Beautiful Inez

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"From novelist Bart Schneider comes a tale of romantic love and sexual adventure, social change and family upheavals, set against the backdrop of San Francisco in the 1960s." "Inez Roseman has a brilliant career as a violinist with the San Francisco Symphony, a successful husband, and two bright and talented children. But despite her seemingly perfect life, Inez is obsessed with thoughts of suicide." Sylvia Bran also has an obsession. Enraptured with the beautiful violinist, she pretends to be a reporter and arranges to interview Inez. At once
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Overview

"From novelist Bart Schneider comes a tale of romantic love and sexual adventure, social change and family upheavals, set against the backdrop of San Francisco in the 1960s." "Inez Roseman has a brilliant career as a violinist with the San Francisco Symphony, a successful husband, and two bright and talented children. But despite her seemingly perfect life, Inez is obsessed with thoughts of suicide." Sylvia Bran also has an obsession. Enraptured with the beautiful violinist, she pretends to be a reporter and arranges to interview Inez. At once seductive and solicitous, she awakens Inez from the suffocating grip of her career, the demands of motherhood, and the tensions caused by her husband's many affairs. The two women become lovers, embarking on a dance of passion and betrayal that soon spins out of control.
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Editorial Reviews

Publishers Weekly
In this prequel to the author's 2001 novel, Secret Love, Schneider, founding editor of the Hungry Mind Review, delivers a polished, faintly old-fashioned tale of a violinist doomed to unhappiness in early 1960s San Francisco. At 40, ice princess Inez Roseman plays in the San Francisco Symphony and is a well-known soloist. Gifted with perfect pitch and blond Swedish beauty, she is married to prominent civil rights lawyer Jake Roseman (the protagonist of Secret Love) and has two children. Gradually, through an acquaintance with Sylvia Bran, a showroom pianist who passes herself off as a journalist in order to get to know lovely Inez, cracks are revealed in the pianist's exquisite exterior. Jake is an inveterate womanizer; Inez has been depressed since the birth of her eight-year-old son, Joey; and she harbors still-smarting emotional damage from childhood sexual abuse. Schneider's meandering narrative finally settles on the blossoming lesbian relationship between the self-invented Sylvia and the complicated Inez. Despite their passionate affair, Inez thinks constantly about committing suicide, which tortures Sylvia, who is haunted by the suicide of her own mother. The novel is set during the Cuban missile crisis, which deepens the climate of chilly self-destruction Schneider fosters. Though Inez and Sylvia's relationship is sensitively handled, readers may find it difficult to sympathize with poised, distant Inez. Agent, Marly Rusoff. (Feb.) Copyright 2004 Reed Business Information.
Library Journal
In his third work of fiction, Schneider (founding editor of the Hungry Mind Review of Books, now called the Ruminator Review) tells the backstory of his previous Secret Love. Set during the Cuban Missile Crisis, the novel looks into the life of Inez Roseman, symphony violinist, mother of two, wife of famed lawyer Jake Roseman, daughter-in-law of her former violin teacher, and lover of the enigmatic Sylvia Bran. The reader is shown the turmoil that Inez must face daily as she tries to juggle all of her roles. Once distant and hurting, Inez is awakened to a new life as she stumbles into her relationship with Sylvia; Sylvia becomes the one thing that helps Inez focus on who she really wants to be and what she wants to do with her life. Readers of Secret Love will already know which path Inez chooses, but this work stands on its own as the story of a desperate woman's plight. Highly recommended for all libraries, especially those where Schneider's first two books were popular.-Leann Restaino, Jameson Health Syst. Lib., New Castle, PA Copyright 2004 Reed Business Information.
Kirkus Reviews
It's 1962. The world is about to change, and Inez Roseman can't wait for it to do so-or to check out of its travails. Former Hungry Mind Review editor Schneider turns in a prequel to Secret Love (2001), a title more suited to this book than to its predecessor. Inez is a talented if moody violinist for the San Francisco Symphony; it doesn't help that she's turning 40 and that her husband, a flashy attorney, has become an accomplished philanderer and now speaks to her mostly when he wants to criticize her: "If I wanted to marry Olive Oyl, I'd have married Olive Oyl." "Inez, you can't play the gas pedal like it's the pedal on a bass drum." Jake Roseman is a skilled bon vivant, mixes a fine highball, and makes a lot of money, but he's not much of a husband, and Inez, embarking on a difficult solo career, needs more attention than he seems willing to give. Enter Sylvia Bran, a plain but beguiling woman ten years Inez's junior, who introduces herself as a writer for the San Francisco Chronicle wanting to do a profile of Inez. Her would-be subject has never seen her byline, and therein hangs a good part of Schneider's tale, which, if sometimes melodramatic, is always believable and hits the right period-detail notes. This is true even when Schneider turns up the heat between Inez and Sylvia, threatening to scald a few eyeballs in the process; though the result is plenty steamy, there's also the nodding understanding between the two that though this sort of thing isn't supposed to happen in their day and age ("'Do you think it's terribly unnatural?' Sylvia asks"), it does. And so do many other things that, in the end, tear the Rosemans' house apart, thus setting the stage for what follows inSecret Love. Too talky by half, and the pensive, sometimes gloomy atmosphere, though well suited to the San Francisco fog, won't appeal to readers in need of cheering up. Still, Schneider spins a good yarn-and he knows his Mendelsohn. Agent: Marly Rusoff/Marly Rusoff Agency
From the Publisher
"Devastatingly persuasive... Accomplished, rich and ambitious... [This novel] is hard to get out of your system." —Chicago Tribune

