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A Novel

Written by Cheryl MendelsonAuthor Alerts:  Random House will alert you to new works by Cheryl Mendelson

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On Sale: December 18, 2007
Pages: 384 | ISBN: 978-0-307-43145-5
Published by : Random House Random House Group
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Synopsis|Excerpt

Synopsis

Morningside Heights, a Manhattan neighborhood sandwiched between Columbia University and the Hudson River, is home to an eclectic mix of academics, struggling artists, and rooted families. In this distinctive world, Peter Frankel, a successful partner in a prestigious law firm, lives a seemingly contented life with his talented wife and his two Ivy League—educated children.

Yet in middle age Peter finds himself discontent. His wife’s narrowness and her preoccupation with appearances leaves him cold, his job does not fulfill his creative bent, and he fears that his children, Susan and Louis, have grown into skeptical young adults who shun marriage and stability.

So when Peter’s wife is badly hurt in a car accident and lies in a coma, he finds himself guiltily relieved–and newly drawn toward his children as they too struggle with ambivalent feelings about the mother who’s never really shown them much love. As Susan, a cerebral doctoral student, becomes unhappily involved with an aspiring playwright and Louis is caught up in a futile pursuit of an ambitious journalist, Peter’s own quiet life is shaken up, and longings he has stifled for years come rumbling to the surface.

Freed from his wife’s judgments, Peter throws himself into his greatest pleasure, the work he does for a foundation that funds offbeat artistic projects. And as his passion for this work ignites, so does his desire for another woman. But the stubborn morality that has steered Peter’s life is a force to be reckoned with–and one from which he may never entirely escape.

Love, Work, Children is a profoundly insightful novel about two generations and the colorful urban world they inhabit. A superb portrayal of one of New York’s exceptional neighborhoods, this is a story, ultimately, about the self-imposed obstacles to true happiness–and a testament to the joy one can find in overcoming them.


From the Hardcover edition.

Excerpt

CHAPTER 1

Four Forty-four Riverside Drive, a fine old residential building in Morningside Heights, was filled with aging couples whose grown children remained unmarried. The phenomenon was so general that it had begun to be openly talked of. Not so long ago, the Frankls and the Holmeses, whose daughters had been best friends all their lives, had been congratulating themselves on how successfully they had taught their children not to rush into marriage and how this augured well for their ultimate happiness. But now that the children were all around thirty, their restraint began to look like indifference and their unmarried state like a permanent one.

Until now, their sixtyish parents had led placid lives. Peter Frankl was a lawyer who, with his wife, Lesley, lived in one of the building’s two penthouses, with forty feet of windows framing sunsets over the Hudson. The Holmeses, Herbert and Ingrid, were both psychotherapists. They had a pleasant corner apartment on the fourth floor, from which, in winter when the trees were bare, they could see a few gleaming inches of the river. Neither the Frankls nor the Holmeses had money worries or health problems; all of them had significant careers except Lesley, who, however, painted contentedly in a home studio and now and then sold a canvas.

Peter Frankl’s marriage wasn’t all he would have liked. But he had put the children first, ensuring that they grew up in the calm of civil and secure family life, and deemed his marital problems tolerable. The Holmeses, by contrast, had one of those extraordinarily close, warm marriages that succeed through an unlikely amalgam of egoism and altruism, which, although rare and peculiar, is inevitably regarded as ordinary—perhaps because such unions are as boring and offputting to others as they are satisfying to the married pair itself.

The tenderly reared offspring of these couples had grown up to be everything their fathers and mothers could wish for. The children’s happiness and safety was the sweetest part of their parents’ lives and the rock on which the rest was built. This was true of all of them, but of Peter Frankl especially.

Peter, who had been orphaned when he was twenty, was terrified of loneliness. Loneliness, he knew, was fierce, with claws and fangs, not at all the tame, mild, forlorn thing people pretended it was. His wish for the children to find love was urgent and fearful, therefore, but he saw ominous evidence that, for them, love was not going to come easy.

