Black and White

Black and White

4.0 11
by Dani Shapiro

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Clara Brodeur has spent her entire adult life pulling herself away from her famous mother, the renowned and controversial photographer Ruth Dunne, whose towering reputation rests on the unsettling nude portraits she took of her young daughter.

At age eighteen, sick of her notoriety as “the girl in the pictures,” Clara fled New York City, settling…  See more details below


Clara Brodeur has spent her entire adult life pulling herself away from her famous mother, the renowned and controversial photographer Ruth Dunne, whose towering reputation rests on the unsettling nude portraits she took of her young daughter.

At age eighteen, sick of her notoriety as “the girl in the pictures,” Clara fled New York City, settling and making her own family in small-town Maine. But years later, when Ruth reaches out from her deathbed, Clara suddenly finds herself drawn back to the past she thought she had escaped. From the beloved author of Family History and Slow Motion, a spellbinding novel that asks: How do we forgive those who failed to protect us?

From the Trade Paperback edition.

Editorial Reviews

Erica Wagner
You could say…that the novel's central proposition is trite: how will Clara face the demons of her past? Yet all universal dilemmas—and this is certainly one—could be dismissed as trite. The truth is they face us all, and it is the novelist's job to breathe life into them one way or another, and this is something Shapiro does very well indeed. The strength of this novel is its particularity, its specificity, whether Shapiro is raking over the changes wrought by the years to the Upper West Side or describing Clara's sense of dislocation as she attempts to blend in with the other moms on the Maine island…
—The New York Times
Publishers Weekly

Clara, the protagonist of Shapiro's uneven fifth novel (after Family History), is the youngest daughter and muse of Ruth Dunne, a famous Manhattan photographer who made her name shooting Sally Mann–style (read: nude and provocative) photos of a young Clara. Unable to bear the humiliation of being "the girl in those pictures," Clara runs away from home at 18. Fourteen years later and still estranged from her mother, Clara's living in Maine with her husband and daughter when her older sister calls and tells her Ruth is in failing health. Clara travels back to Manhattan, where she comes to terms with her family and herself. Though Clara's frequent bemoaning of her emotional scars tries the reader's patience, Shapiro's sharp depictions of love and shame go a long way toward putting the self-pity into relief. It's unfortunate that Ruth fails to comes across as anything more than a narcissistic artist, but the novel offers some fine insights into marriage, the making of art and the often difficult mother-daughter dynamic. (Apr.)

Copyright 2007 Reed Business Information
Library Journal
It has been 14 years since Clara last saw or spoke to her mother, the renowned photographer Ruth Dunne, when her sister calls to say that Ruth is dying of lung cancer. Returning home to New York, Clara is forced to revisit her feelings about Ruth's work, particularly the subversive, invasive photographs of Clara from age three to 14, while dealing with Ruth's inevitable decline toward death. The story unfolds beautifully, drawing the reader into the family drama, while Shapiro (Family History) creates a sense of uneasy secrecy about Ruth and Clara's relationship by revealing only a few details at a time. Oprah's Book Club readers or fans of Jodi Picoult will enjoy this psychologically gripping book, and there will be a reading group guide available. Recommended for most libraries.
—Amy Ford
Kirkus Reviews
Clara struggles to come to terms with her dying mother, famous for exploitative photos taken of Clara as a child. Were Ruth Dunne's exquisite nude photos of her younger daughter-who sensed the abuse but could never articulate it-permissible, as art, or were they an unforgivable act of exploitation? Shapiro (Family History, 2003, etc.) seems to draw on the controversy surrounding real-life photographers like Sally Mann, but she populates this interesting scenario with bluntly drawn characters. Clara Dunne is reduced to panic at any reminder of her mother's photo shoots and her own unwelcome fame as the child star of the Clara Series. Fourteen years before the story opens, she fled New York and started a new life in Maine, as the wife of jeweler Jonathan and mother of Samantha. When Clara's sister Robin phones with the news that Ruth is ill, Clara chooses to go back and help, but cannot bring herself to explain to Sam that she has a grandmother. Ruth has terminal cancer but hopes, before time runs out, to put together a book containing all the pictures that made her name. Clara is appalled all over again by this news. Back in Maine, however, Jonathan's anger and Sam's withdrawal force her to come clean with her own daughter. Now the family can return to New York, for a sequence of healing scenes. Sam sees some of the photos at MoMA and pronounces them cool. Robin, who has spent a lifetime feeling alone, grows closer to Clara. Ruth, on her deathbed and ruthless no more, asks forgiveness. And Clara celebrates the publication of the book. Victimhood presented, as the title suggests, in stark terms, with only occasional flashes of insight.
From the Publisher
"Gavin's compelling voice seduces listeners into believing this is her own story. Her...voice grips listeners and adds soul to Shapiro's story of reconciliation." —AudioFile

