Available:*
Library | Call Number | Status |
|---|---|---|
Searching... Hardwood Creek Library (Forest Lake) | SCD FICTION MOR 11 DISCS | Searching... Unknown |
Searching... Park Grove Library (Cottage Grove) | SCD FICTION MOR 11 DISCS | Searching... Unknown |
Bound With These Titles
On Order
Summary
Summary
Only a few years before becoming a famous actress and an icon for her generation, a fifteen-year-old Louise Brooks leaves Wichita to make it big in New York. Much to her annoyance, she is accompanied by a thirty-six-year-old chaperone who is neither mother nor friend. Cora Carlisle is a complicated but traditional woman with her own reasons for making the trip. Ultimately, the five weeks they spend together will change their lives forever.
Summary
Soon to be a feature film from the creators of Downton Abbey starring Elizabeth McGovern , The Chaperone is a New York Times -bestselling novel about the woman who chaperoned an irreverent Louise Brooks to New York City in the 1920s and the summer that would change them both.
Only a few years before becoming a famous silent-film star and an icon of her generation, a fifteen-year-old Louise Brooks leaves Wichita, Kansas, to study with the prestigious Denishawn School of Dancing in New York. Much to her annoyance, she is accompanied by a thirty-six-year-old chaperone, who is neither mother nor friend. Cora Carlisle, a complicated but traditional woman with her own reasons for making the trip, has no idea what she's in for. Young Louise, already stunningly beautiful and sporting her famous black bob with blunt bangs, is known for her arrogance and her lack of respect for convention. Ultimately, the five weeks they spend together will transform their lives forever.
For Cora, the city holds the promise of discovery that might answer the question at the core of her being, and even as she does her best to watch over Louise in this strange and bustling place she embarks on a mission of her own. And while what she finds isn't what she anticipated, she is liberated in a way she could not have imagined. Over the course of Cora's relationship with Louise, her eyes are opened to the promise of the twentieth century and a new understanding of the possibilities for being fully alive.
Drawing on the rich history of the 1920s, '30s, and beyond--from the orphan trains to Prohibition, flappers, and the onset of the Great Depression to the burgeoning movement for equal rights and new opportunities for women--Laura Moriarty's The Chaperone illustrates how rapidly everything, from fashion and hemlines to values and attitudes, was changing at this time and what a vast difference it all made for Louise Brooks, Cora Carlisle, and others like them.
Author Notes
Laura Moriarty was born in 1970 in Honolulu, HI. She attended the University of Kansas to earn her degree in social work and later her M.A. in Creative Writing. She went on to be awarded the George Bennett Fellowship for Creative Writing at Phillips Exeter Academy in New Hampshire. She soon became a professor of Creative Writing at the University of Kansas. It was then that she started her writing career. Her title's include: While I'm Falling, The Rest of Her Life, The Center of Everything, and The Chaperone.
(Bowker Author Biography)
Reviews (4)
Publisher's Weekly Review
Moriarty (While I'm Falling) skims the surface of 1920s life in Wichita, Kans., where homosexuality, contraception, and being just about anything other than white and Protestant is considered a moral offence. In the summer of 1922, prim, married Cora Carlisle chaperones a young Louise Brooks, the silent film star, to New York. Cora keeps mum about her own childhood journey from the New York Home for Friendless Girls to a new life with an adopted family in Kansas, because she intends to search for her birth mother once she and Louise arrive. What follows the trip for Louise is history: film stardom until the advent of sound. What follows for Cora is at first a letdown for the reader, and then highly dubious, given her naive and conservative nature. Though what happens in New York gives Cora a new moral order, for the rest of her life she keeps it, too, a secret. The novel, which in its final stretch races to 1982, attempts to portray Cora as a heroine buffeted by the bigotry and priggishness of the Jazz Age, but glosses over events and neglects the inner lives of many of its characters. Agent: Tracy Fisher, WME Entertainment. (June) (c) Copyright PWxyz, LLC. All rights reserved.