“A profoundly human story . . . Beautiful Inez is a novelistic liebestod that shimmers with humanity.” —Minneapolis Star Tribune

“Passionate . . . Suspense derives from a single decision hanging in the air, unobtrusive at first but growing more urgent day by day.” —Los Angeles Times

“A memorable, risk-taking novel that gets the people, the time, and the place just right.” —Janet Fitch, author of White Oleander

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Product Details

  • ISBN-13: 9781400054428
  • Publisher: Crown Publishing Group
  • Publication date: 2/22/2005
  • Pages: 320
  • Product dimensions: 6.54 (w) x 9.52 (h) x 1.27 (d)

Meet the Author

Bart Schneider is the author of the novels Blue Bossa, a finalist for the Los Angeles Times Book Prize, and Secret Love, a New York Times Notable Book of the Year. He was the founding editor of the Hungry Mind Review (later Ruminator Review) and now edits Speakeasy magazine.

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Read an Excerpt

Chapter 1: voyant

Language, as Sylvia’s mother was fond of saying, mimics the human condition. What is harmless one moment can become fatal the next. Drop a prefix, and, before you know it, what was innocuous has grown noxious, dispensing fumes that are certain to kill you.

Take voyeur, which derives from the French voir–to see. A powerless or passive spectator. You might define it that way, if you were willing to strip away its unsavory meanings and free it from the clutches of Peeping Toms.

Consider this: as a girl in Sacramento, Sylvia liked to climb trees. She started out in the fruit and nut trees of her neighborhood and then branched out, if you will, to the spreading oaks on the capitol grounds. Innocuous enough, you might say. Yet the physical pleasure she took in scrambling from limb to limb and hoisting herself into a hidden hollow was more than matched by her exhilaration with what she saw: a long-legged woman mowing her lawn in a pair of powder-blue shorts, a pair of terrier mutts humping in the early morning, the opened mouth of an ingenue as a sailor squeezed one of her smallish breasts.

Now, as a woman in San Francisco, Sylvia takes a heightened pleasure in what she sees, but she no longer worries about concealing herself. When Sylvia moved to San Francisco last year, she found a one-bedroom apartment, three flights up, situated along the Hyde Street cable-car line. Home in the evenings, she watches the corner of Washington and Hyde through her curtainless front window. Sipping a glass of cheap burgundy and listening to a Bobby Darin record, Sylvia watches her neighbors, briefcases and sacks of groceries in tow, climb on and off the cable car.

