About Schmidt [NOOK Book]

Overview

As he tries to make his life habitable again--after the devastating loss of his wife--retired lawyer Albert Schmidt finds the possibility of regeneration in a new love the old "Schmidtie" would never have dreamt of. Set in the Hamptons and Mahnattan, and laced with black humor, About Schmidt casts a cold, pitiless eye on the eastern seaboard upper class, the last vestiges of once-ascendant WASPs, and the newcomers whose fortunes are rising.

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About Schmidt

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Overview

As he tries to make his life habitable again--after the devastating loss of his wife--retired lawyer Albert Schmidt finds the possibility of regeneration in a new love the old "Schmidtie" would never have dreamt of. Set in the Hamptons and Mahnattan, and laced with black humor, About Schmidt casts a cold, pitiless eye on the eastern seaboard upper class, the last vestiges of once-ascendant WASPs, and the newcomers whose fortunes are rising.

BONUS: This edition includes an excerpt from Louis Begley's Memories of a Marriage.
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Editorial Reviews

Publishers Weekly - Publisher's Weekly
Both Auchincloss's sophisticated comedies of WASP manners and the terrain mapped in Ishiguro's The Remains of the Day come to mind as comparisons for Begley's new novel, but his discerning intellect and lapidary prose distinguish this powerful story of a man whose fall from grace has a double-edged irony. Albert Schmidt retired from his job in a white-shoe New York law office during his wife's terminal illness. In his 60s, he lives in her magnificent family home in the exclusive Long Island community of Bridgehampton, where he makes sardonic observations about those who betray his archaic values and rigid social standards. The most egregious traitor is his beautiful, brilliant (i.e., Harvard summa cum laude) daughter, Charlotte, whose decision to marry a blatantly ambitious Jewish lawyer is a bitter blow to Schmidtalthough he remains outwardly civil. Schmidt has no idea that his cool, remote behavior has alienated Charlotte, that she is aware of the veiled anti-Semitism he himself denies and that her new family, which Schmidt thinks vulgar, offers the warmth and human contact he has never provided. With sublime, delicious irony, Begley shows Schmidt's bizarre metamorphosis from a pillar of rectitude to a silly old fool; a Puerto Rican waitress younger than Charlotte is the instrument of Schmidt's descent down the primrose path. Taking advantage of Schmidt's loneliness, streetwise Carrie uses her sexual wiles to move herself and her drug-dealing boyfriend into his house and life. Begley guides the narrative with smooth aplomb and dry humor, providing a wealth of acutely observed social detail and a clear depiction of emotional dysfunction. Though his classic Holocaust novel, Wartime Lies, is a standard Begley can't improve upon, this elegant, sophisticated novel is another study in self-deception that confirms his reputation as a masterful literary novelist. (Sept.)
Library Journal
Once a highly successful lawyer of the old school, married to a topnotch book editor whom he loves deeply, Albert Schmidt is in the process of losing it all. His wife has died, he has left his firm early to cope with his loss, and his only daughter is now marrying a man whom he considers crass and graspingand who is, unaccountably, Jewish. Writing in fine form, Begley (As Max Saw It, LJ 4/1/96) achieves an extraordinary balance in this tart and stylish book. Perhaps Schmidtie was at times a distant father, an unfaithful husband, even a touch anti-Semitic (an issue which Jewish author Begley treats with great sensitivity)but he's still getting a rotten deal from his self-absorbed Yuppie daughter, who is quickly deserting him for her fianc's family. "Since I am not dead yet I don't think you'll get Mom's and my silver just now," he responds to one thoughtless request, and he soon takes up with a young Puerto Rican waitress who is far more vibrant and devoted than his stuffy offspring. Making us side with the flawed and prickly Schmidt is no mean feat, and Begley is to be commended. Having successfully portrayed outsiders in his previous works, he has taken on the consummate insider and treated him with grace and understanding. Essential.Barbara Hoffert, "Library Journal"
Donna Seaman
Begley is a high-class gambler: smooth and dissembling. His game of chance here is to present a disagreeable protagonist--Schmidt, the self-described "last of the WASPs" --then, slowly and adeptly, win us over, offering scintillating perspectives on prejudice, sexuality, and wealth along the way. A retired lawyer whose lucrative practice was notable for its meticulousness but is now all but anarchistic, Schmidt misses his late wife and is uneasy alone in their stately Long Island mansion. His sense of isolation is compounded by his estrangement from his only child, Charlotte, whom he uncharitably thinks of as a "smug, overworked yuppie," and by his displeasure over her impending marriage to a lawyer he claims not to like because he's a dull-witted workaholic, when, in fact, it's his Jewishness Schmidt can't abide. As Begley plays out this impeccably nuanced and quietly surprising little drama, a series of jolting confrontations, he reveals the constant state of flux that seethes behind even the most staid of exteriors. Begley's gamble pays off; readers will be smitten.
Kirkus Reviews
An elegant, precise, droll novel about a lawyer's startling transformation, by the author of Wartime Lies (1991) and The Man Who Was Late (1993).

