a producer I didn’t know, lightheaded and woozy. A good friend, who had followed me, popped her head in the door a couple of minutes later and announced, “Time to go now, Molly!” I followed her out, trying not to stumble, and spent the rest of the night violently ill and embarrassed—and the rest of my life grateful that she had been there, watching out for me, when I was temporarily incapable of watching out for myself. I shared the story with Haviland, and she listened politely, nodding.

Haviland, like me, has children, and so I decided to frame the question hypothetically, mother to mother, to see if it changed her point of view. If one of our kids had too much to drink, and something like that happened to one of them, would she say, “It’s on you, because you drank too much”? She shook her head: “No. Absolutely, positively, it stays in your pants until invited by someone who is willing and consensually able to invite you to remove it.” Still, she added, “I’m not going to black-and-white it. It isn’t a one-way street.”

After our coffee, I responded to an e-mail from Haviland to thank her for agreeing to talk to me. Later that night, I received another note. “You know,” she wrote, “the more I think of it this evening, oddly, the LESS uncomfortable I am with Caroline. Jake was disgusted with her and said he could violate her 17 ways if he wanted to because she was so trashed, but he didn’t. And then, Ted was the one who had to ask if they had had sex, which certainly doesn’t demonstrate responsible behavior from either party, but also doesn’t really spell date rape. On the other hand, she was basically traded for a pair of underwear . . . Ah, John Hughes.”

It’s hard for me to understand how John was able to write with so much sensitivity, and also have such a glaring blind spot. Looking for insight into that darkness, I decided to read some of his early writing for National Lampoon . I bought an old issue of the magazine on eBay, and found the other stories, all from the late seventies and early eighties, online. They contain many of the same themes he explored in his films, but with none of the humanity. Yes, it was a different time, as people say. Still, I was taken aback by the scope of the ugliness.

“A Dog’s Tale” has a boy watching his mother turn into a dog. “Against His Will” features an “ugly fat” woman who tries to rape a man at gunpoint in front of the man’s wife and parents because she can’t have sex any other way. “My Penis” and “My Vagina” are quasi-magical-realist stories written from the points of view of teen-agers who wake up in the morning with different genitalia than they were assigned at birth; the protagonist of “My Penis” literally forces her boyfriend’s mouth open to penetrate him, and the male in “My Vagina” is gang-raped by his friends once they discover he has one. (The latter story ends with him having to use the money he saved for new skis on getting an abortion.) The “Hughes Engagement Guide” is an illustrated manual on how to protect yourself against women. It gives examples of women “bullshitting to not put out,” and teaches readers how to do a “quickie pelvic exam,” how to detect “signs of future fat,” and how to determine if a woman has any ancestors of different races, based on what her relatives look like—there is an accompanying drawing of an Asian person and an African-American—and on and on.

The October, 1980, issue included a piece, co-authored by Ted Mann, titled “Sexual Harassment and How to Do It!” The guide explains, “If you hire a woman from another field or with a background that is not suited to the duties she is to assume, you’ve got the glans in the crevice, or, if you prefer, the foot in the door.” It continues, “Not only will her humility prepare her for your sexual advances, it will also help steel her for her inevitable dismissal.” There are sections describing different kinds of secretaries based on their ages, and how best to reward and punish them. (The older ones are “easier,” the younger ones “preferable.”) There’s even a section on arrest: “Sometimes even guys with cool sideburns and a smooth line of patter get arrested for sexual harassment and are issued summonses.” It goes on to suggest different methods for cozying up to the police officer.

It’s all satire, of course, but it’s pretty clear that it’s not the chauvinists who are being lampooned but the “women’s liberation movement.” Women had begun to speak out, in the mid-seventies, against harassment in the workplace. (The beloved movie “9 to 5,” in which three women get revenge on a sexist boss, was released in December of 1980, two months after the Hughes-Mann piece ran.) Mann is now a writer and producer who has been nominated for seven Emmys, most recently for his work on the Showtime series “Homeland.” I sent him an e-mail asking what he now thought of the piece he wrote with Hughes. He replied that he didn’t remember ever having written it. “It looks like one of our art director Peter’s desperate page fillers,” he explained, referring to Peter Kleinman. “It wouldn’t fly today and it never should have flown then,” he went on, adding, “These were degenerate cocaine days.”

I can’t vouch, personally, for any cocaine days that John may or may not have had. When I knew him, he never expressed an interest in doing drugs of any kind, including alcohol—with the exception of cigarettes, which he smoked constantly.

John believed in me, and in my gifts as an actress, more than anyone else I’ve known, and he was the first person to tell me that I had to write and direct one day. He was also a phenomenal grudge-keeper, and he could respond to perceived rejection in much the same way the character of Bender did in “The Breakfast Club.” But I’m not thinking about the man right now but of the films that he left behind. Films that I am proud of in so many ways. Films that, like his earlier writing, though to a much lesser extent, could also be considered racist, misogynistic, and, at times, homophobic. The words “fag” and “faggot” are tossed around with abandon; the character of Long Duk Dong, in “Sixteen Candles,” is a grotesque stereotype, as other writers have detailed far more eloquently than I could.

