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The Adjustment

Reading Group Guide

    A Reading Group Guide to

    The Adjustment

    By Suzanne Young

    About the Book

    Tatum Masterson never went through The Program. She never had her memory stripped, never had to fight to remain herself. But when Wes, her longtime boyfriend and the love of her life, was taken by handlers, she hoped he’d remember her somehow—that their love would be strong enough.

    It wasn’t.

    Like all returners, Wes came back a blank canvas. The years he and Tatum spent together were forgotten, as well as the week when he mysteriously disappeared before The Program came for him.

    Regardless of his memory loss, Tatum fights to get Wes to remember her. And just as they start to build a new love, they hear about the Adjustment—a new therapy that implants memories from a donor. Despite the risks, Tatum and Wes agree to go through the process. Tatum donates her memories from their time together.

    But the problem with memories is that they are all a matter of perspective. So although Wes can now remember dating Tatum, his emotions don’t match the experiences. And this discrepancy is slowly starting to unravel him, worse than anything The Program could have done.

    And as the truth of their life together becomes clear, Tatum will have to decide if she loves Wes enough to let him go, or to continue to live the lie they’d build together.

    Discussion Questions

    1. What can you do to get help if you, or someone close to you, exhibits signs of depression? Who are safe, reliable people in your life whom you can turn to?

    2. Some familiar characters seep into this installment of the Program series—Sloane, James, Realm, Quinlan, Dr. McKee, Marie, and Reed. Recall each of them, and their relation to the events and circumstances leading up to The Adjustment.

    3. Tatum questions, “What if the Program took away our ability to feel by making us hide it for so long? What if none of us is real?” Later, a returner says, “‘Did you ever think they’re the ones who are crazy? . . . And the returners are the only ones who are real?’” How are feelings felt—do you consider this to be an active or passive human process? How do feelings relate to being “real”?

    4. Describe the community in which Tatum lives and goes to school. How would you characterize the people, the values, and even the dominant political orientation within it? What clues point to the economic status of Tatum’s family, and the families in her community? How has Tatum’s environment shaped her as a person? How has your environment shaped you?

    5. What is the importance of timing in a relationship? Are some couples naturally, automatically, compatible—regardless of the circumstances through which they meet? How much does the longevity of a relationship depend on these beginning circumstances? Would Tatum and Wes’s initial connection have been as strong if they had met at a different time in their lives? Or in a different place? Surrounded by different people?

    6. What is the basis of Wes and Tatum’s love? Are Wes and Tatum, in fact, in love? How does love happen? To what extent do people have control over who and how they love? Is the way we love wired in our body’s chemistry, or is it influenced by social or environmental factors?

    7. Tatum considers Wes’s return to her as, arguably, inevitable; “like his heart remembers even as his brain doesn’t.” Do you agree? How much of memory stems from the brain, and how much of memory is housed in the heart? What does it mean for memory to be related to “heart”? How and when else do the heart and mind agree—or disagree? When Wes has the negative reaction to the Adjustment, Dr. McKee rationalizes, “‘In plain terms, his heart and head don’t agree.’” What does it look and feel like when one’s heart and mind is in disagreement?

    8. Tatum concludes, “memory is life in reverse.” Later, she worries that “the present is influencing my perspective on the past.” What does this mean? Discuss.

    9. As Wes reacquaints himself with Tatum, he expresses curiosity in knowing who he is when he is with her. At times, he directly asks her about his preferences. Are likes and dislikes fixed, within a person—or are preferences subject to change? How might some of your personal interests be influenced by others? Think about your taste in music, movies, food, and clothing. Would you have the same interests under different life circumstances?

    10. Wes often struggles with juxtaposing the different “versions” of himself—before and after The Program. To what degree does identity, or sense of self, fluctuate in life? Is it ingrained? Can it be manipulated? Can it change naturally? What might cause someone to become a different version of him- or herself in today’s world? Do you believe it’s possible for a person to embrace multiple versions of him or herself at the same time?

    11. Why doesn’t Nathan particularly care for Wes? How does Tatum reconcile this? Would you be able to date someone your best friend doesn’t like?