A recent widower (he and his wife Mary had seemed to exemplify the old New York ideal of elegance and accomplishment), retired at the age of 60 from his law firm, Schmidt, seemingly a poster boy for the now fading world of the cultured, wealthy WASP, is vaguely melancholy, faintly discontented, stranded in his wife's handsome beachfront house in Bridgehampton. His self-involved daughter Charlotte (a devoted member of the public relations department of a tobacco company) announces her intention to marry Jon Riker, a humorless lawyer from Schmidt's firm. Schmidt, who had built a very lucrative legal career on his ability to be "always demonstrably and impeccably right," begins to feel the first stirrings of self- doubt. Does he object to Riker because he seems so one-dimensional, or because he's Jewish? And, with some amazement, he finds himself beginning an affair with a frank, exuberant waitress, a woman younger than his daughter. As Schmidt attempts to navigate increasingly turbulent waters (an outraged daughter, friends amused or appalled by his indiscretion), Begley deftly introduces long hidden pieces of Schmidt's former life. He was, it turns out, a tireless womanizer and a less-than-devoted dad. He's charmingly condescending toward those unlucky enough to be neither WASPS nor wealthy. He is, in fact, a bit of a cad. But it's one of the pleasures of Begley's increasingly dark narrative that he both reveals Schmidt's self-satisfied shortcomings and makes him nonetheless a fascinating character. And, as Schmidt faces a series of alarming problems (including his young lover's peculiar and softly menacing boyfriend), it's hard not to root for his success, for his newly aroused pleasure in life.

A sly, sharp portrait of an amoral but appealing figure, and of the declining world of privilege that has shaped him.

From the Publisher
"Novels are supposed to tell something about the real world, but in most novels about the upper classes money figures only in the decor, the things that money can buy. Begley's books have the great virtue of knowing about money itself, how it's acquired and kept.... Begley's previous books gravitated rather anxiously toward Europe, which was seen as the source both of any satisfactory culture and of appalling historical and personal tragedy. About Schmidt turns toward America and the present, exchanging an interest in suffering and failure, with its dangerous possibilities of self-magnification, for comic romance, with its emphasis not on finality but on life going on anyway."

The New York Review of Books

"Albert Schmidt is another of Begley's brilliant impostors, though this time an impostor unaware of his charade. He is the cultivated man—out of
Harvard, no less—unable to acknowledge his subtle strain of
Jew-hating.... About Schmidt amounts to an intriguing about-face for
Begley.... By blinding his flawed hero, Begley has painted an indelible portrait of a man with a hole where his soul should be."

Newsday

"What emerges... is a poignant study of aging centered on a man whose flaws become both sinister and sympathetic. In an era of encroaching coarseness, where civility dissolves... Schmidt summons in us remembrance of elegance past.... Is he a cultured patrician, a supercilious snob or both? Whichever he is, Begley succeeds wonderfully in making us care."

San Francisco Chronicle

"Consistently subtle and intelligent, this novel ends by getting under your skin despite the unlikability of its protagonist. You are left with the feeling of having found out the complex truth behind the impeccable facade of someone you might never notice if you met him at a party."

The New York Times Book Review

"If the sorrows of old 'Schmidtie' strike us as somewhat short of fully tragic, less than deeply moving, it's clearly intentional; Begley means for us to keep our distance—to withhold our sympathies—from his smug,
officious hero.... It's this that makes Begley's novel most interesting and nervy."

