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  • The Gap Year
  • Written by Sarah Bird
  • Format: Hardcover | ISBN: 9780307592798
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The Gap Year

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Synopsis|Excerpt

Synopsis

From the widely praised author of The Yokota Officers Club and The Flamenco Academy, a novel as hilarious as it is heartbreaking about a single mom and her seventeen-year-old daughter learning how to let go in that precarious moment before college empties the nest.

In The Gap Year, told with perfect pitch from both points of view, we meet Cam Lightsey, lactation consultant extraordinaire, a divorcée still secretly carrying a torch for the ex who dumped her, a suburban misfit who’s given up her rebel dreams so her only child can get a good education.

We also learn the secrets of Aubrey Lightsey, tired of being the dutiful, grade-grubbing band geek, ready to explode from wanting her “real” life to begin, trying to figure out love with boys weaned on Internet porn.

When Aubrey meets Tyler Moldenhauer, football idol–sex god with a dangerous past, the fuse is lit. Late-bloomer Aubrey metastasizes into Cam’s worst silent, sullen teen nightmare, a girl with zero interest in college. Worse, on the sly Aubrey’s in touch with her father, who left when she was two to join a celebrity-ridden nutball cult.

As the novel unfolds—with humor, edge-of-your-seat suspense, and penetrating insights about love in the twenty-first century—the dreams of daughter, mother, and father chart an inevitable, but perhaps not fatal, collision . . .

Excerpt

I once believed that I was physiologically incapable of being unhappy while submerged in water. Sunk in a bathtub up to my eyeballs, I was as free of earthly cares as a turtle sunning herself.

Yet here I am, wallowing through my tenth lap, feeling prickly and unsettled rather than weightless and dolphin-sleek. Instead of soaring into silent galaxies, I am snarled up in annoyance that my right eye is stinging because these crappy goggles are leaking and that the ladies’ aqua-cardio class in the shallow end is blaring “It’s Raining Men” and that the flip-turning jerk I’m sharing a lane with drowns me every time he powers past and that because I didn’t expose my only child to enough dirt, Aubrey will hit the germ factory that is a college dorm with a weak immune system and that she will die of spinal meningitis.

Although I am a slob and raised Aubrey with plenty of messiness, my worst enemy—Recent Studies—now tells me that I should have gone the extra step and provided actual squalor. Recent Studies says that the absolute best thing for building antibodies is close contact with livestock. If I’d only put a goat in the playpen with my baby she probably wouldn’t have asthma today.

I speed up my stroke, pushing my hands beneath me like a Mississippi paddle wheeler, annoyances scattering in my mighty wake.
But, persistent as a school of piranhas, the worries and regrets stay right with me and continue nibbling. They have massed for this attack because Aubrey turns eighteen tomorrow. The day before she leaves for college. Not that we’ll be doing any celebrating together. She’s already made it clear that she plans to spend every second until she gets on the plane with Tyler.

I force myself to ignore the “Hallelujah, it’s rainin’ men!” chorus and concentrate on the comforting slurp and slap of my hands cutting into the water. I tune in to the stretch of muscles and tendons pulleying in harmony. I pay conscious attention to the shifting mosaic of wobbling squares of late-afternoon sunlight sliding across the turquoise pool bottom. I plan out where I will install the wheelchair ramp after meningitis renders my only child a vegetable.

Is it too late for the goat?

Hydrotherapy is not working. I yank off the leaky goggles just in time to see that my best friend, Dori Chotzinoff, has finally emerged from the dressing room. Dori always says that her last name is pronounced like you’re saying, “One shot’s enough” even though, for Dori, one shot is never enough. She sashays over with her head cocked to the side, tucking her hair into the retro flowered cap with chin strap that she wears to look Mad Men–ish and to save her expensive dye jobs. Her vampire-pale skin is coated with a layer of sunscreen thick enough to mute her many tattoos to pastel smudges of blue and green.

I squint into the sun. “I almost gave up on you.”

She gives me a little Mae West pinup pose, one hand on her cocked hip, the other pretending to puff up her hair, and says, “Sorry, Cam, had to gild the lily.” Dori kneels down and waits for the guy in the lane with me heaving and whipping himself through the
water with a butterfly stroke to reach us. When he’s close enough to hear her, she yells out, “Excuse me, sir!”

Ignoring her, he barrels into a flip turn, and for a split second we are treated to the sight of his upturned ass with its black censor bar of Speedo. He is about to push off and blast away when Dori grabs his ankle.

The butterflier—middle-aged once you see his face—pops out of the water. “What the . . . !” He punches a button on his waterproof
watch and snarls, “I’m timing my splits.”

