INTRODUCTION

Nominated for the National Book Award, The House on the Lagoon is "a family saga in the manner of Gabriel Garcia Marquez" (The New York Times). Living in the opulent "house on the lagoon," Isabel and Quintin Mendizabal exemplify the privileged class of Puerto Rican society, yet Isabel is disillusioned with the dull existence of a bourgeois San Juan housewife. She vows to assert her independence and reclaim her dream of becoming a novelist by chronicling the histories of both her and Quintin's families. Examining the natures, loves, beliefs, and prejudices of the assorted ancestors—from Quintin's father, a modern-day conquistador, to her own grandmother, a feminist who qu/oted Napolean's mother—Isabel weaves a colorful tale of the island's social elite.

When Quintin accidentally discovers his wife's manuscript, he is shaken. He is appalled to read Isabel's uninhibited retelling of the Mendizabal story, her intentional altering of history for fiction's sake. Quintin sets forth to "correct" the manuscript, offering his conflicting account and challenging his wife.

With lyrical narration, Ferré pieces together countless stories of the families' generations to convey the complexity of the period's racial tensions, the struggle for the country's political identity, and the reality of human relations.

ABOUT ROSARIO FERRÉ

Rosario Ferré is Puerto Rico's leading woman of letters, with several books of poetry, short fiction, biography, and feminist criticism to her credit. A 1995 National Book Award Finalist, for The House on the Lagoon, she has published five other works in English: Eccentric Neighborhoods, Flight of the Swan, The Battle of the Virgins, and The Youngest Doll. She is a frequent lecturer in the United States and lives in Puerto Rico.

DISCUSSION QUESTIONS

1. When Quintin discovers Isabel is chronicling their family saga, he is immediately judgmental and defensive, citing inaccurate historical references and dismissing elements of her writing style. What do his candid critiques reveal about his nature? At what point does he begin to feel threatened by her side of the story?
    
2. The reading of Rebecca's will instigates an unyielding bout of sibling rivalry. Why does Quintin feel entitled to be Mendizabal & Company's president? How do Patria and Libertad's demands, as well as Quintin's move to secede from the company and start his own business, factor into Ignacio's death?
    
3. When Manuel first tacked the Puerto Rican flag on his wall, it was far from a political statement. How did his father's vehement denunciation of the independista movement fuel Manuel's rebellion?
    
4. A "clean lineage" was once the mark of a respectable family in Puerto Rican society, but the Bloodline Books were abandoned after the Americans arrived. How did the Rebecca and Quintin's enforcement of this antiquated tenet divide the family? To what extent were they motivated by the opinions of others?
    
5. Despite his not having a drop of her blood, Willie and Isabel have similar sensibilities. Discuss the sordid chain of events that led to Willie being adopted by the Mendizabal family, from Carmelita's blood poisoning to Isabel's list of conditions. How does Petra react to the illusory arrangement?
    
6. The formidable house on the lagoon reflects many elements of the Mendizabal history. From the golden terrace to the Gothic arches to the dank cellar and its natural spring, the house held many secrets. Discuss the house's architectural features and what they reveal about the inhabitants and the impressions they wish to make. Can a parallel be drawn between the altering state of the house and that of the family?
    
7. Before their marriage, Quintin beseeches Isabel to help him defy his family's ungovernable temper, asserting "love is the only true antidote to violence." Is there validity to this statement? Why did this pact not protect the couple? At what point does Isabel decide to abandon Quintin? Are her actions justified?