She’s particularly fond of the balletic passengers, who spring onto or off of the car’s running board, even when it’s in motion. So far she hasn’t witnessed a single mishap among the leapers. Catlike, on their way to their various rendezvous, they bound from curb to running board with the grace of the man leaping a puddle in the famous photograph by Cartier-Bresson. Sylvia used to imagine that she was the Parisian in the photograph, her long, open-scissored leap, reflected in the pooling water, an emblem of decisiveness.

Despite Sylvia’s good high-school French—her mother used to tell her that she was born to be a linguist or an impostor, maybe both—the closest Sylvia has gotten to Paris is through a monograph of Cartier-Bresson photos, a sampling of Debussy and Ravel recordings, and the lovely baguettes at Simon Brothers, flown in every other day from Paris, that she occasionally slips under her raincoat. Sometimes she pretends that it is Paris she’s watching out her window.

Watcher might be another word she could apply to herself. Socially, it would make her more acceptable, but who wants to settle for a word so bereft of nuance? Anyway, watchers have become as common as birds in 1962, now that every man, woman, and child in America has a television of their own. Those few citizens not spending their leisure time watching TV are scanning the skies for orbiting chimpanzees or astronauts. Sylvia prefers more intimate curiosities.

One evening, shortly after moving to San Francisco, Sylvia took a random stroll down Van Ness Avenue and saw a symphony crowd billowing out of cabs and town cars and up the grand stairway to the lobby of the War Memorial Opera House. Although she was no more dressed for a concert than a woman walking her dog, she let herself get swept along with the crowd and, with neither dog nor ticket, climbed the stairs with the concertgoers and milled about the lobby, underdressed but unrepentant.

She remembered how not long after the Second World War, as a seventh grader from Sacramento, she visited the Opera House, where delegates of fifty nations had drafted and signed the United Nations charter. She’d imagined herself as a delegate from Ceylon, one of the exotic nations from which she had postage stamps. Seventeen years later, as she milled about in the lobby without a ticket, dressed in pedal pushers and a navy blue car coat, a voice in her head announced: The delegate from Ceylon, Sylvia Bran.

In September, as the anniversary of her first year in San Francisco nears, Sylvia gets an opportunity to attend a symphony concert at the Opera House. Her boss at Myerson’s—“The grand piano store of the West”—offers her a complimentary ticket. Although the ticket has a hole punched through it, Sylvia is ushered through a velvet curtain to a freestanding upholstered chair in a box of her own. She might as well be the queen of Ceylon.

At first, it is hard to reconcile the formality of the setting and occasion with the casual, backstage banter that follows the musicians to their seats. Some of them tune their instruments on the fly amid a cacophony of scales and eighth-note passages. Then Inez Roseman appears onstage with her violin. Of course, Sylvia doesn’t yet know who the exquisite violinist is, but talk about regal. She wears her hair—a shade of blond that can’t have come out of a bottle—brushed back, with a silver comb at each temple. Surely this tall and graceful figure is cut from another cloth. The knots of standing musicians seem to part for her as she makes her way, without a word, toward the front of the first violin section. Is the stunning violinist contemptuous of her joking colleagues? Do they despise her for acting as if she’s too good for this world?

Sylvia pays close attention to the violinist’s gestures—the lovely way she brushes a hand under her skirt before sitting; her manner of dropping a square of silk onto her left shoulder and shrugging it into place before lifting the violin and clamping it with her chin. The other violinists all seem to have more elaborate devices or padding to protect their chins and shoulders. This one, with her square of silk, is, in effect, riding bareback. The violinist closes her eyes as she begins to tune her instrument. Sylvia imagines the inner ear against which the violinist measures her A and pictures a flower within a flower. Clearly, the violinist has perfect pitch, a kind of magnetic north that draws her to its incontrovertible center. In college, Sylvia had known a French horn player with perfect pitch, and she’d always wondered what it was like for him to live among the common folk with wavering intonation.