And yet I have been told more times than I could count, by both friends and strangers, including people in the L.G.B.T. community, that the films “saved” them. Leaving a party not long ago, I was stopped by Emil Wilbekin, a gay, African-American friend of a friend, who wanted to tell me just that. I smiled and thanked him, but what I wanted to say was “Why?” There is barely a person of color to be found in the films, and no characters are openly gay. A week or so after the party, I asked my friend to put me in touch with him. In an e-mail, Wilbekin, a journalist who created an organization called Native Son, devoted to empowering gay black men, expanded upon what he had said to me as I had left the party. “The Breakfast Club,” he explained, saved his life by showing him, a kid growing up in Cincinnati in the eighties, “that there were other people like me who were struggling with their identities, feeling out of place in the social constructs of high school, and dealing with the challenges of family ideals and pressures.” These kids were also “finding themselves and being ‘other’ in a very traditional, white, heteronormative environment.” The lack of diversity didn’t bother him, he added, “because the characters and storylines were so beautifully human, perfectly imperfect and flawed.” He watched the films in high school, and while he was not yet out, he had a pretty good idea that he was gay.

“Pretty in Pink” features a character, Duckie, who was loosely based on my best friend of forty years, Matthew Freeman. We’ve been friends since I was ten, and he worked as a production assistant on the film. Like Emil, he’s out now, but wasn’t then. (It’s one of the reasons I’ve often posited, to the consternation of some fans and the delight of others, that Duckie is gay, though there’s nothing to indicate that in the script.) “The characters John created spoke to feeling invisible and an outsider,” Matt told me recently. They got at “how we felt as closeted gay kids who could only live vicariously through others’ sexual awakenings, lest we get found out with the very real threat of being ostracized or pummelled.”

John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . . .

How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped create it? Erasing history is a dangerous road when it comes to art—change is essential, but so, too, is remembering the past, in all of its transgression and barbarism, so that we may properly gauge how far we have come, and also how far we still need to go.

While researching this piece, I came across an article that was published in Seventeen magazine, in 1986, for which I interviewed John. (It was the only time I did so.) He talked about the artists who inspired him when he was younger—Bob Dylan, John Lennon—and how, as soon as they “got comfortable” in their art, they moved on. I pointed out that he had already done a lot of movies about suburbia, and asked him whether he felt that he should move on as his idols had. “I think it’s wise for people to concern themselves with the things they know about,” he said. He added, “I’d feel extremely self-conscious writing about something I don’t know.”

I’m not sure that John was ever really comfortable or satisfied. He often told me that he didn’t think he was a good enough writer for prose, and although he loved to write, he notoriously hated to revise. I was set to make one more Hughes film, when I was twenty, but felt that it needed rewriting. Hughes refused, and the film was never made, though there could have been other circumstances I was not aware of.

In the interview, I asked him if he thought teen-agers were looked at differently than when he was that age. “Definitely,” he said. “My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the Baby Boom, and when we moved, everything moved with us. But now, there are fewer teens, and they aren’t taken as seriously as we were. You make a teen-age movie, and critics say, ‘How dare you?’ There’s just a general lack of respect for young people now.”

John wanted people to take teens seriously, and people did. The films are still taught in schools because good teachers want their students to know that what they feel and say is important; that if they talk, adults and peers will listen. I think that it’s ultimately the greatest value of the films, and why I hope they will endure. The conversations about them will change, and they should. It’s up to the following generations to figure out how to continue those conversations and make them their own—to keep talking, in schools, in activism and art—and trust that we care.

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The Berlin Boxing Club: a Scholarly Analysis

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Bibliolifestyle, 113+ thought-provoking book club discussion questions.

These conversation starters that will spark interesting debates and deepen your understanding of the books you read.

Last Updated on May 25, 2024 by BiblioLifestyle

Looking to elevate your book club meetings? Look no further! We’ve curated a list of 113+ thought-provoking book club discussion questions that are sure to spark lively conversations and deepen your understanding of the books you read. Whether you’re a seasoned book club enthusiast or just starting out, these questions will help you delve deeper into the themes, characters, and messages of your chosen books. From classics to contemporary bestsellers, we’ve got you covered with a diverse range of questions that will challenge your perspectives and encourage fascinating debates. Get ready to explore the hidden layers of your favorite novels, connect with fellow book lovers on a deeper level, and take your book club meetings to the next level. So let’s dive in and embark on a journey of literary exploration together!

Why book club discussion questions are important

Book club discussion questions play a crucial role in elevating the overall experience of your book club meetings. They go beyond simple plot summaries and encourage participants to engage with the book’s themes, characters, and underlying messages. These questions provide a framework for deeper analysis and interpretation, helping you and your fellow book club members develop a richer understanding of the books you read. By discussing these thought-provoking questions, you can uncover hidden layers, explore different perspectives, and gain new insights that you might have missed on your own.

Discussion questions also foster a sense of community and connection within your book club. They encourage lively debates and allow participants to share their unique interpretations and personal experiences related to the book. Through these discussions, you’ll develop a deeper bond with your fellow book lovers as you explore the literary world together and gain a better understanding of each other’s perspectives.

How to create book club discussion questions?

Creating thought-provoking book club discussion questions is an art form that takes practice and experience. When crafting questions, think of topics that will encourage participants to engage with the book’s themes and characters. Consider what made you connect to the text personally and why certain scenes or messages resonated with you. These are great starting points for finding meaningful topics for discussion. Additionally, you can try asking questions that explore different perspectives or invite people to share their personal experiences related to the book. Once you have a few questions written down, go back and refine them to make sure they are open-ended and engaging. With these tips in mind, you’ll be ready to create book club discussion questions that will bring your meetings to life!

What are good book club discussion questions?

Good book club discussion questions should be open-ended and thought-provoking. They should allow participants to engage with the themes, characters, and ideas of the book at a deeper level. Here are some examples of good book club discussion questions:

What was your initial impression of the protagonist? How did this opinion evolve as you read through the book?
How did the author use symbolism to communicate underlying themes throughout the story?
Did any particular scenes or lines stand out to you? Why do you think they were included in the text?
What aspects of the book made you feel connected to its characters and messages?
In what ways do you think this relates to present-day or modern society?