    12. When Wes warms to the idea of riding his motorcycle again, he admits that it “sounds normal.” What about it resonated as normal? On what was he likely basing normalcy? How do you define “normal”?

    13. How much of Wes’s amnesia is because of The Program? Is it possible for people to lose memories, naturally? To what extent do you believe in the power of denial? How does it relate to what Dr. McKee refers to as “self-erasure”? How might denial impact Tatum’s memories?

    14. Why did Wes seem to remember Tatum’s love of cherries? Why did that memory endure, and not others?

    15. When Tatum and Wes go downtown to see the local band play, Tatum remarks that she feels at ease among the older crowd: “The crowd was a nice change from the people we were normally around. These people were over eighteen—the fear wasn’t the same in them.” To what fear is she referring? Thinking back, why were teens especially susceptible to the epidemic that led to The Program and ultimately the Adjustment? How come adults seemed less at risk?

    16. Consider the theme of protection in The Adjustment. Who is protecting whom? Who is responsible for protecting whom? What does protection mean in a parent-child relationship? How does it play into a platonic friendship? A romantic relationship? Consider these references in the narrative:

    “I think the parents in this district will only be happy when we’re all put in individual bubbles, completely protected (and isolated) from the outside world.”

    “‘The Program’s dead, Pop. It’s time you let me protect myself.’”

    “‘The school board is . . . They are concerned. Seems several members are worried about another outbreak. A parent brought it to their attention.’”

    “Because my grandparents love me unconditionally. And that means they would never try to manipulate me.”

    “‘The monitor wants safeguards. Which, of course . . . means control.’”

    “I have no reason to doubt [my grandparents].”

    17. On that note, explore the theme of control in The Adjustment. Who controls whom? What are the tools of control that people use in this environment? Consider Tatum’s realization—“There’s that word again: control. Seems a simple concept, but in reality, it’s harder to define. One person’s freedom may equal another person’s control.” What are the tools of control you observe in your environment? In society, at large?

    18. What was your initial impression of The Adjustment’s facility, when Tatum and Wes came upon it? Did you foresee any red flags in the way she described its physical appearance and attributes? How about in the process, especially the pace of the process, through which Wes underwent the Adjustment?

    19. How do the tenets of The Adjustment compare to those of The Program? How are they different? What might they have, surprisingly or not, in common?

    20. In reflecting back on society’s initial acceptance of The Program, Tatum concludes, “Even if we weren’t clear on the methods, we accepted the results.” Interestingly, Jana supports The Adjustment for similar reasons. Have you ever experienced a situation in which the means justified the end, as such? Can good intentions ever outweigh the potential for negative results? Is this line of thinking ever justifiable in your world, or the world around you?

    21. Part of the philosophy of The Adjustment is “No one wants a life half lived.” In today’s reality, what does it take to live your life fully? How might a life be half lived?

    22. Dr. McKee suggests that some people are “just not meant to be together. No matter how much they love each other.” Do you agree?

    23. Suzanne Young explores the theme of secrets throughout The Adjustment. How do secrets, or the lack thereof, influence relationships? Is it okay to keep secrets from your romantic partner? Your friends? Your family? When? What is the difference, or intersection between, secrets and privacy? What is the difference between a secret and a lie? Is it ever okay to lie to those you love? What would Tatum say to all of this? Wes? Nathan? Tatum’s grandparents? Consider these references to secrets and lies, as they relate to Tatum’s relationships and the ones she observes around her:

    “I’ve seen too many people afraid to share things with their parents. It happened all the time with The Program. But I’ve never had to worry about keeping secrets. And it’s probably why I’m still here today.”

    “We also decided to keep it a secret for now. I made the appointment online, but Wes didn’t tell his parents.”

    “I almost text Nathan to ask what it’s about, but Foster said it was just between us. I’m not sure what that could mean, but I can’t betray his trust if it’s something he doesn’t want Nathan to know. At the same time, I can’t imagine him keeping a secret from Nathan. Yet, here I am, keeping a secret from Nathan. I’m keeping the Adjustment a secret.”

    “It’s strange how quickly we fall in together, whether it’s the memories or the secret keeping, something is bonding us.”