Alert as a herd of gazelle scenting danger on the Serengeti, all heads—the moms rubbing sunscreen on skinny shoulders, the just-turned-teen girls tanning on lounge chairs, the boys waiting in line at the diving board to show off for the girls—swivel in our direction.

Dori jumps in and informs Flip Turn, “We’re sharing this lane.”

“What is your problem?” Flip gestures to the lane next to us. “There’s only one person in that lane.”
Dori puts her arm over my shoulder. “Yeah, but that one person is not my BFF, Cam Lightsey.”

Flip starts to argue so I lean my head on Dori’s shoulder and say, “Plus, we’re lesbians. Sorry.” We’re not. But it’s fun to say. And it
ends the discussion.

Flip shakes his head, dunks under the white floats of the lane rope, jerks a thumb in our direction, and announces loudly to the woman in the next lane, “They’re making me move.”

I grab my kickboard, hand Dori hers, and decree our favorite cardiovascular activity, “Kick and kvetch!”

As we chug past Flip, busily resetting his watch, Dori yells out for his benefit, “Hey, Cam! Sorry for breaking up your romance with
Mr. Banana Hammock!”

Dori is like my grandmother Bobbi Mac. Not the piercings or tattoos or broken marriage to the lead singer in an Aerosmith tribute band, but her take-no-shit, get-the-party-started vibe. Spunk—Bobbi Mac was big on spunk, something she didn’t think her own
daughter, my mom, Rose, had had in sufficient quantity. Spunk is Dori’s middle name. Single-handedly, she almost made being a Parkhaven outcast fun. Dori loved to laugh over which mom had “shit the biggest brick” when she dropped casual asides about her
years as a member of the all-girl band Tampaxxx. “Triple-X,” she’d clarify with a lascivious wink. “I guess you know why.”

“So,” Dori asks as we stretch out and churn the water behind us with our fluttering feet. “What are we obsessing about today?”

I share my thoughts on brain infections and barnyard animals.

“Yes? And? So? Aubrey gets a shot.”

“They have a shot for meningitis?”

“Der. Cam, you’re a medico.”

“I’m a lactation consultant.”

“Medico enough for me. You’re supposed to get the shot before you ship your kid off to college. Twyla’s pediatrician told me that.”

At the mention of her daughter’s name, the blotches Dori gets when she’s trying not to cry appear like scarlet storm clouds around
her overplucked eyebrows. The white sunscreen lightens them to a pretty pink. Her grip on the kickboard tightens until the spongy material dents beneath her clenched fingers and her flutter-kick turns into an exercise in grim determination that propels her ahead
of me. I let her surge forward; Dori always needs a few seconds after her daughter’s name comes up to put her tough-girl front back on.

Twyla moved out over a year ago to “tour” with Dori’s ex and his band, and the only contact they have now is a phone call every few months in which Twyla details all the ways in which Dori was a horrible mother and ruined her life. Then tells her where to send
money.

Meanwhile, the inoculation news lets me relax and I frolic through the water, happy as an otter. This carefree state lasts for a lap and a half before the real problem surfaces again and it’s not meningitis. My kicking slows to a near halt.

Dori, recovered, her face again uniformly pale, waits for me to catch up, then, commenting on my look of brooding worry, demands, “What? Tyler Moldenhauer?”

At the mention of Aubrey’s boyfriend’s name, I moan, “A suburban white boy, redneck football hero with no plans for college. If
Aubrey’s first serious boyfriend had been Glenn Beck, I could not have been more surprised.”

“Surprises,” Dori repeats wistfully. “So many surprises.”

“When did he take over Aubrey’s life so completely?” I ask, even as I try to figure out when my daughter turned into a stranger. Six months ago? No, it’s been longer than that. In that time, she’s become like a guest forced against her will to live in my house. A guest who would happily pack up and leave and move in with said boyfriend if I pushed her even the tiniest bit. I keep waiting for this evil spell to be broken. That it will be like the flu and one morning she’ll wake up smiling and help me make pancakes and tell me she’ll set the table as soon as she finishes this chapter. That she’ll be my little nine-year-old again, the one who saved up her allowance to make me a memory bracelet for my birthday then snuggled up next to me and told me what each bead strung onto the wire coiled around my wrist meant.

See this?”

“The turquoise one?”

“That’s for your favorite color and because you love to swim. This little microphone is for you being such a bad singer.”

“I’m a bad singer!?”

“Really bad.”

“This one is beautiful. Is it ivory?”

“No! Do you know where ivory comes from? Elephants! Poachers!

It’s just the color of ivory.”

“Right. Oh, look, it’s a tiny baby curled into a ball.”

“That’s for your job and also for me. Inside of you.”

“Aubrey, I love it. I love it so much.”


“So,” Dori continues. “Aubrey’s boyfriend is not who you would have picked out of a catalog.”