List of Book Club Discussion Questions

General discussion questions for any book.

What was your initial reaction to the book’s title, cover, or blurb?
Did the book meet your expectations? Why or why not?
How did the book make you feel? Did it evoke any specific emotions?
Were there any particular passages or quotes that stood out to you? Why?
Did the book change your perspective on any topic or issue? If so, how?
Did the author effectively convey the book’s themes? Why or why not?
How did the book’s pacing and structure impact your reading experience?
Did the characters feel realistic and relatable? Why or why not?
Were there any unresolved plot points or loose ends that bothered you?
Would you recommend this book to others? Why or why not?

These general discussion questions provide a starting point for any book club meeting. They allow participants to share their overall impressions and engage in a broad discussion about the book’s impact. Feel free to adapt and expand upon these questions to suit the specific book you’re discussing.

Discussion questions for fiction books

Fiction books offer rich opportunities for exploration and analysis. Use these discussion questions to delve into the intricacies of the story, characters, and themes.

How did the author use language and imagery to create the setting and atmosphere?
Which character did you relate to the most? Why?
Were there any characters you found particularly intriguing or compelling? Why?
How did the protagonist’s journey or transformation impact the story?
Did the book challenge any preconceived notions or stereotypes? How?
Were there any plot twists or surprises that caught you off guard? How did they change your understanding of the story?
Did the book explore any social or political issues? If so, what were they and how were they portrayed?
How did the book’s ending resonate with you? Were you satisfied or left wanting more?
Did the author effectively use symbolism or metaphors? If so, how did they enhance your reading experience?
How did the book’s narrative style contribute to your engagement with the story?

Discussion questions for non-fiction books

Non-fiction books offer unique opportunities for learning and discussion. Use these questions to explore the author’s arguments, research, and real-world implications.

What is the main thesis or central argument of the book? Were you convinced by it?
Did the author provide sufficient evidence to support their claims? Why or why not?
How did the book challenge or expand your knowledge on the topic?
Were there any sections of the book that you found particularly thought-provoking or eye-opening? Why?
Did the author present different perspectives on the topic? How did they handle conflicting viewpoints?
Did the book change your opinion on the subject matter? If so, how?
How did the author’s writing style impact your understanding and engagement with the book?
Did the book inspire you to take any action or explore further research on the topic? Why or why not?
Did the book raise any questions or issues that you would like to discuss further?
How did the book compare to other books or sources you’ve read on the same topic?

Discussion questions for classic literature

Classic literature provides a treasure trove of timeless themes and complex characters. Use these questions to delve into the depths of the classics.

How does this classic work resonate with contemporary issues or concerns?
What makes this book a classic? Why do you think it has stood the test of time?
How does the author’s writing style reflect the time period in which the book was written?
Were there any cultural or historical aspects of the book that you found difficult to understand or relate to?
How does the book explore universal human experiences or emotions?
Did the book challenge any societal norms or conventions of its time? If so, how?
How does the book’s language and imagery contribute to its overall impact?
Did the book’s ending leave room for interpretation or closure? How did it affect your reading experience?
How do the characters in this classic work compare to those found in contemporary literature?
How does this classic work relate to other books or authors from the same time period?

113 Thought-Provoking Book Club Discussion Questions

What was the central message or moral of the story?
What were some of the key themes explored in the text?
How did you feel about the characters and their development throughout the book?
Was there a particular scene that really stood out to you?
Who was your favorite character, and why?
What did you think about the way the author handled difficult topics or controversial themes?
How would you rate this book on a scale of 1-10, and why?
Was there any symbolism or recurring motifs in the text that resonated with you?
How does this book connect to current events or popular culture?
What did you learn from reading this book?
Is there anything you would change about the story or its characters?
In what ways was the ending satisfying or unsatisfying?
Did any of the quotes stick with you after finishing the book?
What were your thoughts on the author’s writing style or narrative choices?
How would you describe the overall mood of the book and why?
Are there any universal truths explored in this book that have meaning for other people as well?
In what ways did this text challenge or confirm expectations?
What did you think of the book’s setting, and why was it important for the story?
How do you think this book compares to other works in the same genre?
Did any particular scenes make you laugh, cry, or feel empathy?
If you could ask the author one question about this book, what would it be?
What were your impressions of the antagonists, and did they have any redeeming qualities?
Were there any moral or ethical dilemmas that resonated with you during the reading?
What themes do you think will stay relevant for years to come?
How did the book’s title relate to the story? Was it a fitting choice?
Which characters resonated with you the most, and why?
If you could rewrite a part of the story, which part would it be and why?
Did the book alter your perspective on a certain topic or issue?
How has the book influenced your thoughts or emotions?
Did the book end the way you expected it to?
Can you relate to any of the characters or situations in the book?
What emotions did the first and last pages of the book evoke?
How did the book’s pace affect your reading experience?
Would you recommend this book to someone else? Why or why not?
How would you envision a sequel or prequel to this book?
What contemporary issues did the book bring to light?
Did the book’s resolution feel authentic and satisfying?
If you had the chance to interview the author, what would you ask?
How did the book’s genre influence its overarching themes?
What insights did the book provide into human nature?