The dashing Brazilian conductor, João Bonfa, gives his downbeat, and the opening measure of an orchestral suite by Berlioz rises to Sylvia’s box. She is sitting close enough to study the supple grace of the violinist’s bow arm, and, gradually, locks into the breathing pattern of the silk-shouldered beauty.

At intermission, Sylvia asks an usher the name of the first violinist sitting second stand outside.

“That’s Inez Roseman; beautiful Inez.” The elderly matron, whose white hair is slipping out of its chignon, turns her head dismissively. Is the gesture meant as a comment on the violinist or on the philistine posing the question? Sylvia decides the latter. Maybe the usher remembers her complimentary ticket, the one with the hole punched through it, and holds that against her.

“Has she been with the symphony for long?” Sylvia persists.

“Yes,” the usher says, turning toward Sylvia. “She’s been in the symphony for nearly twenty years.”

“How could that be? She doesn’t look like she’s much past thirty.”

“Well, I’m not lying to you. Some of us age better than others.” The usher takes a linen hanky from her clutch and, unfolding it, reveals a small stash of lemon drops. She offers one to Sylvia.

“No, thank you.”

The matron plucks a lemon drop from her linen wrap and drops it on her tongue. “Of course, Inez got into the symphony when she was very young.”

“She’d have had to.”

“And you know who she’s married to,” the usher says, in a stage whisper.

“No, I’m afraid I don’t.”

“Jake Roseman.” The usher puckers her lips around her lemon drop. “You know, the attorney who’s creating all the fuss with the colored.”

Sylvia has read about him in the Chronicle. He seems to be something of a sensationalist. A white lawyer working on behalf of the Negroes, a favorite of the liberal columnists.

“I’ll tell you one thing,” the usher says, “the man has no feeling for music, even though his father played in the symphony for years.”

“His father played?” Sylvia asks.

“His father was the first concertmaster under Monteux. He was Inez’s teacher. But you never see the husband here. Maybe he’ll come next month when Inez plays her solo. If we’re so lucky.”

“What will she be playing?”

The usher puts her hands on her hips. “My, you ask a lot of questions. You ought to be a reporter.”

“I am a reporter,” Sylvia says, tasting the words as she speaks them.

“What do you know?” The matron’s eyes brighten—everything seems to make sense to her now.

“But you haven’t answered my last question,” Sylvia says.

“Your last question?”

“What will Mrs. Roseman be playing?”

“Oh, yes, the Goldmark Concerto.”

“I’m afraid I’m not familiar with Goldmark.”

“Karl Goldmark.”

“And when did he live?”

The usher looks flustered. “When did he . . .? He was . . .” Her hands go up to her hair and flutter in their crooked, arthritic way around the loose knot of her chignon. “He was a Romantic.”

“Of course.”

Now the old woman, a flirt at heart, narrows her eyes and offers a gamine smile. She holds out her hand to Sylvia. “Elizabeth Mier. That’s Mier, M I E R.”

Does Elizabeth Mier expect her to jot down the correct spelling of her name? Sylvia takes her hand. “Pleased to meet you,” she says without offering her own name. The power of the press.

By the time the voyeur-turned-reporter is back in her box, the curious constellation of the Roseman family has woven itself around her. The French have another word, a first cousin of voyeur that hasn’t really crossed over into English. Voyant. We do have clairvoyant, but how much more elegant to be a voyant, a simple seer.

Back in her seat, Sylvia Bran’s career as a voyant is about to begin. As the lovely violinist walks back onstage and drops her square of silk onto her shoulder, Sylvia holds her breath.

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First Chapter

Chapter 1: voyant

Language, as Sylvia's mother was fond of saying, mimics the human condition. What is harmless one moment can become fatal the next. Drop a prefix, and, before you know it, what was innocuous has grown noxious, dispensing fumes that are certain to kill you.