Washington Post/Book World

"In the end, Begley has created a terribly funny, touching, infuriating and complex character in Schmidt, whose self-deceptions and imprisonment by his own world-view stand not only as a devastating portrait of a disappearing world but also sound a strangely evocative cautionary tale."

Los Angeles Times Book Review

"In what could be called a novel of bad manners, Begley again demonstrates that he can reveal the complexities of society and personality with a clear eye and graceful style. Schmidt may not live up to today's strict standards of political correctness, but he more than meets the requirements of convincing fiction."

Time

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Product Details

  • ISBN-13: 9780307760074
  • Publisher: Random House Publishing Group
  • Publication date: 12/15/2010
  • Sold by: Random House
  • Format: eBook
  • Pages: 304
  • Sales rank: 707,846
  • File size: 2 MB

Meet the Author

Louis Begley
Louis Begley is the author of four novels. Wartime Lies, which was written when he was in his mid-fifties, was followed by The Man Who Was Late, As Max Saw It, and About Schmidt. He is currently finishing a fifth novel.  Begley has another life, that of a lawyer. He is a senior partner at Debevoise & Plimpton, one of America's most prestigious firms, and is the head of its international practice.

Wartime Lies was the winner of the PEN Hemingway Award, The Irish Times Aer Lingus International Prize, and the Prix Medicis Etranger, France's most coveted prize for fiction in translation. It was a National Book Award, Los Angeles Times Book Award, and National Book Critics' Circle Award finalist. About Schmidt was likewise a National Book Critics' Circle Award and Los Angeles Times Book Award finalist. Begley has received the American Academy of Letters prize for literature and numerous other awards.

Begley was born in Stryj, a town that was Polish and is now part of Ukraine, in 1933. Being Jewish, he survived the German occupation by pretending, with the help of false identification papers, to be a Catholic Pole.

Begley and his parents left Poland in 1946 and settled in New York in 1947. Begley graduated from Harvard College in 1954, and after having served in the U.S. army, from Harvard Law School in 1959.

Since 1974, Begley has been married to Anka Muhlstein, a prize-winning French author of biographies and other historical works. The combined family includes five grown children. His are a painter and sculptor, a book critic, and an art historian. Hers are a foreign relations specialist and a television journalist.

From the Trade Paperback edition.

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Read an Excerpt

Ballantine Reader's Circle: About Schmidt (Excerpt)

Chapter 1


Schmidt's wife had not been dead more than six months when his only child, Charlotte, told him she had decided to get married. He was finishing breakfast at the kitchen table. The "Metropolitan" section of the Times was in his left hand; as on every Saturday, he had been poring over the mutual fund quotation table to check the prices of two investments, one in small capitalization companies and the other in international equities, both of which he had bought on his own initiative, out of conviction, and had come to regard, irrationally, because the rest of his money was managed with reasonable success by a professional whom he left quite alone, also out of conviction, as the weather vane of his financial standing. The small capitalization fund was down, by ten cents. He thought that made it a loss of about fifty cents for the week. The international stocks were down too. He put aside the paper, looked at his daughter, so tall and, it seemed to him, painfully desirable in her sweat-soaked running clothes, said I am very happy for you, when will it be? and began to cry. He had not cried since the afternoon when the specialist confirmed the advice he had previously given to him over the telephone: Don't think of an operation, why mutilate Mary, it won't give her even one good year, we'll keep her as comfortable as possible. Meanwhile, you two try to have a good time. He held Mary's hand until they were out in the street.

The morning sunlight was blinding. He put Mary into a taxi--ordinarily, she would have walked home, but he saw that she was shaken, almost disoriented--caught one himself, proceeded to the office, told his secretary he didn't want to be disturbed, shut the door, called David Kendall, the family doctor who was also their friend, heard that he and the specialist had discussed the advice before it was given, and, lying facedown on the couch, wept like a boy, the parade of his life with Mary passing on the screen of his burning eyelids like some refurbished newsreel. That day he had been mourning the end of his happiness. But today it was the imminent collapse of a bearable existence he had thought he might be able to sustain. He didn't need to ask Charlotte who the man was: Jon Riker had been around for a long time before Mary began to die. That very minute he was probably shaving, in Charlotte's bathroom.

