Cloud Atlas

Could someone provide rough answers to the discussion questions at the end of the BookRags study guide?

1. How does the unique structure of the novel (its pairs of chapters that go forward and then backwards in time) add (or detract) from the telling of the story? Is the structure merely a clever literary device or does it add something to the novel?

2. Several subtle threads tie all of the chapters and time periods together. Describe two of these, such as the "comet-shaped" birthmark, and give examples from each pair of chapters.

3. How does the author use literary devises to create a unique mood for each pair of chapters? Give examples of these and where they are used in the novel.

4. In each pair of chapters, there is one character that is not quite what he, at first, would appear to be. Identify these characters as well as the hints given that might lead the reader to their true identity.

5. War and conflict are portrayed as an inevitability of any society in Cloud Atlas. Is this premise truly valid? Does it have parallels in today's current events?

6. How does David Mitchell use language to evoke moods? Give examples of how he uses place and object names to foreshadow coming events.

7. Want is the author trying to say about the human condition? Is his message one of despair, one of hope, or one of resignation? Give examples.

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Cloud Atlas is divided into eleven chapters, with the first and last chapters completing one another and the others relating in a 1 2 3 4 5 6 5 4 3 2 1 pattern, with time going forward and then backwards in the same pattern. The effect on the reader is of the rise and fall of civilization, the metaphor that the author probably intended.

The length of each chapter is varied. The "Adam Ewing" chapters are divided into short daily journal entries; the "Letters from Zedelghem" chapters are divided into nine and eight letters, respectively; and the "Luisa Rey" chapters are divided into numbered scenes, like a screenplay. The second portions of the two-part stories are shorter than the first portions.

Each "first" chapter ends with a cliff-hanger scene, building suspense for the second half of the pair. In "Adam Ewing," the chapter ends abruptly as if pages have been torn from the journal. "Letters from Zedelghem" leaves many issues unresolved, and the first "Luisa Rey" chapter ends with Luisa's car being forced off of the road in the lake. The first "Timothy Cavendish" chapter ends with Mr. Cavendish trapped in the elderly asylum and having just had a stroke. In "Sonmi-451," Sonmi and Hae-Joo Im are in danger and run for their lives as the first chapter ends. This narrative technique creates tension and anticipation to read the second halves of the stories.

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