Take voyeur, which derives from the French voir–to see. A powerless or passive spectator. You might define it that way, if you were willing to strip away its unsavory meanings and free it from the clutches of Peeping Toms.

Consider this: as a girl in Sacramento, Sylvia liked to climb trees. She started out in the fruit and nut trees of her neighborhood and then branched out, if you will, to the spreading oaks on the capitol grounds. Innocuous enough, you might say. Yet the physical pleasure she took in scrambling from limb to limb and hoisting herself into a hidden hollow was more than matched by her exhilaration with what she saw: a long-legged woman mowing her lawn in a pair of powder-blue shorts, a pair of terrier mutts humping in the early morning, the opened mouth of an ingenue as a sailor squeezed one of her smallish breasts.

Now, as a woman in San Francisco, Sylvia takes a heightened pleasure in what she sees, but she no longer worries about concealing herself. When Sylvia moved to San Francisco last year, she found a one-bedroom apartment, three flights up, situated along the Hyde Street cable-car line. Home in the evenings, she watches the corner of Washington and Hyde through her curtainless front window. Sipping a glass of cheap burgundy and listening to a Bobby Darin record, Sylvia watches her neighbors, briefcases and sacks of groceries in tow, climb on and offthe cable car.

She's particularly fond of the balletic passengers, who spring onto or off of the car's running board, even when it's in motion. So far she hasn't witnessed a single mishap among the leapers. Catlike, on their way to their various rendezvous, they bound from curb to running board with the grace of the man leaping a puddle in the famous photograph by Cartier-Bresson. Sylvia used to imagine that she was the Parisian in the photograph, her long, open-scissored leap, reflected in the pooling water, an emblem of decisiveness.

Despite Sylvia's good high-school French—her mother used to tell her that she was born to be a linguist or an impostor, maybe both—the closest Sylvia has gotten to Paris is through a monograph of Cartier-Bresson photos, a sampling of Debussy and Ravel recordings, and the lovely baguettes at Simon Brothers, flown in every other day from Paris, that she occasionally slips under her raincoat. Sometimes she pretends that it is Paris she's watching out her window.

Watcher might be another word she could apply to herself. Socially, it would make her more acceptable, but who wants to settle for a word so bereft of nuance? Anyway, watchers have become as common as birds in 1962, now that every man, woman, and child in America has a television of their own. Those few citizens not spending their leisure time watching TV are scanning the skies for orbiting chimpanzees or astronauts. Sylvia prefers more intimate curiosities.

One evening, shortly after moving to San Francisco, Sylvia took a random stroll down Van Ness Avenue and saw a symphony crowd billowing out of cabs and town cars and up the grand stairway to the lobby of the War Memorial Opera House. Although she was no more dressed for a concert than a woman walking her dog, she let herself get swept along with the crowd and, with neither dog nor ticket, climbed the stairs with the concertgoers and milled about the lobby, underdressed but unrepentant.

She remembered how not long after the Second World War, as a seventh grader from Sacramento, she visited the Opera House, where delegates of fifty nations had drafted and signed the United Nations charter. She'd imagined herself as a delegate from Ceylon, one of the exotic nations from which she had postage stamps. Seventeen years later, as she milled about in the lobby without a ticket, dressed in pedal pushers and a navy blue car coat, a voice in her head announced: The delegate from Ceylon, Sylvia Bran.

In September, as the anniversary of her first year in San Francisco nears, Sylvia gets an opportunity to attend a symphony concert at the Opera House. Her boss at Myerson's—"The grand piano store of the West"—offers her a complimentary ticket. Although the ticket has a hole punched through it, Sylvia is ushered through a velvet curtain to a freestanding upholstered chair in a box of her own. She might as well be the queen of Ceylon.