In June, Dad. We want to talk to you about picking the day. Why are you crying like this?

She sat down and stroked his hand.

From happiness. Or because you are so grown-up. I'll stop now. Promise.

He blew his nose elaborately, using a piece of paper towel he tore off the roll on the upright holder next to the sink. Of late, he was finding himself reluctant to use the handkerchief he always carried in the pocket of his trousers, saving it for some unspecified emergency when having a clean handkerchief would save him from embarrassment. Then he kissed Charlotte and went into the garden.

Jim Bogard, the new gardener he had hired at the beginning of the season, and his crew had been at work all week. He noted once more with satisfaction that dead leaves and broken branches had been raked, even from the mulched flower beds around the house and the more inaccessible spaces beneath the azalea and rhododendron bushes. The wilted yellow tops of Mary's lilies had been cut so close to the ground that one could not suspect the presence of the bulbs underneath; the Montauk daisies looked like topiary porcupines; the hedges of honeysuckle that enclosed the property on three sides, leaving it open only to the saltwater pond that lay beyond a stretch of fields beginning to turn light green with winter rye in this mild weather, had a prim and angular look. If his neighbor Foster decided to subdivide, or a developer finally got to him, it would not be difficult to plant out whatever monstrosities they might build: at worst, they could put up two or three houses. Of course, the feeling of open space and the view would be lost. This was subject of worry for him each year, when the potatoes had been taken in and farmers had time to turn their minds to money and taxes. He had been thinking of it during his last visit to the tree nursery, and noted the great number of mature bushes for sale and their prices, which weren't so high as he had expected. Should he take the initiative and talk to Foster about his plans? Mary had never wanted to tie up such a large part of her own money in the Bridgehampton property, and she didn't want to use his money, but Charlotte, really Charlotte and Jon--he would have to accustom himself to that formulation--might see the problem differently. One never regretted a purchase of land made to protect one's property.

He walked around the house and the garage, examining them closely. Here and there, Bogard's chattering Ecuadoreans had missed an apple. He picked up as many as he saw, threw them on the compost heap, and inspected, one by one, the garage, the pool, which was under a new cover he didn't like, and the pool house--really a strangely minuscule barn--they had been able to convert into a cottage and finish just before the thunderbolt of Mary's illness stuck. It had been her project: Schmidt preferred to have Charlotte and her guests in the house, under the same roof as he--which wasn't awkward since Mary required these young men to use the bedroom and bathroom with the shower stall off the kitchen--so that to see Charlotte at breakfast required no prearrangement. He could linger quite naturally with his newspaper at the kitchen table or in the wicker rocking chair and listen while she talked on the telephone or with the visiting friend, absorbing the texture of the day she planned.

Once the upstairs bedrooms in the pool house, with their Town & Country bathrooms, and the red-tiled kitchen next to the changing rooms had been completed, the mornings became awkward for Schmidt. In theory, Jon Riker still occupied these new quarters alone, or with guests he and Charlotte had invited, but Charlotte would make breakfast there, and something inside Schmidt recoiled from the idea of simply walking in and sitting down with them. Mary had done it quite naturally and laughed at his formality. But he detested surprising others as much as being surprised himself. In his opinion, the whole point of giving the young people a separate house was to ensure their privacy. He was not to go there unless he had been invited; but since it was very rare that an invitation was issued, he would try to get around his own polite rules by telephoning to ask whether they would like him to bring the paper. Sometimes he got the paper early, before there was any sign of activity in the downstairs of the pool house. Jon was asleep, and, one could suppose, Charlotte as well--in Jon's bed. Then that pretext was unavailable, and he would watch miserably as Charlotte took the copy of the Times he had bought for them from the kitchen table, carried it across the lawn, and disappeared behind the forbidding door of the other house.