Could the events in the book occur in real life?
Would you classify the book as a “page-turner”? Why or why not?
How did the author create suspense or tension in the book?
Do you think the book would be different if it was written from another character’s perspective?
Can you identify any symbols in the book, and what do they signify?
If you could ask a character in the book a question, what would it be?
How do the book’s themes relate to your own life experiences?
Would the book’s impact be different if it was set in a different time or place?
What emotions did the book stir up in you as you were reading?
What are your final thoughts on the book?
How did the author’s background or personal experiences influence the narrative?
Did you find the book’s premise original and captivating?
Does the book contain any subplots? If so, how do they contribute to the main story?
How did the book’s structure influence its narrative flow?
Can you identify a turning point in the book? How did it affect the story?
Do you think the title gives away too much or too little about the book?
How has the book changed or enhanced your understanding of a particular era or culture?
Do you think the book would translate well into a movie or TV series?
What kind of emotions did you experience while reading the climax of the book?
Was the protagonist’s journey and transformation believable to you?
Did the book’s pace enhance or detract from your reading experience?
If you could spend a day with one of the characters, who would it be and why?
How does the book explore the complexity of human relationships?
Did the author effectively use foreshadowing to hint at future events in the book?
To whom in your life would you recommend this book, and why?
Do you think the protagonist made the right decisions throughout the book?
What passage from the book would you quote to entice someone to read it?
How did the setting contribute to the overall mood of the book?
If you could change one thing about the book, what would it be and why?
How has this book challenged or reinforced your pre-existing beliefs or values?
Which character underwent the most compelling transformation and why?
Can you identify any strong imagery used in the book, and how did it contribute to the story?
How do you think the book will be remembered decades from now?
How did the author’s tone contribute to the mood of the book?
If the book were to be adapted into a film, who would you cast as the main characters?
Did the author’s choice of words enhance your reading experience?
Did the book evoke a strong sense of place? How did it add to the story?
Did you find any aspect of the book predictable?
What is your favorite dialogue or quote from the book and why?
Did the book leave you with any unanswered questions?

Did the characters and their actions feel credible within the world the author created?
How did the relationships between characters evolve throughout the book?
Were there any unexpected plot twists? How did they impact your reading experience?
Was there a specific event or moment that you found most impactful in the book? Why?
If you could ask the author to expand on a particular aspect or scene in the book, what would it be?
Was there a character with whom you shared a personal connection? If so, who was it and why did you feel connected?
Did the climax of the book meet your expectations? Why or why not?
If a sequel were to be written, what elements or characters would you like to see explored further?
Did the narrative style impact your connection with the characters or your understanding of the plot?
Were there any sections of the book you found confusing or difficult to understand? How did this affect your overall impression of the book?
How does the author handle the element of time in the book? Did it enhance or detract from the narrative?
How does this book compare to the other books you’ve read recently?
If you were the author, what is one thing you would have done differently when writing this book?
Did you feel the characters’ actions drove the plot, or did the plot drive the characters’ actions?
How does the book’s ending compare to its beginning, and how do they fit together as a whole?
What specific techniques did the author use to keep you engaged throughout the book?
Are there any connections between this book and other books by the same author?
Did anything about the book surprise or disappoint you? If so, what was it and why?
How do the characters develop or regress throughout the book’s plot?
Did the book draw any comparisons between real life and its fictional world?
What themes did this book explore that are outdated?
How effectively did the author utilize different points of view techniques to tell their story?
Do you think this book will still resonate in fifty years, or do you think it is more suited for this present time?
How did the book’s resolution affect your reading experience?
In what ways could the book have been improved upon?
Are there any elements of the story that felt unresolved at the end of the book?
What would you say are the main themes of this book?
How does the book provide insight into different aspects of human life?
Do you think the author’s chosen styles of writing was effective? Why or why not?
Looking back on your experience reading the book, can you identify any lessons you learned from it?
Were there any thematic elements that were introduced but not fully explored?
What elements of the story were most impactful when considering its overall message?
Do you think any additional characters could have enhanced the narrative of the book?

How do you run a successful book club discussion?

Running a successful book club discussion involves more than just having great questions. It also requires thoughtful facilitation and an understanding of group dynamics. Here are some tips for running a successful book club discussion:

Start off with an icebreaker question that invites everyone to share their initial thoughts on the book or any favorite moments they experienced while reading it. This helps start the conversation and makes everyone feel more comfortable.
Choose questions that are open-ended and thought-provoking but not too long or convoluted. Make sure they’re things that participants can easily answer or discuss in a few minutes.
During the discussion, be mindful of each participant’s contribution. Some members will be more chatty than others, so make sure everyone has an equal chance to share their thoughts. Also, try to keep conversations on track, but don’t be afraid to let people explore tangential topics if they’re related to the book.
Give each participant space to express themselves freely and come up with their own interpretations of the book. Avoid jumping in with your opinion too often or dictating how others should feel about it.
Finally, have fun! Book club discussions are a great way to connect with fellow book lovers and learn more about each other. Enjoy the journey of exploration together!

How do you make a book club interesting?

Making a book club interesting lies in the unique blend of the books you choose, the discussions you foster, and the atmosphere you create. Start by selecting a diverse range of books across different genres, cultures, and authors to keep the reading list fresh and exciting. Encourage lively and open-ended discussions, not just about the book’s plot and characters, but about its themes, relevance to current events, and its impact on readers. Engage in creative activities related to the book, like themed meetings or author Q&As, to add an extra layer of fun and interactiveness. You can also bring the book to life by organizing related field trips or movie nights. Above all, create an inclusive and welcoming environment where everyone’s opinion is valued and respected, fostering a sense of community among members. Remember, the ultimate goal is for each member to enrich their understanding of literature, enjoy riveting discussions, and create lasting friendships.