True, his son, Louis, now in his early thirties, always had girls running after him, but he never seemed to get serious about any of them—not that Peter had ever really liked any that he had seen. Peter shifted from theory to theory about this: maybe there weren’t many nice girls out there nowadays, or maybe nice girls didn’t like Louis. Sometimes he even wondered how much Louis liked girls. His daughter Susan’s problem was even worse. Boys had always ignored her; a real boyfriend had appeared only once or twice in her life, the last time in college. Nonetheless, Peter had felt serious concern about her only when she passed her twenty-sixth birthday with no attachment, and his anxiety increased on each subsequent birthday until, on her twenty-ninth, when Susan had not had a real date for years, it sharpened into something more painful. Peter then became unequivocally unhappy about Susan. Right around then, Louis, too, had been wounded by someone he had been seeing briefly, a serious girl who was studying history. She went out with Louis three or four times, then told him that he was just not her type. Peter was delighted that Louis had pursued someone like her and was not surprised that she did not pursue Louis. Whatever the reasons, both his children now seemed to him lonely and troubled, settling permanently into a scattered, dry existence devoid of the intimate comforts of family life. Peter could no longer say to himself, as he always had before, that he didn’t really mind his own disappointments—not as long as the children were happy. There were now times when, adding their disappointments to his own, he felt that life had mistreated him.

Both Susan and Louis were good-looking, and Louis was tall, incomprehensibly so, given the merely average height of his parents; but in temperament and tastes the two were startlingly different. Louis, in his father’s opinion, was his sister’s inferior in the personal qualities that favored love—empathy, warmth, loyalty, altruism—despite the fact that he had so many girlfriends and Susan had no boyfriends. Susan had all those virtues, but only a few intimates ever saw much of them. With strangers, she often had a grave manner that made her come across as somewhat older than she was, and her conversation got stilted and bookish. Sometimes even her adoring father felt that something was a little off in Susan. As she got older, he more and more often wondered whether she hadn’t turned into a bit of a nebbish.

Susan was working for her PhD in musicology at Columbia, and her conversation was obscure with Renaissance musical arcana. Peter admired and encouraged her plans for a scholarly career and thought her brilliant, sure of professional, if not personal, success. She spent hours practicing her piano, pursuing her studies, and playing endless games of solitaire in the little apartment Peter had bought her on 114th Street a couple of years ago, when, at twenty-six, she insisted that she was too old to live at home.

Louis had had his own place on the East Side until he gave it up to return to school, but he had no scholarly tastes. He never read a book and never spent a minute indoors if he could avoid it. He had dates and played sports and went to parties with friends who were as unthinking as he and generally even richer. He was finishing an MBA at Harvard, where he had made a respectable record with surprisingly little effort, considering that the program was famously geared to grinds; he would undoubtedly line up a high-paying job in finance when he graduated—a plan his mother approved and his father did not. Louis had brains, Peter thought, if he’d only use them. Why would a boy with all his options, all his privileges and connections, go into finance? Peter, who admired scholars, artists, and philosophers, and regretted having settled for the law, which was at least better than finance, found it baffling.

The senior members of the Frankl family never socialized with those of the Holmes family, but the two sets of parents had plenty of opportunities on the elevator and at the mailboxes to comment on their girls’ situations, and each knew the other’s daughter well. The Holmeses’ Mallory had played beside Susan Frankl in the sandbox at the playground on the Riverside Promenade and attended nursery school with her, and afterward they had gone to the same exclusive school, where both were outstanding students, although Mallory, unlike Susan, was neither bookish nor musical, and was what has always been called “popular.” From the time she turned thirteen, Mallory had never been without a boyfriend for more than seven nanoseconds, as she put it—at least not until now. There were always a host of girls and boys with whom she went places and did things casually, whereas Susan’s connections with people were either intimate or distant, nothing in between. For the most part, Mallory was truly close only with Susan or, occasionally, with some friend of Susan’s, and with her own parents, whose love was so rich and wise that she felt little need for anyone else’s. Possibly there had been too many boyfriends, but none of the breakups seemed to have much effect on Mallory’s high spirits and friendly cheerfulness. The Holmeses had only recently begun to worry that something was wrong in this pattern, when Mallory broke up with the young man with whom she had been living for two years. To her parents, this felt awfully like a divorce, and they were upset. But Mallory did not appear to feel it as much as her parents. She was quiet, perhaps a bit low-key, perhaps worked a little too much, and that was about the extent of it. Mallory had picked up an MA in journalism at Columbia a couple of years ago and had recently got a job in the Features section of the New York Gazette. With her salary and a little help from her parents, she was just able to afford the small apartment near Columbia where she had lived while finishing her degree.