Schmidt couldn't deny that the pool house turned out to be a blessing during Mary's illness. It had let Charlotte and Jon continue a relatively carefree sort of life alongside theirs, without calling attention to the disparity, and without unduly tiring Mary or forcing Jon to come face-to-face with the indignities, at first small, and then so shattering, of Mary's struggle. By then Charlotte had told them she was moving from her studio on West 10th Street into Riker's Lincoln Center apartment, and the fiction that she slept in her room in the big house while he spent the night in a lonely bed, perhaps working on documents he had brought from the office, had to be abandoned. There was nothing to be done: to suggest that she no longer bring him to the country would have been a useless provocation, one that would have surely made her decide to stay in the city. As soon as Mary died, though--in fact, the evening of the day they all came down from the city for the funeral--Charlotte moved Jon to the main house, into her sunny room with its bow windows and the blue Chinese rug Schmidt had bought for her at an estate auction in Amagansett, a room so particularly comfortable because it was in the more solid part of the house that had been added at the turn of the century. And that's how they had continued to live: his daughter and her lover separated from him by the stair landing and the upstairs hall between their room and the one where he slept, which he had shared with Mary. Schmidt did not protest; so far as he was concerned, the house was now much more his daughter's than his. Charlotte's plan, she had told him, was to continue to use the pool house for younger guests--her and Jon's friends--so that Schmidt's light sleep would not be disturbed by the pulse of alternative rock or the thud of bedroom or bathroom doors being shut without the care he had instilled in his wife and daughter. That was considerate, and Schmidt welcomed the restoration to the weekends of the morning ritual he liked. How was he to avoid, though, the sense that in these arrangements he was the tiers incommode?

Altogether, the house looked good. Mary and he moved to the country soon after he had negotiated an early retirement. Schmidt had found it indecent, yes more indecent than unbearable, to go to the office day in and day out, ostensibly affable from habit and collected the moment he set foot in that place, as though all were not in ruins, actually attend to work, and at times allow himself to becomes so caught up in a client's problem that he forgot Mary and, in any case, for long hours did not think about her, while she, virtually alone, was stretched on the rack. He put the Fifth Avenue apartment on the market. That it was much too large for them had become evident once they stopped entertaining; the wind that blew from Central Park down the side street was so strong that already in the winter of Mary's first operation the doorman needed to put his arm around her to keep her from being blown over while she took the few steps to a taxi; besides, with the abrupt diminution of the income Schmidt received from the firm, the expense of keeping and running that large place had become uncomfortably noticeable.

It was understood that the house near the beach was the place they both liked, in all seasons and every kind of weather. When Mary worried that he would feel trapped in Bridgehampton, and disoriented without his long-established weekday habits, he reassured her: he had spent more than enough years behind a desk, and they weren't really giving up New York. The two-hour bus ride to the city was itself a habit as comforting as any other; in time, they might look for a pied-á-terre, perhaps in one of the new condominium buildings people claimed weren't all that shoddy, and become the owners of a dashing pad on a high floor, surrounded by the sky and humming with central air-conditioning and kitchen and laundry machines no one had ever used before. Of course, they both knew there wouldn't be time for that. Mary's strength had lasted, miraculously, until the essential furniture and objects had been transported to the country and accommodated in the house. Afterward, waiting for the end was enough to keep them busy.

Decidedly, there was nothing wrong with Jon Riker. Schmidt had invited him to dinner one night--along with a group of other associates and two investment officers of a Hartford insurance company they all serviced--without in the least imagining that Charlotte would find him remarkably attractive. In fact he was surprised at her turning up, after Mary had warned her that the party would be business entertainment, one of those rank-has-its-obligations affairs older partners have to suffer through once in a while to make the hardworking young fry feel appreciated. But the next morning Charlotte said she was glad she had come. She thought Jon looked like Sam Waterston; that was her pronouncement, enough for Schmidt to get the picture. She had graduated from Harvard the previous year and was still living at home. The time to say what he really thought about Jon as his daughter's prospective beau was then, or over the course of the next few weeks. But he never told them--either Charlotte or Mary. He gave them only his office point of view: an excellent young lawyer, almost certain to become partner, except that he works much too hard. How will he find time to take Charlotte to the movies, never mind movies and dinner! Schmidt had behaved with decent consistency, of which he was rather proud, just as he would later, when he became Riker's principal, probably indispensable, supporter for partnership. Luckily for Riker, that process took place, and was concluded favorably for him, before he began sleeping with Charlotte; anyway before the word had gotten around or Mary had opened Schmidt's eyes, so that the firm did not need to face the dreaded question of whether the rule against nepotism was about to be breached.