How do I make my book club more interactive?

Making your book club more interactive is all about fostering a sense of engagement and interactivity among members. Here are some tips to help make your virtual (or in-person) meetings more engaging:

Utilize polls or other survey tools to engage with participants before the meeting begins, allowing them to share their thoughts while also getting a better sense of the group’s opinion.
Play games that encourage members to think more deeply about the book, like asking participants to come up with their own creative discussion questions or plot twists based on the text.
Create smaller breakout groups for deeper conversations and personal reflections, which can then be shared in the main meeting afterwards.
Encourage members to share quotes from the book that resonated with them or guided their interpretation of it.
Set aside an allotted amount of time for each person to talk and express their thoughts on the book, allowing everyone a fair chance to participate.
Have fun! Don’t be afraid to do something unexpected or out-of-the-box that will make the book come alive for your members.

Where to find more book club discussion questions?

Fortunately, there are plenty of resources available online to help you find exciting book club discussion questions. Additionally, many authors and publishers provide official discussion guides with suggested topics and questions for their books. Finally, if you’re stuck or looking for inspiration, you can also check out our list of book club discussion questions above. This curated list includes a diverse range of topics and ideas to help you take your meetings to the next level.

What are your thoughts on these book club discussion questions?

Do you answer or ask questions after you’ve finished reading? Do you prepare questions ahead of your book club discussion? Are book club discussion questions used as part of your book club meeting? What book club discussion questions would you add to this list? Let us talk about it in the comments below!

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Essay Contest

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2024 Hope and Stanley Adelstein Free Speech Essay Contest

Every year since 2012, the City Club has used this essay contest to invite students to consider different aspects of the First Amendment to the U.S. Constitution, specifically, Freedom of Speech.

All high school students in Northeast Ohio are eligible to apply for scholarship prizes. Essays should pull from personal experience, current events, history, politics, art, anything really so long as they are backed up with evidence. Essays will be judged on their clarity, content, originality, and significance.

2024 Prompt:

In an era of advancing artificial intelligence and digital communication, we have transformed the way we share information. These new technological advancements, especially AI, present complex challenges for freedom of speech.

Discuss the potential impacts of AI and how society can uphold the principles of the First Amendment while navigating this changing technological terrain.

The 2024 Hope and Stanley Adelstein Essay Contest is officially open for submissions.

Click here to submit your essay.

Submission Deadline: DEADLINE EXTENDED - Friday, March 1st

Eligibility and details:

All Northeast Ohio high school students are eligible to participate
There are two categories of judging – 9/10 grade and 11/12 grade
Essays MUST be 500-1,000 words
Please use 3 to 5 articles from reliable, valid sources in your essay.
Each entry is assigned a number. Essays are blind-scored by number only; no student or school names are identified. Do not include student name or school name within the body of your essay. Failure to comply may result in disqualification.
All first-place winners of each category are invited to read their winning essays at the start of a City Club forum.
IMPORTANT REMINDER - Your essay and file name can NOT include any personal identifiers (ex: your name, school, teacher, etc.)

Example sources:

https://www.nytimes.com/2023/02/16/technology/bing-chatbot-microsoft-chatgpt.html?unlocked_article_code=1.9Uw.DbtU.i-rObF7dhLDo&smid=url-share

https://www.thefire.org/research-learn/artificial-intelligence-free-speech-and-first-amendment

https://time.com/6278220/protecting-ai-generated-speech-first-amendment

See here for full scoring rubric

11/12 Grade

First Place: $1,000
Second Place: $750
Third Place: $500
Honorable Mention: $250
First Place: $500
Second Place: $250
Third Place: $150
Honorable Mention: $100

You can view the winning essays from 2023 here: Grade 11/12 | Grade 9/10

For any questions regarding the Essay Contest, please contact Ariana Smith at asmith @cityclub.org

Vinay Bodapoti, 2017 Grade 11/12 Free Speech Essay Contest Winner

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David Williamson’s The Club: Summary, Theme, Analysis

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David Williamson’s The Club: Summary,…

In his play The Club, David Williamson presents numerous Australian attitudes of the 1970s. However, many of these attitudes are still relevant and fairly accurate representations of Australian attitudes in the 1990s, although some of course have changed somewhat over the time since the play was written nearly twenty years ago.

However, Jock does support and use tradition when it is in agreement with his goals. For example when trying to avert a players’ strike, Jock claims that former Club heroes would be disgusted by the idea, ‘I want to turn all those photographs around so they don’t have to look down on this shameful scene.’ However, it is later revealed that Jock supports the buying of players and a coach who has not played for the Club, both of which are against traditions, to ensure that the Club wins a premiership next season. This hypocritical attitude towards tradition is probably a fairly typical Australian attitude; traditions are upheld and honoured, but only when they do not stand in the way of progress and success. This attitude presented by Williamson is probably even more widespread now in the 1990s, as success is seen as being even more important today.

Attitudes towards commercialism are also explored in The Club. In the play, the Club itself is just beginning the road to commercialisation with the purchase of Geoff Hayward (the star recruit) for $90,000. However, Gerry (the administrator) and Jock’s plans for next year not only include the dropping of some Club traditions, but also extensive commercialisation as wealthy entrepreneurs are recruited for sponsorship money which will be used to buy more players. The attitude of acceptance of the commercialisation of sport that is evident in The Club is more relevant in the 1990s than ever, when all popular sports are funded mainly by sponsorship dollars from big corporations. Even the Australian Olympic Team has received massive financial backing from sponsors, something which is accepted and considered to be good by most people.

