Chapters (49)
- Cover
- Title Page
- Copyright
- Chapter 1 - New York City 2008
- Chapter 2 - New York City 2008
- Chapter 3 - New York City 2008
- Chapter 4 - New York City 2008
- Chapter 5 - New York City 2008
- Chapter 6 - Connecticut 2008
- Chapter 7 - New Haven Connecticut 1936
- Chapter 8 - New Haven 2008
- Chapter 9 - New Haven 1943
- Chapter 10 - New Haven 1943
- Chapter 11 - New Haven 1943
- Chapter 12 - New Haven 2008
- Chapter 13 - New Haven 1943
- Chapter 14 - New Haven 2008
- Chapter 15 - New York 2008
- Chapter 16 - New York 1957
- Chapter 17 - New York 2008
- Chapter 18 - New York 1962
- Chapter 19 - New York 1962
- Chapter 20 - New York City 1962
- Chapter 21 - New York 2008
- Chapter 22 - New York 1962
- Chapter 23 - New York 1962
- Chapter 24 - New York 1962
- Chapter 25 - New York 2008
- Chapter 26 - New York 1962
- Chapter 27 - New York 2008
- Chapter 28 - New York 2008
- Chapter 29 - New York 1974
- Chapter 30 - New York 2008
- Chapter 31 - New York 1974
- Chapter 32 - New York 2008
- Chapter 33 - New York 1974
- Chapter 34 - New York 2008
- Chapter 35 - New York City 1974
- Chapter 36 - New York 2008
- Chapter 37 - New York 2009
- Epilogue
- Dedication
- Acknowledgments
- Reading Group Guide
- ALSO BY LOUISE SHAFFER
- ABOUT THE AUTHOR
- What’s next onyour reading list?
RHRC: Complicated relationships between mothers and daughters have come up in a few of your novels. What interests you about the dynamics between the generations?
LS: That's a great question because I was about to say that I don't write about complicated mother-daughter relationships and then I realized that, yeah, I do. Talk about not recognizing a piece of yourself in what you write. I just think mothers and daughters are so important to each other: Your mom is your role model as well as your parent. You learn how to be a person from both of your parents but you learn how to be a woman from your mother. For so many of us, the dreams and the hopes came from our mothers—the ones she told us about, and the ones we inherited from her without her knowing she was passing them down. In my case, that setup was heightened by the fact that my father died when I was young so my mother was an even stronger influence on me. And I'm fascinated by the question of how much of what we are is in our genes. I guess I find it very romantic to believe that certain traits are handed down in families. It sort of puts us and all our attempts to control things in perspective. And I like that.
RHRC: Do you plan out your story lines before you sit down and write them, or do you see what happens as you go along?
LS: I plan, to an extent. I need to know before I start writing how it's all going to end. And I need to know what I hope the reader will get from the book—beyond a good read. That's a sneaky little trick of mine; I always have a message I want to get across—but since I don't believe it's my job to preach, I try to slip in my opinions in a way that you can ignore if you want. And I usually have a plot twist in the middle that everything hinges on and I need to know what that's going to be and how it's going to work. But I don't always know how I'm going to connect all the dots and get from point A to point B. And I will never write it all down because if I did that, then I'd feel locked in. And I want to pretend that I'm this free spirit. Although actually I'm probably pretty well structured when I work.
RHRC: Which authors have influenced your work, and who are your favorites?