Booklist Review
Moriarty elegantly dovetails the stories of two vastly different women poised on the brink of self-discovery. When an immensely talented Louise Brooks destined to become the toast of Hollywood is accepted into a five-week summer course at the prestigious Dennishawn School of Dance in New York City, all the prematurely worldly 15-year-old needs is a suitable chaperone. After all, in 1922 even girls as advanced as Louise need to present a veneer of propriety. The unlikely candidate turns out to be Cora Carlise, a highly regarded and extremely respectable Wichita matron. Although it initially appears that empty-nester Cora merely longs for an exciting change of scenery from her staid, middle-class life in Kansas, it soon becomes clear that she has a hidden agenda of her own. As Cora clashes with her headstrong charge, the heartrending truth about both her childhood and her marriage is revealed. Despite her irreverent and deliberately provocative attitude, Louise, too, harbors tragic secrets of her own. A book-club favorite (The Center of Everything, 2003, and The Rest of Her Life, 2007), the always engrossing Moriarty has combined real-life and fictional characters to great effect as both Cora and Louise end up defying the conventional expectations of the era with mixed results.--Flanagan, Margaret Copyright 2010 Booklist
New York Review of Books Review
EARLY on in "The Chaperone," Laura Moriarty's fourth novel, it becomes clear that Cora Carlisle is fighting a losing battle. Her charge is Louise Brooks, soon-to-be silent-film star and something of a force of nature. As the critic Kenneth Tynan wrote, Brooks was "a creature of impulse, a creator of impulses, a temptress with no pretensions, capable of dissolving into a giggling fit at a peak of erotic ecstasy, . . . with that sleek jet cloche of hair that rings such a peal of bells in my subconscious." Moriarty's Louise is only 15, a Jazz Age lost girl playing uncertainty as brashness, but impulse and temptation are already in bloom. Cora, on the other hand, is Moriarty's own creation: a 36-year-old Protestant wife and resident of Wichita, Kan. During the summer of 1922, she agrees to accompany Louise on a trip to New York. While she quickly warms to her position as guardian, seizing on the opportunity to provide the rebellious girl with the moral instruction she lacks, Cora has her own reasons for going. As a child, she was sent to Kansas from New York on an orphan train; the trip is a chance to uncover the past. Familiar as this seems - staid Midwestern matron confronts permissive urban world, ineffable longings stir - Moriarty's plot appears at first to provide an opportunity for exploring what happens when, as Virginia Woolf put it, "Chloe likes Olivia": the relationship of two women, "unlit by the capricious and colored light of the other sex." But even when sex is not at issue, the broad strokes of history step in to take its place. Too often, the image of these women is diffused by what is happening around them, and the consensus about it: Cora's morals are knee-jerk and, from the remove of history, easy to condemn. Then there's Louise, eating lollipops and evoking more than a shade of Lolita. In the novel, as in life, Louise reads Schopenhauer, and Cora, snooping, notices she has underlined a passage: "The agony of the devoured animal is always far greater than the pleasure of the devourer." Brooks may have been devoured by life, but she did her fair share of devouring too. Her inevitable destruction was less a judgment than a kind of choice. Neither use nor abuse by men was her interpreter, and neither was history, really - Brooks never sought nor has she been granted forgiveness from anyone, herself least of all. Despite her built-in appeal, Louise is present in the novel mainly to serve as fodder, if not exactly inspiration, for Cora's feminist awakening. It's a part any young thing of the 1920s could have played, though it fits Louise to a T: "As young as Louise was, she was a grown woman, a modern woman, smart and fearless of judgment, a lovely sparkle on the blade of her generation as it slashed at the old conventions." Louise's rebelliousness, well researched by Moriarty, helps midwife Cora's reversal by demonstrating the worthlessness of the conservative virtues Cora holds dear. (Perhaps, Moriarty wants to suggest, it's Louise who's the chaperone.) But this awakening is suspect given what little we know of Cora's character. And it's unfortunate that liberation should be embodied by Cora's decision to impulsively bed a German handyman. Moriarty's sentences are pert and plucky, shaped by a contemporary sensibility that can leave an anachronistic aftertaste: "I only tell you this because I care"; "Get it all out." She has an eye for scenic detail, stopping to notice things like biscuit smells and window cracks. But sometimes background feels staged: a man drinking from a flask at Grand Central too clearly contradicts Cora's prohibitionist beliefs. Cinematic extras, like historical commonplaces, serve as stand-ins for a character's thought. At one moment, as Louise and Cora attend the musical "Shuffle Along," Moriarty appears to be on the verge of something. Cora wants to leave but wavers when a black woman and her son take seats beside her: "They couldn't get up and leave now - not without giving the impression that they were fleeing from the proximity of this woman an¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿ ¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿ ¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿ ¿ ¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿ ¿¿¿¿ ¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿ ¿¿¿ ¿¿¿ ¿¿¿¿¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿ ¿¿¿¿¿ ¿¿¿ ¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿¿
Library Journal Review
Moriarty's engrossing work of historical fiction centers around Cora Carlisle, a woman selected to accompany aspiring entertainer Louise Brooks to New York City from Wichita, KS. Louise, who would become one of Hollywood's biggest stars in the 1920s and 1930s, here is only 15 years old but already well aware of how to use her beauty to her advantage. For Cora, a traditional, married mother of two who is a stranger to Louise at the beginning of the journey, the trip represents an opportunity to learn more about her own ambiguous past. The book is narrated by actress Elizabeth McGovern, perhaps best known to audiences as Lady Cora from the British period drama Downton Abbey. McGovern deftly provides Moriarty's characters with distinct speech patterns and accents, which will help listeners navigate this work's long stretches of dialog. VERDICT Highly recommended for general and literary fiction collections. ["Moriarty is a wonderful storyteller; it's hard to put this engaging novel down," read the review of the New York Times best--selling Riverhead hc, LJ 3/15/12.-Ed.]-Nicole Williams, Englewood P.L., NJ (c) Copyright 2013. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
One The First time Cora heard the name Louise Brooks , she was parked outside the Wichita Library in a Model-T Ford, waiting for the rain to stop. If Cora had been alone, unencumbered, she might have made a dash across the lawn and up the library's stone steps, but she and her friend Viola Hammond had spent the morning going door-to-door in their neighborhood, collecting books for the new children's room, and the considerable fruits of their efforts were safe and dry in four crates in the backseat. The storm, they decided, would be a short one, and they couldn't risk the books getting wet. And really, Cora thought, staring out into the rain, it wasn't as if she had anything else to do. Her boys were already gone for the summer, both of them working on a farm outside Win?eld. In the fall, they would leave for college. Cora was still getting used to the quiet, and also the freedom, of this new era of her life. Now, long after Della left for the day, the house stayed clean, with no muddy footprints on the ?oor, and no records scattered around the phonograph. There were no squabbles over the car to mediate, no tennis matches at the club to cheer on, and no assigned essays to proofread and commend. The pantry and icebox actually stayed stocked with food without daily trips to the store. Today, with Alan at work, she had no reason to rush home at all. "I'm glad we took your car and not ours," Viola said, adjusting her hat, which was pretty, a puffed turban with an ostrich feather curling down from the crown. "People say closed cars are a luxury, but not on a day like this." Cora gave her what she hoped was a modest smile. Not only was the car covered, it had come with an electric starter. Cranking cars, no business for a lady , was how the ad went, though Alan had admitted he didn't miss cranking either. Viola turned, eyeing the books in the backseat. "People were generous," she allowed. Viola was a decade older than Cora, her hair already gray at the temples, and she spoke with the authority of her added years. "Mostly. You notice Myra Brooks didn't even open her door." Cora hadn't noticed. She'd been working the other side of the street. "Maybe she wasn't home." "I heard the piano." Viola's eyes slid toward Cora. "She didn't bother to stop playing when I knocked. I have to say, she's very good." Lightning shot across the western sky, and though both women ?inched, Cora, without thinking, smiled. She'd always loved these late-spring storms. They came on so fast, rolling in from the prairie on expanding columns of clouds, a welcome release from the day's building heat. An hour before, when Cora and Viola were canvassing, the sun was hot in a blue sky. Now rain fell fast enough to slice green leaves from the big oak outside the library. The lilacs trembled and tossed. "Don't you think she's a tiresome snob?" Cora hesitated. She didn't like to gossip, but she could hardly count Myra Brooks as a friend. And they'd been to how many suffrage meetings together? Had marched together in the street? Yet if she passed Myra today on Douglas Avenue, Cora wouldn't get so much as a hello. Still, she never got the feeling that it was snobbery as much as Myra simply not registering her existence, and there was a chance it was nothing personal. Myra Brooks didn't seem to look at anyone, Cora had noticed, not unless she was the one speaking, watching for the impression she made. And yet, of course, everyone looked at her. She was, perhaps, the most beautiful woman Cora had ever seen in person: she had pale skin, ?awless, and large, dark eyes, and then all that thick, dark hair. She was certainly a talented speaker--her voice was never shrill, and her enunciations were clear. But everyone knew it was Myra's looks that had made her a particularly good spokeswoman for the Movement, a nice antidote to the newspapers' idea of what a suffragist looked like. And you could tell she was intelligent, cultured. She was supposed to know everything about music, the works of all the famous composers. She certainly knew how to charm. Once, when she was at the podium, she had looked down at Cora, right into her eyes, and smiled as if they were friends. "I don't really know her," Cora said. She looked back out through the blurred windshield, at people ducking out from a streetcar, running for cover. Alan had taken a streetcar to work, so she could have the Ford. "Then I'll inform you. Myra Brooks is a tiresome snob." Viola turned to Cora with a little smile, the ostrich plume grazing her chin. "I'll give you the latest example: she just sent a note to the secretary of our club. Apparently, Madame Brooks is looking for someone to accompany one of her daughters to New York this summer. The older one, Louise, got into some prestigious dance school there, but she's only ?fteen. Myra actually wants one of us to go with her. For over a month!" Viola seemed pleasantly outraged, her cheeks rosy, her eyes bright. "I mean, really! I don't know what she's thinking. That we're the help? That one of us will be her Irish nanny?" She frowned and shook her head. "Most of us have progressive husbands, but I can't imagine any one of them would spare a wife for over a month so she could go to New York City, of all places. Myra herself is too busy to go. She has to lie around the house and play the piano." Cora pursed her lips. New York . She felt the old ache right away. "Well. I suppose she has other children to look after." "Oh, she does, but that's not it. She doesn't take care of them. They're motherless, those children. Poor Louise goes to Sunday school by herself. The instructor is Edward Vincent, and he picks her up and takes her home every Sunday. I heard that right from his wife. Myra and Leonard are alleged Presbyterians, but you never see them at church, do you? They're too sophisticated, you see. They don't make the other children go either." "That speaks well of the daughter, that she makes the effort to go on her own." Cora cocked her head. "I wonder if I've ever seen her." "Louise? Oh, you would remember. She doesn't look like anyone else. Her hair is black like Myra's, but perfectly straight like an Oriental's, and she wears it in a Buster Brown." Viola gestured just below her ears. "She didn't bob it. She had it cut like that when they moved here years ago. It's too short and severe, a horrible look, in my opinion, not feminine at all. But even so, I have to say, she's a very pretty girl. Prettier than her mother." She smiled, leaning back in her seat. "There's some justice in that, I think." Cora tried to picture this black-haired girl, more beautiful than her beautiful mother. Her gloved hand moved to the back of her own hair, which was dark, but not remarkably so. It certainly wasn't perfectly straight, though it looked presentable, she hoped, pinned up under her straw hat. Cora had been told she had a kind, pleasant face, and that she was lucky to have good teeth. But that had never added up to striking beauty. And now she was thirty-six. "My own girls are threatening to cut their hair," Viola said with a sigh. "Foolish. This bobbing business is just a craze. When it's over, everyone who followed the lemmings over the cliff will need years to grow their hair out. A lot of people won't hire girls with bobbed hair. I try to warn them, but they won't listen. They just laugh at me. And they have their own language, their own secret code for them and their friends. Do you know what Ethel called me the other day? She called me a wurp .That's not a real word. But when I tell them that, they laugh." "They're just trying to rattle you," Cora said with a smile. "And I'm sure they won't really bob their hair." Really, it seemed unlikely. The magazines were full of short-haired girls, but in Wichita, bobs were still a rarity. "I do think it looks good on some girls," Cora said shyly. "Short hair, I mean. And it must feel cooler, and lighter. Just think--you could throw all your hairpins away." Viola looked at her, eyebrows raised. "Don't worry. I won't do it." Cora again touched the back of her neck. "I might if I were younger." The rain was coming down faster, rapping hard on the roof of the car. Viola crossed her arms. "Well, if my girls do cut their hair, I can tell you now, it won't be so they can throw away hairpins. They'll do it to be provocative. To look provocative. That's what passes for fashion these days. That's what young people are all about now." She sounded suddenly stricken, more confused than indignant. "I don't understand it, Cora. I raised them to have propriety. But both of them are suddenly obsessed with showing the world their knees. They roll their skirts up after they leave the house. I can tell by the waistbands. I know they defy me. They roll their stockings down, too." She gazed out into the