    “‘We are all liars. We’ve seen the people getting sick, saw it during the epidemic. We chose to turn a blind eye . . . All we do is pretend.’”

    “I try to understand if my entire history with Wes is a lie.” “‘We all get lied to, Tatum . . . Sometimes we’re lying to ourselves. Seems there’s a healthy dose of that going around. And sometimes we lie to others.’”

    24. What is Nathan’s function in the story of The Adjustment? What is his role, and what does his presence serve? Characterize the dynamic between Tatum and Nathan. Can a girl and a guy ever be, purely, just friends? Do you believe this is the case with Tatum and Nathan?

    25. How do you explain the pills Tatum’s grandparents give her, to quell her headache? Were you suspicious? Are you still suspicious? What other significance might the pills have to Tatum, and to her story at large?

    26. The Adjustment relies on donor memories to stimulate the return of memories in each patient. Think about each character who has, or may have, undergone The Adjustment, and identify who the probable donor was for each.

    27. Tatum served as the memory donor for Wes. Why her? Who, in your life, might qualify as a “memory donor” for you, hypothetically speaking?

    28. Dr. McKee compares the mind to a fuse box and to a computer that can be rebooted. What other analogies would you assign to the mind, or to the way your mind works, specifically?

    29. How reliable is Tatum as a narrator? To what extent did you trust or question her perspective? Why does Suzanne Young choose to write this series in the first person? What are the benefits? Risks? What are the effects on you, as a reader?

    30. Do you believe in the idea, “It’s better to have loved and lost, than never to have loved at all”? Does Tatum? Wes? Dr. McKee?

    31. Consider the bombshell that’s dropped at the end of The Adjustment. Did you see it coming? Examine the clues that might have pointed to it, prior to the ending.

    Extension Activities

    1. In a way, Wes had the opportunity to choose his style when he returned. After all, “Most returners have had their clothing replaced, and it takes a while for them to figure out their style again.” Think about your style now. Create an outfit that best represents your style now. Then create an outfit that represents how you imagine your style to have evolved five years from now . . . and then in ten. Finally, identify one piece or accessory that you think will remain representative of your identity for the rest of your life.

    2. On the very first page, Tatum reflects, “It turns out that although The Program no longer exists, its effect is long lasting.” Research government programs in past and recent history: those considered effective, and those that are not remembered positively. Explore their origins and aftermath, and, ultimately, the leftover symptoms that have permeated society. Consider the New Deal or segregation.

    3. When does memory begin? Poll your friends and family, recruiting people’s very first memories. Deduce a pattern for the type of memory people first hold on to, and hypothesize why and when memory starts.

    4. Write the story of Wes’ weeklong disappearance, before he was taken to The Program. Where was he? Who was he with? What was he doing? Why did he leave? What were his plans?

    5. In The Adjustment, Wes brings Tatum to a seemingly significant wooded neighborhood. When she arrives, she comments, “It smells like pine trees and earth, like camping and freedom.” Many times, we assign senses to memories—sights, sounds, tastes, and as Tatum demonstrates, smells. Create a scent that reflects how you’d like to memorialize your life, as you are now. What ingredients would be included?

    6. Create a soundtrack that follows the plot of this story. Consider including Radiohead for Tatum!

    Guide written in 2017 by Catharine Sotzing Prodromou, Assistant Director and Reading Specialist at the Alta Vista School, San Francisco, CA.

    This guide has been provided by Simon & Schuster for classroom, library, and reading group use. It may be reproduced in its entirety or excerpted for these purposes.

More Books From This Author

Feral Youth
The Complication
All in Pieces
The Epidemic

About the Author

Suzanne Young
Photo credit Dawn Goei

Suzanne Young

Suzanne Young is the New York Times bestselling author of The Program series. Originally from Utica, New York, Suzanne moved to Arizona to pursue her dream of not freezing to death. She is a novelist and an English teacher, but not always in that order. Suzanne is also the author of Girls with Sharp SticksAll in PiecesHotel for the Lost, and several others novels for teens. Visit her online at AuthorSuzanneYoung.com or follow her on Instagram at @AuthorSuzanneYoung.

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