Competitiveness is also an important attitude in the play — one which is shared by all the characters, to at least some extent. In addition to competing for power amongst themselves, the characters of The Club are also fiercely competitive with the other football clubs in the league. The fact that the Club has not been particularly successful recently and has not won a premiership for nineteen years only strengthens the characters’ competitive attitudes and desire for victory. These sorts of competitive attitudes are realistic and still held in the 1990s. Today’s society itself is highly competitive by nature, with people competing for jobs, wealth, and success, amongst other things.

Loyalty is also an important issue in The Club, although each of the characters is loyal in very different degrees and ways. Some of the characters, like Danny, are fiercely loyal to others; for example Danny threatens a players’ strike if Laurie is forced to resign, ‘If that bloody committee of yours gives Laurie the boot tonight, then we don’t play tomorrow.’ Other characters, like Jock and Gerry, lack loyalty to other people but are loyal to the Club as a whole. Gerry believes that, ‘Loyalty to any one individual is a luxury you can’t afford in a business with a multi-million dollar turnover.’ Gerry’s pragmatic attitude is perhaps typical of the attitudes which are becoming commonplace in the cutthroat business world of the 1990s.

The role of women is not explored all that extensively in The Club, but Williamson does explore some of the attitudes relating to this issue in his play. For example, all of the characters in The Club except Ted are of the belief that it is unacceptable for a man to commit acts of physical violence against a woman. For example, Jock refers to the incident where Ted hit a stripper, which forced him to resign, ‘With closed fists too, you mongrel. Don’t expect me to be sorry for you.’ However Jock’s attitude in this case is highly hypocritical as he has admittedly bashed his own wife. Society’s attitude towards such violence against women is similarly hypocritical. Although most men claim they would never hit a woman and are disgusted at those who do, the rate of domestic violence shows that not enough is being done to change true attitudes towards violence against women.

Williamson’s portrayal reflects many Australian attitudes of the 1990s very accurately, even though the play was written nearly twenty years ago. Some of the attitudes expressed, especially those regarding the commercialisation of sport, are even more relevant today than when the play was written, while others, such as tradition, are still equally relevant in the Australian society of the 1990s.

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This is incredible.

Can you add the little details about the characters?

This is so good!

I suppose you could add all the names of the actors, and their character roles, so I suggest that you could also add some more images to see what the actor is saying, either with or without the text.

The Four Rules for a Good Book Club

Books & Culture

And how the group featured in the movie ‘book club’ breaks almost all of them.

The first rule of book club is: you have to read the book. It’s one, I’m happy to report, the ladies of the film Book Club are willing to follow. After a photoshop nightmare of an opening montage, in which we learn these four friends have been finding time in between marriages and divorces, law school and child-rearing to talk about books for several decades now, we see them settle in for a discussion on this month’s pick: Cheryl Strayed’s Wild. Rather naively, I thought we’d get to see what these four older women (played by screen icons Candice Bergen, Jane Fonda, Mary Steenburgen and Diane Keaton) actually thought about Strayed’s hiking memoir. I wouldn’t have been surprised if we’d gotten a nod to its Reese Witherspoon-led film adaptation (don’t people in book clubs often opt to watch the movie instead?). And while I admit “a judge, a hotel owner, a chef, and a widowed empty-nester walk into a suburban kitchen to discuss grief, heroin, and the Pacific Crest Trail” sounds like the set-up of a painfully unfunny joke, I was surprised — nay, outright offended — when Fonda’s Vivian went ahead and cut short their conversation on the best-selling book after two minutes. She was all too keen on handing out her pick for their following meeting: Fifty Shades of Grey.

Which brings me to the second rule of book club: you have to talk about the book. Okay, so maybe the Bill Holderman-directed movie wanted to move the plot right along. It was crucial for these women to get their hands on Mr. Grey — it’s what prompts the requisite self-reflections that late-in-life narratives like these are made of. It’s what makes Steenburgen’s Carol try to rekindle her sex life with her husband; what gives Keaton’s Diane the courage to go out with that handsome stranger; what incites Bergen’s Sharon to try her luck at online dating. But by the time they meet soon after to talk about E.L. James’ steamy book they again don’t even bother leafing through their ear-marked copies to share insights on what they’d read. Instead, they giggle giddily and squeal with glee when they get their hands on their next pick: Fifty Shades Darker. That’s when I began to fear the film’s title was slightly misleading.

Because a film called Book Club should be about a book club, and not every book-related gathering counts. A book club, a good book club, has rules . As a book club disciplinarian, I know whereof I speak.

Book Club also seemed designed to break the third rule of book club: don’t make it about yourself. To explain, allow me to, well, make it about myself. Last summer, in an attempt to up my social game — and driven to push back against a certain viral essay that was making the rounds (“Delete Grinder. Join Book Club.”) — I created my very own book club. Surely there was a market for a book club that billed itself not as an alternative to a hook-up app nor as an excuse to score a date. As I continue skidding into my mid-thirties and see the chances of meeting other gay men in socially acceptable situations (freelancing from home doesn’t quite lend itself to building a robust IRL social network), I figured gathering lit-inclined guys would be as perfect a socializing experiment as I could muster. It was surprisingly easier than I’d anticipated: I merely recruited like-minded Twitter acquaintances, suggested we take a stab at reading Call Me By Your Name together, and voilá.

Joining, let alone organizing, a book club was, I’ll admit, a gamble. While teaching freshman writing at Rutgers as a graduate student I often used “book club chat” as shorthand for the kind of solipsistic “this reminded me of that time…” monologues I discouraged when we sat down to think critically through whatever novel or essay we were reading that morning. But I figured I could avoid that sort of woolly thinking by enforcing some guidelines.