But even if Charlotte had not just informed him that she and Jon had made their decision--now that he thought of it, couldn't Riker have gone to the trouble of coming to Charlotte's father to ask for her hand?--and it weren't too ridiculously late to speak to Charlotte with the utmost candor, there was still nothing he could say against Riker, or, more precisely, against the marriage, that wouldn't seem to her, and perhaps even to him, once the words were out of his mouth, quirky, possessive, smacking of jealousy or envy. What could he say beyond admitting that, outside the office, he didn't care all that much for the qualities that in time would make Riker such a useful, reliable partner in that beloved firm--which Schmidt was coming to realize he missed principally as a source of income and porous barrier against self-doubt--and that surely weren't the qualities he had hoped to find in a son-in-law? According to an Arab proverb that one of his partners with oil-rich Middle Eastern clients had assured him was genuine, a son-in-law is like a pebble, only worse, because you can't shake him out of your shoe. Schmidt knew that the Romans, on the contrary, had prized these intruders. If one really loved a woman, one loved her the way a man loved his sons and his sons-in- law. Since he regretted not having sons--at work, he had had a tendency to develop a strong affection for the best of the young men who worked with him, a feeling that was generally reciprocated until the associate he had singled out as his right hand and object of loyalty became a partner and no longer needed a father figure in the firm--he had hoped to have Roman feelings for the man who married Charlotte. But how was he to bestow them on Jon Riker?

The stuff he had written about Riker, with considerable eloquence, in the critiques that, according to office procedures, followed the completion of each important assignment, was true enough: with variations appropriate to the occasion, it was like what he had told Charlotte and Mary and what became, in due course, the necessary mantra of slogans he repeated wearily at firm meetings when Jon came up for partnership. These slogans were not contradicted by Riker's other attributes, which Schmidt liked less but hadn't felt compelled to mention because they had little to do with the criteria according to which his partners judged candidates. For instance, the narrowness of that strong intelligence: What did his future son-in-law think about, apart from client matters and deadlines and the ebb and tide of bankruptcy litigation (Jon's annoying specialty, the domain of loudmouth, overweight, and overdressed lawyers, thank God Jon didn't look or sound like them), spectator sports, and the financial aspects of existence?

Jon's talk about finances was sort of a mantra too, one that Jon repeated and Schmidt despised. After his clerkship, should Jon have taken a job with a firm that paid associates more than Wood & King did? How should he evaluate the loss of income resulting from his choice, if there had been one, against the possibly lower probability of partnership at some other more lucrative place--but had he "made partner" there, what a bonanza! Now that he was a Wood & King partner, was his generation's share of income sufficient (here the pocket calculator might come out of the neatly organized attache; case, Charlotte's lavish offering), or was too much going to older types (like Schmidt, but that was left unsaid), who had not had the decency to get out when their productivity declined? Should he buy an apartment or continue to rent, was it to be a condo or a co-op, how much would it cost him to be married if Charlotte stopped working, what price tag to put on each child? The evidence of Jon's having read a book since the first volume of Kissinger's memoirs, Mary's Christmas present, was lacking. On long airplane trips, of which Jon took many, Schmidt had noticed that Jon did his "homework"--an honorable enough occupation--caught up on advance sheets, read news magazines, or stared into the middle distance. There was no pocket book tucked into Jon's litigation bag or in the pocket of his belted raincoat that looked like a Burberry. Such had been Schmidt's personal observations during the early years of their working together, when they often sat side by side in the plane, Schmidt struggling, once his own "homework" was done, to stay awake over some contraband belles lettres. Discreet interrogation of Jon had revealed only one subsequent change in his traveling habits: as the proud owner of a laptop computer, he could also use the time to write memos to files and work on his checkbook. What was this young man if not a nerd, or in the slang of Schmidt's own generation, apparently coming back into use, a wonk, a wonk with pectorals? His Charlotte, his brave, wondrous Charlotte, intended to forsake all others and cleave to a wonk, a turkey, a Jew!

Schmidt kicked the last of the stray apples. His anger was like a bad taste in the mouth.