Susan and Mallory, now settled blocks apart in the neighborhood where they had grown up, had recently begun to discuss a shared sense that the shape of the future was vague. Mallory, for once, had no one new waiting in the wings and had begun to falter in her confidence about finding the sort of man who would suit her, and Susan had begun saying right out that she thought she would stay single. She questioned the institution of marriage and doubted, in any event, that she was suited for it. Also, she saw that remaining single was commonly the fate of women like herself, despite their privileges and advantages, even among those who believed in and sought marriage, and she had a hard time imagining the man who might fall in love with her. After all, no one had felt that way about her yet. Why should it happen now, when she was almost thirty?

“Of course I wish I had someone,” Susan said to her father shyly, “not necessarily a husband—just someone to be with, but it’s not in the cards, as far as I can tell. I don’t seem to send the right message or something.” Peter Frankl grieved when she said this, and afterward he brooded more intensely than ever about how he might help her.

Susan said much the same to Mallory in an intimate late night talk on her sofa. “That’s not true!” Mallory protested. She was always protective and affectionately loyal with Susan. “You just need to find someone who’s a little quirky, like you, and sooner or later you will. You have to be patient.” This was simple-minded encouragement, but Susan wanted it badly enough that it succeeded in making her look a little happier. Mallory, though, wished to give more substantial aid, and she thought and thought about how she might shorten her friend’s wait. Despite her malaise, Mallory herself, never having waited very long, didn’t expect to this time.

In the meantime, Peter Frankl was so distressed by his sad conversation with Susan that, after worrying for several days, he decided to talk the situation over with his wife, even though Susan’s remarks had been, implicitly, confidential. Susan and Lesley weren’t as close as some mothers and daughters, and she wouldn’t have said such things to her mother. But still, he thought, it was worth a try. Weren’t mothers supposed to help daughters with problems like these? Didn’t they know how it all worked?

“I told you so, Peter,” Lesley responded when Peter described his conversation with Susan, “years and years ago. I washed my hands years ago.” Her husband’s unaccustomed soliciting of her opinion provoked anxiety, which in turn made her feel spiteful toward him.

“Refresh my memory,” he said with a peculiarly mild, tolerant sarcasm in which the secure assumption of being undetected would have been clear to an observer but, apparently, was not to his wife, with whom he often adopted this attitude.

“Don’t be silly.”

“Lesley, you never said anything of the kind.”

“I told you she should’ve gone on Teen Tour in her senior year.”

“You can’t send a girl who’s reading Henry James and playing Scriabin on Teen Tour. She wouldn’t have fit in. She would never have spoken to us again.”

“We should have made her go and made her fit in. The kind of kids who go on Teen Tour get married. They know how to have fun and talk to people and get along with each other. Look at Louis. He doesn’t have these problems.”

“I’m sorry I brought it up. And, Lesley, I’m beginning to think that Louis isn’t doing any better than Susan, no matter how it looks.”

“Don’t be silly. When Louis decides he’s ready to get married, he’ll find someone right away—not that you’d care if he had problems. And with Susan, the damage was done years ago. She’s not a normal girl. You never wanted her to be normal. You wanted this fancy intellectual, and now you’re paying the price. I washed my hands.”

“You’re making it up. But, okay, have it your way. Louis is perfect, and I personally, all by myself, ruined Susan, whatever. Still, you could take a little interest in what could be done to help her now.” Peter’s real opinion, of course, was that Susan, whatever her problems, had become a daughter to be proud of, while Louis’s character was flimsy; Susan’s intellectuality, and Louis’s lack of it, in Peter’s opinion, went far to explain why.

“There’s nothing you can do for her now,” Lesley said. “She wouldn’t let you anyway. She wants to be independent. And you’re all for it—even though buying her that apartment was maybe not such a good idea, which I told you at the time, because she’ll just hole up there and never meet anyone. She should have roommates.”

“All right, Lesley. We’ll let it go. Susan and Louis can take care of themselves.” This was only what he wished were true, not what he believed. But, in the Frankl family, Peter was the designated worrier, and when his appeal for wifely help proved futile, he felt obliged to restore his wife to peace of mind and reassume the burden of concern. Lesley immediately sensed her liberation and relaxed.