I’ve always been a staunch advocate for close reading, and so my motto in the classroom was always “text first.” In my years of teaching I’d learned that students love nothing more than to talk about themselves — often, though not exclusively, I found, as a way to mask the fact that they had not read the text. I was a stickler for staying with the text at hand. If you insist on telling me how your best friend is just as gossipy as Jane Austen’s Emma , I wanted to see you point me to places in the text where her love of gossip is apparent. If you’re wondering whether I imported that insufferable attitude into my book club, the answer is: obviously. I didn’t care that, like the women in Book Club remind us, there’s a large contingent of people out in the world who believe these types of gatherings are only tangentially related to the practice of reading and the art of conversation. (We’ve all seen that “My drinking club has a book problem” tote bag-ready mantra floating around the web, right?) If I was going to spend time reading a book, planning and making an on-theme baked good (we had cream-filled peach cookies that first time), and then moderating a discussion about it once a month, you’re damn sure I was going to have us focus on the book. Yes, that means there’s often a reading guide on my Notes app ahead of our Sunday meetings.

If you’re wondering whether I imported that insufferable attitude into my book club, the answer is: obviously.

It’s served us well, for the most part: Infidels by Abdellah Taïa nurtured a great back and forth on the value of structure, Joseph Cassara’s The House of Impossible Beauties spurred lively disagreements over what constitutes a good sentence, while Maria Semple’s Tomorrow Will Be Different served as a catalyst for an all-too-heated discussion of whiteness in publishing. Conversely, I’ve often seen conversations flounder when they turn into thinly-veiled performative moments of self-analysis. You lose a crowd easily if you see a book as a compact mirror rather than a picture window.

Which brings me to the fourth and final rule of book club: have fun. And here’s where I must admit defeat in the wake of Book Club. For, while these four broads never could spend more than a minute conversing about the novels at hand (as the final pick they unsurprisingly go for James’ trilogy capper), they served as a reminder that ultimately it’s the company you keep that makes a book club worthwhile. I could go red in the face insisting we go around the room talking about what we think this novel is about or making sure we spend as much time looking at the style and language of our chosen book. But it wouldn’t be the same without a game group of guys that, yes, like Vivian, Carol, Diane, and Sharon, just want to find time to unwind with a glass of wine (or two or three) while celebrating the way books can truly bring us together.

Book Club is not a good model for a book club; it breaks almost all of the rules. But it’s a good reminder that not all book club rules are created equal.

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45 The Breakfast Club Essay Topic Ideas & Examples

🏆 best the breakfast club topic ideas & essay examples, 📌 good research topics about the breakfast club, 🔎 interesting topics to write about the breakfast club.

“The Breakfast Club” Film Analysis Most of the characters in the film have developed strained relationships with their parents. The film informs the audience about the nature of the challenges faced by the youth.
Friendship in the Film “The Breakfast Club” The main themes which can be identified in the storyline are crisis as a cause and catalyst of friendship, friendship and belonging, and disclosure and intimacy in friendship.
“The Breakfast Club“ by John Hughes Review The point is that at the very beginning of the movie, it seems to them that they will hardly talk to each other when their detention is, however, it happens to be just the opposite […]
“The Breakfast Club” and “Ferris Bueller’s Day Off” Movies This paper explores the movies “The Breakfast Club” and “Ferris Bueller’s Day Out” as the blueprints of the youth culture of Generation X.”The Breakfast Club” is written and directed by John Hughes.
The Social Commentary Behind the Humor of “The Breakfast Club”
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“The Breakfast Club”: Overcoming Stereotypes Visually
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The 1980’s Through the Eyes of John Hughes “The Breakfast Club”
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Adolescence and Emerging Adulthood in “The Breakfast Club”
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“The Breakfast Club”: Grown-up Selves Are a Product of the Environment
The Pressure of Students in “The Breakfast Club” in High School
Disclosure of Contact Hypothesis in “The Breakfast Club”
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The Primary Point Showcased in “The Breakfast Club”
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Keith Miller invokes “the gaze” when outlining his artistic theory and the “power of anonymity.” Outside of his artistic practice and output, where else in the novel is this theory explored? Analyze one or two scenes, paying particular attention to lines of sight and associated power dynamics.

The Club examines multiple facets of celebrity. Compare Lloyd’s presentation of celebrities in the media with a real example of celebrity gossip in the media.

The word “joke” appears 58 times in this novel. In Nikki’s first scene, she observes the mercurial Ned’s antics: “Everything was a joke until it was serious. Everything was serious until it was a joke” (23). Analyze Lloyd’s presentation of humor, or lack thereof, throughout the novel.

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The Spectator Club – Summary

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The Spectator Club is perhaps Richard Steele’s finest achievement. This essay was published in The Spectator . In this essay, Steele has given an account of the members of the Club. These members represent important sections of society. Steele describes six of the members of the Club they are Sir Roger de Coverley, Captain Sentry, Sir Andrew Freeport, Will Honeycomb, the Clergyman and the Student of Law.