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Knopf Doubleday Publishing Group
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Chapter One

It has been years since anyone has asked Clara if she’s Ruth Dunne’s daughter—you know, the girl in those pictures. But it has also been years—fourteen, precisely—since Clara has set foot in New York. The Upper West Side is a foreign country. The butcher, the shoe repair guy, even the Korean grocer have been replaced by multilevel gyms with juice bars, restaurants with one-syllable French names. Aix, Ouest. The deli where Clara and Robin used to stop on Saturday mornings—that deli is now some sort of boutique. The mannequin in the window is wearing blue jeans and a top no bigger than a cocktail napkin.

This is not the neighborhood of her childhood, though she can still see bits and pieces if she looks hard enough. There’s the door to what was once Shakespeare & Co. She spent hours in that bookstore, hiding in the philosophy section, until one summer they gave her a job as a cashier. She lasted three days. Every other person, whether they were buying Wittgenstein or Updike, seemed to stare at her, as if trying to figure out why she looked familiar. So she quit.

Shakespeare & Co. is now an Essentials Plus. The window displays shampoos, conditioners, a dozen varieties of magnifying mirrors. A small child bundled up in winter gear is riding a mechanical dinosaur next to the entrance, slowly moving up and down to a tinny version of the Flintstones theme song.

Since the taxi dropped her off at the corner of Broadway and 79th Street, she has counted five wireless cellular stores, three manicure parlors, four real estate brokers. So this is now the Upper West Side: a place where people in cute outfits, their bellies full of steak-frites, talk on brand-new cell phones while getting their nails done on their way to look at new apartments.

It is as if a brightly colored transparency has been placed over the neighborhood of Clara’s memory, which had been the color of a sparrow: tan, brown, gray as smudged newsprint. Now, everything seems large and neon. Even the little old Jewish men who used to sit on the benches in the center islands in the middle of Broadway, traffic whizzing around them in both directions—even they seem to be a thing of the past.

She crosses Broadway quickly, the DON'T WALK sign already flashing. Outside the old Shakespeare & Co., a man has set up a tray table piled with books. A large cardboard sign announces PHILIP ROTH—SIGNED COPIES!!! Above the sign, a poster-sized photograph of Roth himself peers disapprovingly over the shoppers, the mothers pushing strollers, the teenagers checking their reflections in the windows of Essentials Plus.

She has brought nothing with her. No change of clothes, no clean underwear, not even a toothbrush. She’s not staying, no way in hell. That’s what she told herself the whole flight down from Bangor. Ridiculous, of course. She’s going to have to stay at least overnight. Broadway is already cast in a wintry shadow, the sun low in the sky, setting across the Hudson River. Her body—the same body that spent her whole childhood in this place—knows the time by the way the light falls over the avenue. She doesn’t need to look at her watch. It’s four o’clock. That much—the way the sun rises and sets—has not changed.

She’s been circling for an hour. Killing time. Down Columbus, across brownstone-lined side streets, over to West End Avenue with its stately gray buildings, heavy brass doors, uniformed doormen just inside.

A man in an overcoat hurries by her. He glances at her as he passes, holding her gaze for a moment longer than necessary. Why does he bother? She looks like a hundred other women on the Upper West Side: pale, dark-haired, lanky. A thirtyish blur. She could be pretty if she tried, but she has long since stopped trying. Clara stares back at the man. Stop looking at me. This, too, she has forgotten about the city: the brazen way that people size each other up, constantly weighing, judging, comparing. So very different from the Yankee containment of Maine, where everybody just minds their own business.

The phone call came at about eleven o’clock, a few nights ago. No one ever called that late; it was as if the ring itself had a slightly shriller tone to it. (Of course, this could be what her memory is supplying to the moment now—now that she is here.) Everybody was asleep. Jonathan, Sam, Zorba, the puppy, in his crate downstairs in the kitchen.

Jonathan groped for the phone.


A long pause—too long—and then he reached over and turned on the bedside lamp. It was freezing in their bedroom, the bed piled with four blankets. One of the windowsills was rotting, but to fix it meant ripping the whole thing out, which meant real construction, which cost money, which they didn’t have.

Jonathan handed her the phone.

“Who is it?” she mouthed, hand over the receiver.

He shook his head.

“Hello?” She cleared her throat, hoarse from sleep. “Hello?”


With a single word—her own name—her head tightened. Robin almost never called her, and certainly not at this hour. They talked exactly once a year, on the anniversary of their father’s death. Clara sank deeper beneath the pile of blankets, the way an animal might try to camouflage itself, sensing danger. Her mind raced through the possibilities. Something had happened, something terrible. Robin would not be calling with good news. And there was only one person, really, whom they shared.