“Peter, you’re on your own Saturday night, darling. I’m going to the fund-raiser, that legal aid thing in New Jersey, with the Rostovs.”

“I can’t see why you have any interest in doing that, but I’ll be fine. Maybe I’ll take Susan to dinner.”

“No. She’s going to Mallory’s party. Mallory’s having thirty or forty people in that tiny place.”

“Good. Maybe Susan’ll meet someone.”

“Not with Mallory around—and all those girls who know enough to smile and talk.”

“Your daughter is not the loser you think she is, Lesley.”

“I washed my hands.”

CHAPTER 2

Late on a clear, cold Sunday morning in mid-March, Mallory Holmes’s

party was under discussion in several neighborhood apartments

that smelled of coffee and were strewn with newspapers and clothes. The night before, despite a spring storm so violent that Mallory had worried that people would stay home, her two small rooms, even the half closet that held her desk and chair, had been crowded with people. And from the first moments it had been clear that the party was a success, notwithstanding a brief quarrel that was snarling enough to shock into silence the dozen or so guests who heard it. Everyone except Mallory herself came away with the transformed inner landscape, the altered perspective, that good parties always give.


From the Hardcover edition.
Cheryl Mendelson|Author Q&A

About Cheryl Mendelson

Cheryl Mendelson - Love, Work, Children
Cheryl Mendelson received her Ph.D. in philosophy from the University of Rochester and her J.D. from Harvard Law School. She has practiced law in New York City and taught philosophy at Purdue and Columbia universities. She is the author of Home Comforts: The Art and Science of Keeping House and the novels Morningside Heights and Love, Work, Children. Anything for Jane is the final novel in her Morningside Heights trilogy. She lives in New York City.


From the Hardcover edition.

Author Q&A


An Interview with Cheryl Mendelson

Random House: What was the book that most influenced your life or your
career as a writer—and why?

Cheryl Mendelson: Many books have mattered enormously to my life and
work. David Copperfield by Charles Dickens would be one of several
contenders for “most influential.” I first read it when I was thirteen
and have reread it dozens of times since. Both the story—of a child
struggling alone and unaided, against frightening obstacles, to make
his way in the world—and Dickens’s way of telling the story became
templates in my mind, the one for living and the other for writing.

RH: What are your ten favorite books, and what makes them special to
you?
CM: My list of favorites is alphabetized so as to avoid the appearance of
ranking. There are easily another thirty books I like as well as these,
many by some of the same authors. I like all these classics of English,
German, and Russian fiction for the same reasons: because they are
works of the moral imagination, their characters and societies
can matter deeply to me, and the person who tells me all about these
people and places, the author, is the best company in the world—
someone intelligent, compassionate, passionate, and remarkably
skilled in observation, description, and narration.
Austen, Jane. Emma
Dickens, Charles. David Copperfield, Great Expectations
Dostoyevsky, Fyodor. The Brothers Karamazov, The Idiot
Eliot, George. Middlemarch
Hardy, Thomas. Jude the Obscure, The Return of the Native
Mann, Thomas. Buddenbrooks
Tolstoy, Leo. Anna Karenina
When I read nonfiction, I favor political and social analysis, like
Thomas Frank’s What’s the Matter with Kansas? or Jared Diamond’s Guns,
Germs, and Steel
.

RH: What types of music do you like?

CM: I listen to lots of music, especially Bach, opera (all periods), German
lieder, chamber music, and rock, old and new.

RH: If you were part of a book club, what would the group be reading, and
why?

CM: I’d like to read Jared Diamond’s new book, Collapse: How Societies Choose
to Fail or Succeed,
which is about how various societies have destroyed
themselves through ecological and social irrationalism. I read an extract
about Easter Island that was as riveting as a crime thriller. The
book sounds like it’s full of things we all should know. I’m also a big
fan of Alexander McCall Smith, and I imagine that his new book,
Friends, Lovers, Chocolate, would be fun to share.

RH: What are your favorite kinds of books to give—and get—as gifts?

CM: To intimate friends, I give novels. When I know people’s taste less well,
I try to give them something brand-new (so I can be sure they don’t
have it yet) on a subject that interests them—like gardening or the
Civil War or French antiques. I myself love getting cookbooks and
novels that some congenial person has already tried and liked.

RH: Do you have any special writing rituals? For example, what do you
have on your desk when you’re writing?

