Consider the encounter between Father Declan’s priestly worldview and Enda’s account of her own life. What do you make of the moral pressures each places on the other, and where, if anywhere, does the novel seem to locate its own sympathies?

Enda has been described by some readers as a “static” character whose function is to catalyze change in Father Declan. Do you find this reading persuasive? What might be gained or lost by reading her instead as a figure who is herself altered by the act of telling “the all of it”?

Fishing and the salmon recur throughout the novel. How might one interpret this motif through a religious lens as a parable? How might another reading analyze the act of fishing as a form of reflection?

Enda and Kevin’s life together depends on a public performance of marriage, emblematized by the curtain ring. How might one weigh the ethical dimensions of this concealment against the social conditions of mid-20th-century rural Ireland?

Enda’s oral storytelling and Father Declan’s interior monologue operate in different registers. What effects do these contrasting modes produce, and what claims might the novel be making, through their juxtaposition, about truth, memory, or confession?

Consider the journey Enda and Kevin make as children, culminating in their arrival in Roonatellin. How does this life contrast with Father Declan’s? How does this journey serve to isolate Enda and Kevin from other’s in their social class?

Kevin is absent from the present action of the novel yet pervades it. How is his character assembled through Enda’s telling, and what impact does his death have on the story?

The novel is rooted in the landscapes of isolated Donegal and the village of Roonatellin. In what ways might setting be said to do more than provide backdrop here and what would a reader need to argue in order to make that case convincingly?