rain, lines branching beneath her eyes. "What I don't know is why, what's going on in their little heads, why they don't care about the message they're sending. When I was young, I never felt the need to show the general public my knees." She shook her head. "Those two cause me more grief than all four of my boys. I envy you, Cora. You're lucky to only have sons." Maybe, Cora thought. She did love the very maleness of the twins, their robust health and con?dence, their practical taste in clothing, their easy reconciliations after heated quarrels. Earle was smaller and quieter than Howard, but even he seemed capable of forgetting all worries when he held a racquet or a bat. She loved that they had both wanted to work on a farm, seeing it as an adventure in country living and physical labor, though she also worried they had no idea how much labor they'd signed on for. And she knew she had been lucky with her sons, and not just in the way that Viola meant. The Hendersons next door had a son just four years older than the twins, but those few years had made all the difference--Stuart Henderson had been killed in early 1918, ?ghting in France. Four years later, Cora was still stunned. For her, Stuart Henderson would always be a gangly adolescent, smiling and waving from his bike at her own boys, who were small then, still in short pants. Really, being lucky with sons seemed a matter of timing. But whatever Viola said, Cora thought she might have fared just as well with daughters. She would have been good with girls, perhaps, using the right combination of instruction and understanding. Maybe Viola was just going about it the wrong way. "I'm telling you, Cora. Something is wrong with this new generation. They don't care about anything important. When we were young, we wanted the vote. We wanted social reform. Girls today just want to . . . walk around practically naked so they can be stared at. It's as if they have no other calling." Cora could hardly disagree. It really was shocking, how much skin girls were showing these days. And she wasn't some old prude or Mrs. Grundy; she was fairly sure she wasn't a wurp , though she didn't know what that meant either. Cora had been pleased when the hemlines moved up to nine inches from the ankle. Some leg showed, true, but that change seemed sensible: no more skirts trailing in the mud and bringing typhoid or who knows what into the house. And calf length was far preferable to the ridiculous hobble skirts that she herself had stumbled around in, all for the sake of fashion, not so long ago. Still, girls were now sporting skirts so short that their knees showed every time the wind blew, and there was no practical reason for that. Viola was right: a girl who wore a skirt that short just wanted to be looked at, and looked at in that way . Cora had even seen a few women her own age showing their knees, right here in Wichita, and really, in her opinion, these half-naked matrons looked especially vulgar. Viola looked at her brightly. "That's one of the reasons I'm joining the Klan." Cora turned. "What?" "The Klan. Ku Klux. They sent a representative to the club last week. I wish you would have been there, Cora. They're very interested in women joining up, holding positions." "I'm sure they are," Cora murmured. "We vote." "Don't be a cynic. They were much more speci?c than that. They know that there are serious women's issues at hand, and that women need to be in the ?ght." The ostrich feather bobbed as she spoke. "They're against all this modernization, all these outside in?uences on our youth. They're interested in racial purity, of course, but they're just as interested in teaching personal purity for young women. We do need to keep our race pure, and Good Lord, we need to keep it going. My brother-in-law says a veritable takeover is coming, and it's all being planned in the basement of the Vatican. That's the real reason Catholics have so many children, you know, and meanwhile, our people have one or two or none at . . ." Viola trailed off. She rolled her lips in. It took Cora a moment to understand. "I'm sorry," Viola said. "I didn't mean you. Your situation is different." Cora waved her off. The twins were what she had. But both she and Viola were silent for a while, and there was only the tapping rain. "In any case," Viola said ?nally, "I think it would be good for the girls. Good, moral people to mix with." Cora swallowed, feeling short of breath. She had been wearing a corset day in, day out, for so many years that she rarely registered it as a discomfort. It seemed a part of her body. But in moments of distress, such as now, she was aware of her constricted rib cage. She would have to choose her words carefully. She could not come across as personally concerned. "I don't know," she said, her voice breezy, not betraying her in any way. "Oh,Viola. The Klan? They wear those white gowns, those hoods with the spooky eyeholes." She ?uttered her gloved hands. "And they have wizards and grand wizards, and bon?res." Even as she smiled, she glanced into Viola's small blue eyes, analyzing what she saw there. She had to consider her options, her best route to success. Viola was older, but Cora was richer. She would capitalize on that. "It just seems a little . . . common." She