57 pages • 1-hour read
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Content Warning: This section of the guide includes discussion of racism and addiction.
Analyze the structural choice of the epistolary narrative. How does Wingate use the chronological unfolding of Iola’s letters not only to reveal a historical mystery but also to pace and guide Tandi’s own psychological healing and spiritual development?
How does the storm-battered geography of the Outer Banks in The Prayer Box forge a communal identity that reinforces the novel’s central theme of healing through forgiveness and community?
Compare the nature and function of Iola’s secrets, born from the societal pressures of the Jim Crow era, with Tandi’s secrets, which stem from personal trauma and addiction. What does this parallel reveal about the different ways shame and fear can isolate an individual?
How does Wingate complicate the idea of family by showing that “chosen family” is not automatically safe or stable, but must be actively nurtured?
Instead of treating Paul and Ross as simple foils, how does Wingate use them to dramatize Tandi’s fear of repeating cycles of dependency? Analyze how her shifting reactions to both men reveal her struggle to distinguish real partnership from performative security.
Why does the novel employ a dual-climax structure, juxtaposing Iola’s public vindication with Tandi’s private discovery as the “Mulberry Girl,” to argue that personal revelation is essential for a complete resolution?
How does Wingate use the physical decline and threatened demolition of Benoit House to interrogate the ethics of historical preservation? In what ways does the community’s evolving stance toward the house mirror broader questions about whose histories are remembered, whose are erased, and who gets to decide?
How does Gina’s attempt to discredit Tandi at the commissioners’ meeting paradoxically serve to validate Tandi’s transformation? Analyze how Gina’s final actions, intended to expose Tandi’s past, instead highlight Tandi’s newfound strength and the community’s acceptance.
How do the motifs of mending, light, and stains complicate each other? For example, in what ways do Tandi’s repairs suggest active agency, while the imagery of cracks and stains suggests marks that cannot be erased? What does this tension reveal about Wingate’s vision of grace as both transformative and permanent?



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