At first, it is hard to reconcile the formality of the setting and occasion with the casual, backstage banter that follows the musicians to their seats. Some of them tune their instruments on the fly amid a cacophony of scales and eighth-note passages. Then Inez Roseman appears onstage with her violin. Of course, Sylvia doesn't yet know who the exquisite violinist is, but talk about regal. She wears her hair—a shade of blond that can't have come out of a bottle—brushed back, with a silver comb at each temple. Surely this tall and graceful figure is cut from another cloth. The knots of standing musicians seem to part for her as she makes her way, without a word, toward the front of the first violin section. Is the stunning violinist contemptuous of her joking colleagues? Do they despise her for acting as if she's too good for this world?

Sylvia pays close attention to the violinist's gestures—the lovely way she brushes a hand under her skirt before sitting; her manner of dropping a square of silk onto her left shoulder and shrugging it into place before lifting the violin and clamping it with her chin. The other violinists all seem to have more elaborate devices or padding to protect their chins and shoulders. This one, with her square of silk, is, in effect, riding bareback. The violinist closes her eyes as she begins to tune her instrument. Sylvia imagines the inner ear against which the violinist measures her A and pictures a flower within a flower. Clearly, the violinist has perfect pitch, a kind of magnetic north that draws her to its incontrovertible center. In college, Sylvia had known a French horn player with perfect pitch, and she'd always wondered what it was like for him to live among the common folk with wavering intonation.

The dashing Brazilian conductor, João Bonfa, gives his downbeat, and the opening measure of an orchestral suite by Berlioz rises to Sylvia's box. She is sitting close enough to study the supple grace of the violinist's bow arm, and, gradually, locks into the breathing pattern of the silk-shouldered beauty.

At intermission, Sylvia asks an usher the name of the first violinist sitting second stand outside.

"That's Inez Roseman; beautiful Inez." The elderly matron, whose white hair is slipping out of its chignon, turns her head dismissively. Is the gesture meant as a comment on the violinist or on the philistine posing the question? Sylvia decides the latter. Maybe the usher remembers her complimentary ticket, the one with the hole punched through it, and holds that against her.

"Has she been with the symphony for long?" Sylvia persists.

"Yes," the usher says, turning toward Sylvia. "She's been in the symphony for nearly twenty years."

"How could that be? She doesn't look like she's much past thirty."

"Well, I'm not lying to you. Some of us age better than others." The usher takes a linen hanky from her clutch and, unfolding it, reveals a small stash of lemon drops. She offers one to Sylvia.

"No, thank you."

The matron plucks a lemon drop from her linen wrap and drops it on her tongue. "Of course, Inez got into the symphony when she was very young."

"She'd have had to."

"And you know who she's married to," the usher says, in a stage whisper.

"No, I'm afraid I don't."

"Jake Roseman." The usher puckers her lips around her lemon drop. "You know, the attorney who's creating all the fuss with the colored."

Sylvia has read about him in the Chronicle. He seems to be something of a sensationalist. A white lawyer working on behalf of the Negroes, a favorite of the liberal columnists.

"I'll tell you one thing," the usher says, "the man has no feeling for music, even though his father played in the symphony for years."

"His father played?" Sylvia asks.

"His father was the first concertmaster under Monteux. He was Inez's teacher. But you never see the husband here. Maybe he'll come next month when Inez plays her solo. If we're so lucky."

"What will she be playing?"

The usher puts her hands on her hips. "My, you ask a lot of questions. You ought to be a reporter."

"I am a reporter," Sylvia says, tasting the words as she speaks them.

"What do you know?" The matron's eyes brighten—everything seems to make sense to her now.

"But you haven't answered my last question," Sylvia says.

"Your last question?"

"What will Mrs. Roseman be playing?"

"Oh, yes, the Goldmark Concerto."

"I'm afraid I'm not familiar with Goldmark."

"Karl Goldmark."

"And when did he live?"

The usher looks flustered. "When did he . . .? He was . . ." Her hands go up to her hair and flutter in their crooked, arthritic way around the loose knot of her chignon. "He was a Romantic."

"Of course."

Now the old woman, a flirt at heart, narrows her eyes and offers a gamine smile. She holds out her hand to Sylvia. "Elizabeth Mier. That's Mier, M I E R."