shrugged, apologetic. Viola cocked her head. "But lots of people are--" "Exactly." Cora smiled again. She had chosen the right word, precisely. It was as if they were shopping at the Innes Department Store together, and Cora had shown disdain for an ugly china pattern. She already knew, with certainty, Viola would reconsider. When the rain let up, they slid out and carried the crates in, sidestepping puddles, each woman making two trips. Inside, waiting for the librarian, they chatted about other things. They ?ipped through a pristine copy of Alice's Adventures in Wonderland , and smiled at the illustrations. They stopped at the Lassen Hotel for tea, and then Cora drove Viola home. So many years later , this easy ride home with Viola would be the part of the story where Cora, in the telling, would momentarily lose the regard of a grandniece she adored. This grandniece, who at seventeen, incidentally, wore her hair much longer than her mother preferred, would be frustrated to the point of tears that in 1961 she was not yet old enough to join the freedom riders in the South. She often admonished Cora for using the word "colored," but she generally showed her more patience than she did her own parents, understanding that her aunt Cora was not a hateful person, just an old woman with tainted language. But that patience was tested when she heard about Viola. Cora's grandniece couldn't comprehend why her great-aunt would remain friends with a woman who even considered being part of the Klan. Did she not know what they did to people? Her grandniece would look at Cora with scorn, and with forsaken, teary eyes. Had she been unaware of their cowardly crimes? Their murders of innocent people? Yes, Cora would say, but in the end, Viola never joined. Only because she was a snob, her grandniece would counter. Not because the Klan was repugnant. It was a different time, was all Cora could say, defending her old friend, who would be long since dead by then. (Cancer. She'd started smoking after her daughters picked it up.) Consider the numbers, Cora would try. That rainy day with Viola was in the summer of 1922, when the Klan was six thousand strong in the city limits--and Wichita only held maybe eighty thousand souls in total. That wasn't unusual for the time. The Klan was strong and growing in many towns, in many states. Were people just stupider then? Meaner? Maybe, Cora allowed. But it was foolish to assume that had you lived in that time, you wouldn't be guilty of the same ignorance, unable to reason your way out. Cora herself had only escaped that particular stupidity because of her special circumstance. Other confusions had held her longer. There's plenty of stupidity now, the grandniece said, and I know it for what it is. True, Cora conceded, and I'm proud of you for that. But maybe there's some more, and you don't know it's there. Do you know what I'm saying? Honey? To someone who grows up by the stockyards, that smell just smells like air. You don't know what a younger person might someday think of you, and whatever stench we still breathe in without noticing. Listen to me, honey. Please. I'm old now, and this is something I've learned. After she dropped Viola off, Cora drove back downtown and parked on Douglas, just outside Alan's of?ce. No one looked twice at her as she climbed down from the car. Just two years earlier, one of the most discussed events of the annual Wheat Show was the Parade of Lady Drivers. Even then, the organizers had no trouble ?nding almost twenty women anxious to display their competence behind the wheels of various cars. Cora had driven the ?fth car in the line, Alan sitting proudly beside her. She had to push hard on the big door to his of?ce, and when she ?nally managed to open it, she saw and felt why. The big window in the front room was open to the rain-cooled breeze, and a huge electric fan was pointed right at her. On her left, two girls she didn't know sat typing. Alan's secretary stood behind another desk, using both hands to turn the crank on a rotary duplicating machine. When she noticed Cora, she stopped. "Oh, Mrs. Carlisle! It's nice to see you!" Cora was aware of a pause in the typing, the typists looking up, taking her in. She was not surprised by their scrutiny. Her husband was a handsome man. Cora smiled at the girls. Both were young, and one was pretty. Neither posed any threat. "Let me tell him you're here," his secretary said. She wore an ink-stained apron over her dress. "Oh no," Cora said, glancing at her watch. "Please don't bother him. It's almost ?ve. I'll just wait." But the door to Alan's office opened. He stuck his head out and smiled. "Darling! I thought I heard your voice. What a lovely surprise!" He was already walking toward her, arms outstretched, a sight to behold, really, tall and trim in his three-piece suit. He was twelve years older than Cora, but his light brown hair was still full. She glanced at the typists just long enough to see she had their full attention, as if she were the heroine in a silent ?lm. Alan leaned down to kiss her cheek, smelling faintly of a cigar. She thought she heard someone sigh. "You're damp," he said, using two ?ngers to touch the brim of her hat. His tone was lightly scolding. "It's just sprinkling now, but it might start up again." She