CM: First, I go to a stationer’s and buy two notebooks, a larger hard-backed
one for writing sketches, ideas, and outlines, and a smaller soft-backed
one for carrying around with me, in bag or pocket, in case of sudden
flashes of thought. They must be narrow-ruled, and I write entirely in
pencil—unless I’m really desperate. I’ve usually gotten lots of material
into these by the time I sit down to the desk. On the first day at the
computer, my desk is pristinely neat, with a fresh notepad, sharpened
pencils, and maybe even a bud vase with some actual buds. I create a
new directory on my computer and update my word processor and
consider, again, buying a faster printer. (I always decide not to.) This
orderly state of affairs lasts for at least several hours. Then the chaos
and irrationality of the process take over, and I don’t reorder things
until a first draft is complete—maybe a year later. All these little rituals
aspire to control and order a process that is frighteningly uncontrollable,
and they are completely absurd.

RH: Many writers are hardly “overnight success” stories. How long did it
take for you to get where you are today? Any rejection-slip horror stories
or inspirational anecdotes?

CM: I published only in academic journals in philosophy until I was in my
forties, but I had been writing fiction and poetry my whole adult
life—without ever once trying to publish it, and rarely letting anyone
read it. I burned my first novel, page by page, in a fireplace. A couple
of others got thrown into the back of file cabinets and forgotten. My
style and motifs changed dramatically from the time of my twenties
until 2003, when I first published fiction. When I finally decided to
try to publish nonacademic things, I was surprised that each book succeeded
practically immediately. This still astonishes me. I’m not sure
anyone could try to imitate this, as it all happened unplanned. But it
should encourage people who are hoping for a late start.

RH: Give us three “good to know” facts about you.

CM: I was born and raised (until age thirteen) in Appalachian southwestern
Pennsylvania, on a dairy farm outside a little mining town—a
company town, where I went to school with the miners’ children.
When I saw New York City as a child, I fell in love with the place and
vowed to get there someday, and finally did. But I feel like an immigrant,
even in this city full of people from somewhere else and even in
my own small circle. My differences from the people I know here are
far greater than theirs from one another, from their point of view as
well as my own. (It would take a book to explain how and why.)

RH: What else would you like your readers to know?

CM: I’m a walker. I take long walks—miles and miles, with iPod, small
notebook, and pencil. I play the piano. Along with the rest of my family,
I am a film fanatic. We spend astonishing amounts of time researching
which films we’ll watch on weekends at home.

RH: What are some of your favorite films, and what makes them unforgettable
to you?

CM: The Seventh Seal evokes a childish terror of death and uses it to expand
the viewer’s moral compass, to make us more compassionate, more admiring
of small acts of courage, more grateful.
Casablanca is a favorite, even though I don’t esteem it enormously
highly as cinematic art. What interests me about it is how contemporary
this story of love and courage and sin in a world of increasing
horror is. It creates a style for dealing with these things which is equal
parts cool, humor, and seriousness and which does not feel even remotely
dated, even though, being upwards of fifty years old, it should
feel dated and (I hope) someday will.
I love the Matrix trilogy and discovered that I can happily rewatch
these films as often as my adolescent son does. What fascinates me
about them is the premise that inner (psychological) events can solve
outer (social and political) problems—even though it’s an idea I’m
deeply skeptical of. The fascination, I think, comes from a real-life
sense of helplessness in the face of the things that are wrong with the
world.

RH: What are you working on now?

CM: I’ve just finished the third novel in my Morningside Heights trilogy.

RH: What are some of the challenges involved in writing a trilogy?

CM: Aside from the obvious ones of maintaining consistency over a triply
wide span of characters, scenes, and motives, there is also the fact that
more time goes by and things change as time passes—not only the author
and her moods and ideas, but the world too. This particularly
matters when you’re writing about real places, as I have been in the
Morningside Heights trilogy. The first volume was written in 2000–
2001, and Random House offered to publish the book in August
2001. We shook hands and went on summer vacation, intending to get
down to the work of preparing the manuscript for publication after
Labor Day. In the interim, of course, came September 11. I first spoke
with my editor about the novel when we were all grieving deeply, and
dust clouds still hung over lower Manhattan. This tragedy profoundly
affected our attitudes—and readers’ too, I’m sure. Suddenly, Morningside
Heights
was about a New York that was gone.