Does Elizabeth Mier expect her to jot down the correct spelling of her name? Sylvia takes her hand. "Pleased to meet you," she says without offering her own name. The power of the press.

By the time the voyeur-turned-reporter is back in her box, the curious constellation of the Roseman family has woven itself around her. The French have another word, a first cousin of voyeur that hasn't really crossed over into English. Voyant. We do have clairvoyant, but how much more elegant to be a voyant, a simple seer.

Back in her seat, Sylvia Bran's career as a voyant is about to begin. As the lovely violinist walks back onstage and drops her square of silk onto her shoulder, Sylvia holds her breath.
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Reading Group Guide

1. On page 6, we’re told that “Sylvia Bran’s career as a voyant is about to begin.” What did you imagine that meant when you read it? What do you think it means now? Who turns out to be the more successful voyant, Sylvia or Inez?

2. What part do language and etymology play in the story? How does Sylvia use language as a barrier? Or a weapon?

3. Throughout the novel, questions of role and identity are raised: Sylvia pretends to be a reporter to meet Inez; Jake wears Bermuda shorts to court as a sort of costume; Christine dresses like a hooker for her final rendezvous with Jake. What role does Inez assume? Is she convincing?

4. On page 175, Inez admits to herself that “she doesn’t care who Sylvia is. Let her be whoever she wants.” Why is Inez willing to continue the affair after such a grave deception? How does their relationship change as a result?

5. How does the Cuban Missile Crisis impact the various characters? Do you think they might have behaved differently if it weren’t for the specter of imminent death?

6. Do you believe in Hy’s concept of a “mind lasso”? Which characters wield it best? Do they know they’re doing it?

7. Music is woven throughout the novel: Inez plays Paganini for Sylvia on their first meeting, then plays with the symphony; Jake whistles jazz everywhere he goes; Sylvia plays piano in the showroom, and for Bibi in the mental hospital. What does each character’s relationship to music tell us about him or her?

8. On page 273, Inez thinks, “A woman like her isn’t brave enough to walk away from her family, her children, and go on living. She cannot make so sharp a left turn in her life, nor can she sit idle.” Why do you think Inez feels this way and continues to contemplate suicide, even while she seems so happy? How might things be different if the story took place in a different era?

9. Food has a different significance for each character, in, for example, Inez’s fluctuating appetite or Jake’s gourmet assignations with Christine. How does Sylvia’s simple, sensual attitude compare? What does Isaac’s disdain for “goyish” mashed potatoes reveal?

10. Was it wrong for Jake to bring Isaac home to live with them? Did he have any other options?

11. How does Bibi’s benediction alter the relationship between Inez and Sylvia?

12. How does the fact that Sylvia’s mother was a suicide influence her response to Inez’s initial confession? And later, when Inez announces her “irreversible decision”?

13. What role does religious belief play in the story? Is it a help, or a liability?

14. Consider the theme of betrayal in the novel. Christine has a speech on page 223 in which she says: “Who’s betraying whom. Isn’t that the question we’re always at the point of asking our spouse? Or have we already decided? It’s them.” Who is betraying whom?

15. What do the chapter headings signify? Why do you think the author chose to name each chapter individually?

16. Did the ending surprise you? How might it have been different if the story took place in our era?

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Customer Reviews

Average Rating 4.5
( 4 )
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Sort by: Showing all of 4 Customer Reviews
  • Anonymous

    Posted July 13, 2006

    Haunting and lovely

    I had read the review in the Sunday paper and bought the book shortly after it came out and could not put the book down. I caught the author at a local signing and he was surprised because I think I was the only one in the audience who had read it. The relationship between Sylvia and Inez is plausible and intriguing. In a day and age where same-sex relationships are decried this confirms they are real and can be wonderful. The writing is pitch perfect giving the reader a series of nuances that are understated. It's one of my favorite books and it was up for a Minnesota book award for fiction.

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    Posted December 29, 2008

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    Posted September 13, 2010

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    Posted June 1, 2010

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