That final indignity was unmentionable. He could not have spoken of it to Mary: a word against the Jews, and she brought all the sins of Hitler on your head, but this marriage was not a matter of civil rights or equal opportunity or, God help him, the gas ovens. To the best of his recollection, no matter how deeply or how far back he looked, Schmidt was sure he had not once in his life stood in the way of any Jew. But now he was discovering that what didn't count at W & K (which had certainly filled up with Jews since the day he had himself gone to work there) and what could even furnish him at times some eyebrow-raising sort of amusement, as it had when Jews, beginning in the seventies, had begun to move into his Fifth Avenue apartment building, or joined one of his clubs, did count heavily when it came to his family, or what was left of it! This marriage would turn Charlotte, his one remaining link with life, into a link with a world that wasn't his--the psychiatrist parents he had so far escaped meeting, grandparents on the mother's side whom Jon occasionally mentioned, possibly uncles, aunts, and cousins he hadn't yet hear about. What might they be like? That contact with them would be unpleasant, that it would put a strain on his quiet good manners and composure, he was quite sure. Before long, they would cover Charlotte like ooze from the sea; they would absorb her and leave him out; never again would he be alone with her on his own ground; the pool-house kitchen and its hostile threshold were the microcosm of his future.

From the Trade Paperback edition.

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Reading Group Guide

1. This book is about a man whose life, as he has always known it, is about to change forever. What happens to a man who loses everything: his profession, his wife, and his daughter in a short span of time? How does he go about building a new life for himself in his sixth decade?

2. How are today's views on aging different from what they were at the turn of this century; or, perhaps, even as recently as the mid-1950s? How was a man in his sixties viewed one hundred years ago, fifty years ago? How was he "expected" to behave? How do older people today view their future, now that life expectancy has been so dramatically increased?

3. How do you think Schmidt's feelings about his own childhood and parents have affected his relationships with his wife and daughter?

4. Schmidt says he expects all lives to end badly. How does he feel about his own life? How do you think Schmidt's life will end?

5. What problems or concerns might older people have today that they might not have had eighty, or even less than forty years ago? Where might they turn for help, solace, affection, understanding? How does aging and its accompanying problems expose one's frailties and flaws? How does one go about examining one's life? Is the process of self-discovery different when you're older?

6. What do you see as lost opportunities in Schmidt's life; professionally, socially, emotionally? Do you think he regrets having retired from his firm? What do you think he misses the most? What does he have regrets about? How would you feel about stepping aside and handing over power and authority to a younger generation? How would you compensate for the losses experienced and go aboutrebuilding your life? How would you begin to give it meaning or importance?

7. Do you think Schmidt truly loved his wife? What is the significance of his marital infidelities? How do you suppose he justified them?

8. How does Schmidt cope with his alienation from Charlotte? What steps does he take or could he take to reconcile with her?

9. Why do you suppose Charlotte's character is written out of focus? Why do we only hear from her indirectly; through letters, telephone calls, and messages?

10. Why are Carrie and Schmidt attracted to one another? What qualities endear her to him? What does he offer her?

11. Why does Schmidt object to attending Thanksgiving dinner at the Riker home? What are some of the things he learns about them that surprise him? How was he wrong about them?

12. How could Schmidt's attraction to Renata Riker further complicate his relationship with Charlotte and Jon? Do you think Schmidt is jealous of her relationship with his daughter? Why do you think he is unable to accept Renata's attempts to help him understand how to deal with Charlotte?

13. Older people today are generally healthier and more vigorous than they were in previous generations. With the additional promise of greater life expectancy, there exist the probabilities of new romances and sexual encounters. What hopes, fears, expectations, might one face in reentering this role after many decades? If you were in this situation, what might you do?

14. Give some examples of Jon Riker's behavior that infuriate Schmidt. Why does Schmidt react as strongly as he does? Do you feel his objections are justified? How would you behave in his place?

15. Money seems to be a recurring theme throughout the book. Schmidt is preoccupied with working out numbers so he can maintain his style of living. How does his preoccupation with money play a role in alienating Schmidt from Charlotte? How does money help Schmidt? How does it hurt him? While Schmidt and Mary never discussed money in Charlotte's presence, there were many veiled references to it. How do you think Charlotte was affected by her parents' attitude toward money? Why does her attitude annoy Schmidt?