Steele talks about the first gentleman of his company whose name is Sir Roger de Coverley. The people, who knew about the county of Sir Roger,knew Sir Roger. Sir Roger was a man of extra ordinary nature and had a good sense. He always found fault with the ways of the world but this unusual nature never made him any enemies. Sir Roger had a unique capacity to please others. Sir Roger was a bachelor because he was disappointed in the love of a beautiful widow. Before this disappointment Sir Roger was a normal happy young man. He moved in society of important persons like Lord Rochester and Sir George Etherege. However, after being ill-used by the widow he lost all his joviality and interest in social life for more than a year . He became very serious. Gradually his joviality returned. However, he grew careless about his dress. He wore a coat and jacket of a cut, which was in fashion at that time. Now Sir Roger was fifty-six years old but was quite hale and hearty. He had a house in village and town. He had such a good nature that people loved him. He also treated his servants well. He was also the justice of the quorum and showed his judicial abilities on thec hair of the justice at a quarter- session.

After this, Steele has described another companion of the club. He is a lawyer. He was also a bachelor. He was a man of sharp wit and clear understanding. He chose his occupation rather to obey the direction of his old father than to incline to his own tendencies. He took to the study of law in obedience to his father. He was more interested in the study of drama and dramatic criticism. The philosophers like Aristotle and Longinus were well understood by him. His father used to send to him various questions on law in order to ensure his son’s progress in legal studies. The son outwitted the father by getting them answered through a lawyer whom he had engaged for the purpose. No body took him as a fool but only his friends knew that he had a great wit. He liked to read the books, which were not of the age he lived. He was familiar with the writings, customs, actions and manners of ancient writers, which made him a keen observer of the worldly affairs. He was a good critic. His real hour of business was the time of the play. The presence of an able critic among the audience would rouse the actors to give the best performance possible.

Next the author has discussed about Sir Andrew Free port who was is a good businessman of London. He was very laborious, experienced and had a great understanding. His knowledge of commerce was extensive. He had his own ideals of the ways of enlarging a country’s trade. He was of the opinion that a dominion may be extended by art and industry than by power.Diligence or industry alone would help the country to gain things of permanent value, and sloth or idleness more than the sword had caused the ruin of many nations. He knew many short maxims. He had a unique art of speech.he was a self made person and believed that England too could become richer than other kingdoms, by methods which had so benefited him.

After Sir Andrew, the author has described the merits of Captain Sentry. He was very courageous intelligent and had good understanding. He was such a man who had not received good consideration of his abilities. He had been Captain in military for some years and fought bravely on fronts. He left the army because even though he rendered meritorious service, which any one could see and appreciate, promotion did not come to him. He used to say that only that man could hold a position in military who gets over his false modesty. He was of the opinion that it is cowardice to stand back modestly.Similarly a man who failed to assert himself and demand what was his due was a coward. He was frank in speaking about the weaknesses of his officers. This frankness was a part of his character. Though he commanded many persons in military, he was never haughty. He never became a flatterer,although he obeyed his superiors.

The author then talks about Will Honeycomb. Though he was old, there were no traces of the passage of time in his brain or in his person. He had an attractive personality and could impress women by his talk. He dressed well and was well acquainted with the history of every fashion that remained in vogue in England. Will Honeycomb was always interested in matters pertaining to women. In his conventions he talked mostly of women, their dresses, their manners and their fashions. He had a good knowledge of history. He could tell that the hairstyles or hats of our wives and daughters resemble to those of the wenches of French Kings. But the author says tha the was a gentleman. Leaving the relations of women he was an honest and worthy man.

At the end of the essay, the author tells us about one of his companions who seldom waited him. He was a philosopher and clergyman. He lived a sacred life. He was very weak in constitution. Because of ill health, he could not fulfill the responsibilities which promotion in the church might have brought him. He spoke on divine topic with authority. He wished for the good of the world even after his death.

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The 19th-Century Club You’ve Never Heard of That Changed the World

An illustration of an 1860 rally in Lower Manhattan, with Wide Awake banners flying.

By Jon Grinspan

Dr. Grinspan is a curator of political history at the Smithsonian’s National Museum of American History and the author of “ Wide Awake : The Forgotten Force That Elected Lincoln and Spurred the Civil War.”

George Kimball was ready for war as soon as the first brick hit his head.

The 20-year-old printer was listening to an abolitionist lecture in Boston’s Bowdoin Square during the 1860 presidential campaign, when a pro-slavery throng tried to shut it down. Kimball was prepared, present as part of a torch-bearing, black-clad bodyguard called the Wide Awakes, who beat the brick-throwers back using their torches as clubs.

As Kimball walked home, blood in his eyes, he wanted “war declared at once.” Years later, having fought his way through from Bull Run to Gettysburg to Petersburg, he still considered that Boston brickbat, “as much a casus belli as was the firing upon Fort Sumter.” For him, it was the embattled right to publicly protest slavery that sparked the conflict — a fight over free speech brought on the war.

Today, our starkest political debates often turn on similar questions of public speech and public violence. Across diverse conflicts, from college campuses to the Capitol’s steps, we keep asking where the line is between heated words and aggressive deeds. Though framed as a legal question concerning the First Amendment, more often it’s a conundrum for our political culture.

In a democracy, how far is too far?

It’s a question that fueled America’s bloodiest war. The Civil War was fought over slavery (anyone who says it wasn’t is just wrong). But how did American slavery, which began in 1619, spark a conflict in 1861? How did a long-running debate turn into a shooting war? Where, exactly, was that dynamic moment when an argument became a fight?

George Kimball’s Wide Awakes help make sense of it all. That half-forgotten movement provides a missing link between the election and the war. In the presidential campaign of 1860, hundreds of thousands of diverse young Americans joined companies of Wide Awakes, marching in militaristic uniforms, escorting Republican speakers, fighting in defense of antislavery speech. Their grass-roots rising helped elect Abraham Lincoln as president but also began the spiral into war.

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