RH: Did September 11 affect Love, Work, Children too?

CM: September 11 contributed a strain of darkness to Love, Work, Children,
despite the fact that the book is a comedy and ends happily. You see
this in the characters’ sense of threat from the world outside the city
(a reverse of the tradition that saw the city itself as the threat) and in
the murderous rage that is depicted in all the book’s relations—
intimate, social, and political. Real New Yorkers, mourning the
deaths of thousands of innocent neighbors and trying to fathom the
rage that led to their murders, were stunned to hear these crimes
described, with considerable satisfaction, by both radical fundamentalist
Christians in the United States and Islamists abroad, as punishment
for our sins. Through characters who are all given very specific
and realistic histories, psychologies, and societies, Love, Work, Children
explores the universal feelings of exclusion, inferiority, and humiliation
that led to this kind of rage in so many contexts, rage with the
potential to issue in murder or in cruel attempts to re-create those
painful feelings in others.

RH: Are your characters based on real people? Where do you get them? Do
you have favorites?

CM: I am always asked this, and I have no adequate answer. My characters
are not based on real people, although occasionally (not typically) I
draw on real incidents. They come into my head all by themselves,
feeling very real, with complicated psychologies and life histories.
When they are written up and a book is done, sometimes I see resemblances
between characters and people I know, and sometimes I don’t.
Like many other authors, I become deeply attached to my people, miss
them when I have to pay attention to other things, and mourn them
when I move on. And they are like my children. I love them all, even
the unlovable ones.

RH: Do any of the characters in Love, Work, Children reappear in the third
volume of the trilogy?

CM: Yes, indeed. The Braithwaite family and Peter Frankl play prominent
roles in the last book. There are also appearances by other characters
from the first volume. Greg Merriweather has a central role in number
three, and Morris and Merrit and Jonathan and Lily appear briefly.
382 A Reader’s Guide

Praise

Praise

Praise for Morningside Heights

“[A] rich, romantic novel . . . peopled with emotionally intriguing characters. Mendelson [creates] a stage akin to those of Jane Austen and George Eliot.”
O: The Oprah Magazine

“Morningside Heights [is] a sensational backdrop for a long, smart, soapy novel of manners, which is what Mendelson delivers in her fiction debut.”
Entertainment Weekly

“Leisurely storytelling of the most enjoyable sort . . . Mendelson draws you in and keeps you charmed with her three-dimensional characters and the intricacies of the plot.”
The Seattle Times

“Like a good Jane Austen novel, this book focuses on who will marry whom and who will inherit the real estate. . . . The movement of the plot is graceful and the characters nicely drawn.”
The Boston Globe

“Deeply satisfying . . . Having devoured [Morningside Heights], I am prepared to guarantee that her many fans won’t be disappointed. . . . Mendelson is funny and wry.”
Detroit Free Press


From the Hardcover edition.
Discussion Questions

Discussion Guides

1. Why does Peter think he has to stay married to Lesley? Can you defend
his thinking?

2. Some characters in the book choose meaningful work over money or
status, and some make the opposite choice. How important is it to
have work you believe in?

3. What do you think is Peter’s biggest flaw? What does he think it is?

4. Do you think it’s typical for siblings to be as different as Susan and
Louis are? Do you know any siblings who, like them, were raised by
their parents to be so different?

5. Why does Susan think she has to stay married to Chris? Is Susan
weak?

6. How do you react to Alexei’s unrealistic self-confidence?

7. What makes Louis a sympathetic character? What are his negative
qualities?

8. Does Mallory make a bad decision when she refuses to get involved
with Alexei?

9. Do Mallory’s parents practice the values they preach?

10. Louis tells Mallory he wants to marry her before they have a single
date. Do you think he is really in love with her at this point? Why
do you think he gets interested in Mallory at the age of thirtytwo—
after knowing her most of his life?

11. Why does Hilda play roles?

12. Which characters in the book are snobs? What are they snobbish
about—for example, money, art, social background, or academic or
professional status? Cheryl Mendelson seems to think that snobs
destroy the things they’re snobbish about. Do you agree?


  • Love, Work, Children by Cheryl Mendelson
  • July 11, 2006
  • Fiction - Family Life; Fiction - Literary
  • Random House Trade Paperbacks
  • $13.95
  • 9780375760693

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