spoke in a low voice. "I stopped by to see if you wanted a ride home. I didn't mean to interrupt." It was no bother, he assured her. He introduced her to the typists, praising their skills even as he gently steered her back to his of?ce, his hand on the back of her waist. There were some fellows he wanted her to meet, he said, some new clients from the oil and gas company. Three men stood when she entered, and she greeted them all politely, trying to memorize faces and names. They were pleased to meet her, one said: her husband had spoken so highly of her. Cora feigned surprise, her smile so practiced it seemed real. And then it was ?ve o'clock, time to go. Alan shook hands with the men, put on his hat, took his umbrella from the stand, and jokingly apologized for having to catch his ride home in a hurry. The men smiled at him, at her. Someone suggested a future get-together. His wife could call Cora to see what would be a good evening. "That would be lovely," she said. When they got outside, the rain had indeed grown more serious. He offered to bring the car around to the front, but she insisted she would be ?ne if he shared his umbrella. They ran to the car together, huddled close, heads lowered. He held open her door and gave her his arm as she climbed up into the passenger seat, his umbrella over her head until she was safe inside. In the car, they were still friendly, though the air between them was always different when they were alone. She told him about the library and the children's room, and he congratulated her on her good deed. She said she hadn't been home for most of the day. She would have to warm up some soup for supper, but she had been to the market, and she could make a good salad, and there was bread. A light supper would be ?ne with him, he said. It wasn't the same, sitting down for a big meal now that the boys were gone, and yet they better get used to it. If they had a quick meal, he added, the two of them could go to a movie later, and see whatever was playing. Cora agreed, pleased with the idea. Hers was the only husband she knew of who would go see anything with her, who had actually sat through The Sheik without rolling his eyes at Valentino. She was lucky in that way. She was lucky in many ways. Still, she cleared her throat. "Alan. Do you know Leonard Brooks?" She waited for his nod, though she already knew the answer. Alan knew all the other lawyers in town. "Well," she said, "his eldest daughter got into a dance school in New York. He and his wife would like a married woman to chaperone her. For the month of July, and some of August." She rubbed her lips together. "I think I'll go." She glanced at him only brie?y, seeing his surprise, before she turned back to her window. They were already close to home, moving down the tree-lined streets, past their neighbors' pretty houses and neat lawns. There was much that she would miss while she was away: club meetings and ladies' teas, the summer picnic in the Flint Hills. She would likely miss the birth of a friend's fourth child, which was unfortunate, as she was to be the child's godmother. She would miss her friends, and of course, she would miss Alan. And these familiar streets. But her world would still be here when she returned, and this was her chance to go. Alan was silent until he pulled in front of the house. When he did speak, his voice was quiet, careful. "When did you decide this?" "Today." She took off her glove and touched a ?ngertip to the glass, tracing a raindrop's path. "Don't worry. I'll come back. It's just a little adventure. It's like the twins, going to the farm. I'll be back before they leave for school." She looked up at the house, lovely even in the rain, though far too big for them. It was a house built--and bought--for a large family, but given the way things turned out, they'd never used the third ?oor for anything but a playroom, and then for storage. Still, even now that the twins had moved out, neither she nor Alan wanted to sell. They both still loved the quiet neighborhood, and they loved the house, how majestic it looked from the street with its wraparound porch and pointed turret. They reasoned that it would be nice for the twins to be able to come home to a familiar place. They'd kept their rooms as the boys had left them, their beds made, their old books on the shelves, the better to lure them home for summers and holiday breaks. "New York City?" Alan asked. She nodded. "Any reason in particular you want to go there?" She turned, taking in his warm eyes, his cleft, clean-shaven chin. She had been just a girl when she ?rst saw his face. Nineteen years they had lived together. He knew the particular reason. "I might do some digging," she said. "You're sure that's for the best?" "I can speak with Della in the morning about coming in earlier, or staying later. Or both." She smiled. "If anything, you'll gain weight. She's a far better cook than I am." "Cora." He shook his head. "You know that's not what I'm asking." She turned away, her hand on the door. That was the end of the discussion. She'd made up her mind to go, and as they both understood very well, for them, that was all there was to it. Excerpted from The Chaperone by Laura Moriarty All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