“What’s wrong?” Clara’s voice was a squeak. A pathetic little mouse.

“I’m going to tell you something—and I want you to promise me you won’t hang up.”

Clara was silent. The mirror over the dresser facing the bed was hanging askew, and she could see herself and Jonathan, their rumpled late-night selves. Through the receiver, on Robin’s end, she heard office sounds. The muted ring of corporate telephones, even at this hour.

“Don’t hang up. Promise?”

How like Robin to want to seal the deal, to control the situation, before Clara even knows what the situation is.


“Say ‘promise.’ ”

Clara squeezed her hands into fists.

“Christ! I promise.”

“Ruth is . . . she’s sick. She’s—oh, shit, Clara. It’s bad. She’s very sick.”

“What do you mean?” Clara responded. The words didn’t make sense. She was stupid with shock.

“Listen. I’m just calling to say that you need to come home,” Robin said.

There it was. Fourteen years—and there it was. Home. She was home, goddammit.

“I’ve made myself insane, going around and around in circles.” Robin paused. “My therapist finally said it wasn’t up to me—that you had a right to know.”

“How long has this been going on?” Clara managed to ask.

“Awhile,” Robin said. She sounded tired. Three kids, partner in a midtown law firm; of course she was tired. Clara couldn’t imagine her sister’s life.

Clara climbed out of bed and walked over to the window. She was suddenly suffocatingly hot in the freezing room. The lights from the harbor beckoned in the distance.

“Look, the truth is—I can’t deal with this by myself,” Robin said. Never, in Clara’s memory, had Robin ever admitted such a thing. She was the queen of competence.

“I have to think about it,” Clara said. Her sister was silent on the other end of the phone. Clara tried to picture her, but the image wasn’t clear: round brown eyes, a tense mouth. “Okay, Robin? This is— I never thought I would ever even consider—”

“I know,” said Robin. “But please.”

After she hung up the phone, Clara climbed back into bed and twined her legs around Jonathan’s, her hands on his belly. She closed her eyes tight and burrowed her face into the crease of his neck. He was asking her something—What are you going to do?—but his voice sounded muffled, as if suddenly there were something, something thick and cottony, separating her from her real life. She breathed Jonathan in, fighting the avalanche of thoughts.

From the Hardcover edition.

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From the Publisher
"Gavin's compelling voice seduces listeners into believing this is her own story. Her...voice grips listeners and adds soul to Shapiro's story of reconciliation." —-AudioFile

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Black and White 4 out of 5 based on 0 ratings. 11 reviews.
Guest More than 1 year ago
From the very first sentence, this story grabbed me and held me till the end. I simply couldn't put it down and finished it in a day! Mother/daughter relationships, perhaps the most complex of all inter-personal interactions, always make for engaging if not emotionally charged storytelling and this tale is no different. Life, death, love, hate, guilt and remorse -- the very core of human emotional interaction are the underlying and core elements of this well-written book.
harstan More than 1 year ago
Infamous photographer Ruth Dunne is dying from cancer yet hopes to put together one last book as a testimony of her work. Her youngest daughter Clara, the object of much of the sensational pictures, fled Manhattan and her mom for the serene quiet of Maine where she has lived for fourteen years in seclusion with her spouse Jonathan and their daughter Samantha, who is unaware that her maternal grandmother is alive or that her mom was the ¿star¿. When Clara¿s sister Robin informs her that mom is dying, she would like to reconcile with Ruth before dies, but has so much anger over those pictures of her as a naked child that Ruth insists were art, but Clara feels they were exploitation and abuse.-------------- Forced to tell the truth to Sam, the family travels to New York to see Ruth. At the MoMA, Sam sees some of her grandmother¿s work and believes they are fine. Robin who has always felt left out and alone and Clara bond as adult sisters something they could not do as children. Meanwhile as Ruth nears death she begs Clara to forgive her as she never intended to harm her with her art. While her family wants a reconciliation, Clara has doubts as exploitation remains in the forefront of her mind.----------------------- This is an interesting family drama as each of the key players come across as unique individuals with issues and concerns. The story line focuses mostly on the dysfunctional relationship between Ruth and Clara, but also provides some insight to the lack of rapport between sisters, spouses, and mother and daughter. Readers will know how everyone feels as no one holds back their emotions. Although the climax seems too forgiving, fans will enjoy this fine character driven tale.------------------- Harriet Klausner
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Great book, unfortunately I listen to the audio version and the last CD was damaged and Barnes and Noble would not replace so I do not know how the book ended.
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