16. Begley writes about a very closed, privileged society of wealthy people. How do you think the "upper" and "lower" classes view one another? What sets them apart? How might one compare clannishness and anti-Semitism? Are they in any way alike? How are they different?

17. The Bridgehampton property acts to create an enormous rift between Schmidt and Charlotte. What does the house represent to each of them? Why can't Schmidt share the house with them in harmony? Why can't she accept his gift to her and Jon?

18. Schmidt is keenly observant and highly intelligent, yet he is unable to understand the reasons for his problems with Charlotte. Why do you think Mary was always the one to take care of matters concerning Charlotte instead of encouraging Schmidt to develop a closer relationship with her?

19. Anti-Semitism is often extremely subtle. How is the subject of anti-Semitism handled in this book? What do you think a bigot is? What qualities does a bigot have? Why do you think it is so difficult to write about anti-Semitism?

20. How would you describe Charlotte's feelings about her father? She accuses him of being anti-Semitic but if she believes this, why had she not objected sooner? Why now and in the manner she chooses? Why does Schmidt not consider himself to be anti-Semitic? What examples does he bring up to bolster his claim? How does his friend Gil react to Schmidt's description of Charlotte's fiancé?

21. Why are Charlotte's marriage to Jon Riker and her conversion to Judaism such a problem for Schmidt? Is it merely a question of religion? Why do you think Charlotte believes it is so important to convert? How does that news add further to Schmidt's sense of isolation?

22. Do you think Schmidt and Charlotte truly love each other? If so, then why can't they understand and accept each other's viewpoints? Is it a generational divide, a difference in values, or something else? Describe Schmidt's reaction to her requests for the family furniture and silver? Why does he object to her work on the tobacco campaign?

23. What do you think Carrie represents to Schmidt? How does he manage to develop such deep feelings for her if he is anti-Semitic? How can Charlotte accuse her father of being anti-Semitic yet object to his having "that Hispanic girl" in the house? What contradictions do you see in Charlotte?

24. Mr. Wilson taunts and frightens Schmidt, but doesn't hurt him. What is Schmidt's reaction when he discovers he has killed him? Why was Mr. Wilson stalking him?

25. How does Schmidt feel about getting older? In what way does his friend Gil mirror the changes in himself? What conflicts of values might exist between the younger and older generations? How may those generational divides contribute to the tension, anger, and frustration that fester in so many families? Are these conflicts any different from previous generations? What pressures exists today that may not have existed in earlier generations? Have you or your family had similar experiences?

26. Schmidt understands Carrie, who is younger than his own daughter, far better than he understands Charlotte. How are the two women different from each other?

27. In spite of Schmidt's many infidelities, including an affair with Charlotte's nanny, he still considers himself to have been a good husband and father. How does he explain this to himself? Do you agree with Schmidt?

28. Why do you think Schmidt decides to hire Bryan to take care of his inherited house in Palm Beach? What would it mean to have Bryan live with him and Carrie? Does Schmidt want that to happen? How has Schmidt's view of people changed after he meets Carrie and Bryan? What do these changes signify? How does Schmidt change?

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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted February 8, 2013

    Enr Entertaining resd

    I enjoyed this book. Expected it to be a bit more like the movie.


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  • Anonymous

    Posted July 13, 2006

    Ridiculous story line

    I've bought the book for years and only until lately on a long and boring trip that I finally managed to finish it. Perhaps I am not familiar with western culture and values, but as I Chinese, I cannot image a daugther requesting her dad to take money out of his pocket to purchase her share of their house, all because the house will eventually become her property when her dad passed away, and in the meantime, she does not need to pay for the maintainence! She even dare to write to her dad (not even has the courtesy to talk to him in person) about the list of furntiure and siliverware that she would like to take away for her marriage. Schmidt may not be a faithful husband or a 100% upright person. But he does not deserve such a treatment from his daughter whom he loves and cares. How can Charlotte choose to leave Schmidt at this very moment when he lost his wife and his job, just when he needed her most.

    0 out of 2 people found this review helpful.

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