“Dori, he’s got her slaving away in a damn roach coach. She’s supposed to leave for college in two days and she absolutely refuses to come with me to claim her trust money. That damn trust was the reason I signed off on Martin’s—”

“Tsoo! Tsoo! Tsoo!” Dori pretends to spit three times in my direction to ward off the evil eye cast when I invoked the cursed name of my ex. Joking about our exes and being single mom outcasts in the suburbs is how we’ve survived.

“—screw job of a divorce settlement. I mean, how hard could it be to claim your college tuition? Aubrey knows I can’t do it without her. We both have to be present. We could have gotten it anytime in the past two weeks, but will she take a few hours to do this one simple thing? No. She keeps putting me off.”

“Maybe she doesn’t want to take anything from Martin.”

“Who knows? She doesn’t bring him up much. Like, ever.”

“Can you blame her? Given that the school board is in an uproar over evolution, being the daughter of a cardinal or bishop or grand
wizard or whatever of a church that believes we all descended from a race of space travelers isn’t exactly the magic ticket to becoming homecoming queen at Parkhaven High.”

I glance over at Dori so that she knows I am not amused. “Believe it or not, Dori, something as ridiculous as having your husband leave you for a . . .” I stutter, trying to come up with an epithet strong enough to contain my hatred for Next and have to settle for, “. . . a nutball religion actually makes it more painful, not less.”

“Oops. Sorry. Sixteen years. Too soon, huh?”

I splash Dori.

“Hey, at least you lost your husband to something kind of spiritual. Mine ditched me so he could wear scarves and tights and rat
his hair up and sing ‘Walk This Way.’ ” I don’t laugh.

“Cam, don’t stress. Aubrey is a good kid. Too good, really. She is going to be fine.”

Fine.

Our relationship is built on Dori telling me that Aubrey is going to be fine and me not telling Dori anything about how unfine Twyla
is. Dori might actually be the only mother in Parkhaven for whom “fine” really is fine. The only one who doesn’t want superfine. Superior. Sublime. A five-point GPA and a full ride to Harvard. I know Aubrey is going to be fine. Eventually. But I want so much more than fine. And I want it to start in two days when she leaves for Peninsula State College.

“What can I do? Drag her to the bank bodily?”

“We all know how the dragging bodily ends.”

Dori is referring to the night last December when the roads turned into chutes of black ice and I tried and failed to keep Aubrey
from going off with Tyler. That was the first night she didn’t come home. But not the last. Ever since Black Ice Night, Aubrey and I have both known that habit, manners, and whatever residual love she still has for me are the only things keeping her under my roof. We know that Tyler Moldenhauer would welcome her with open arms anytime she wanted. So I walk on eggshells with my child and will until the second I shove her onto that plane the day after tomorrow.

Dori splashes along beside me, a living reminder that a child can simply get up and walk out your door and not come back. I turn to
her and say, “God, if only I hadn’t made those stupid comments about—”

“Do not say ‘hat,’ ” Dori cuts me off. “Cam. I am warning you. You can say ‘solar protection apparel.’ Or you can say ‘brimmed
headgear.’ But one more time with the damn hat and I will . . .” She circles her raised fist like Popeye warming up to clobber Bluto.

I clamp my lips into a tight seam and press my crossed index fingers against them, X-ing out the forbidden topic.

But as I flutter-kick away, all I can think about is Aubrey and that damn hat. That hat was where it all started four years ago. She was a skinny freshman in baggy cotton shorts and a T-shirt, heading off to the first day of band camp, when the hat made its debut. Since the name of the landlocked team playing for her landlocked high school in our landlocked state is the Pirates, the hat was a goofy tricornered number with a giant white plume curling off it.

This had caused me to greet my skinny freshman with an “Ahoy, matey, did your parrot die?”

Aubrey, who’d recently discovered how funny talking like a pirate was, answered, “Aye, me hearty. ’Twas a burial at sea.”

Pirates became a running joke between us. When she was a sophomore, I once served her artichokes, arugula, and arroz con pollo for dinner, and we “arred” our way through the entire meal. Sometime during her junior year, though, she stopped laughing when I called her a scurvy bilge rat and threatened to shiver her timbers. I should have noticed and dropped the pirate teasing then.

Certainly I should have ceased and desisted long before the start of her senior year last August. Exactly one year ago today, which was when everything started to spiral out of control. If only I had stopped my stupid teasing, she might have worn the damn hat and not gotten heat exhaustion and not dropped out of band. Certainly that goofy feathered hat would have immunized her against Tyler Moldenhauer’s attention. If only I hadn’t persisted in making those moronic jokes. But like a hummingbird returning to an empty feeder, I kept going back for one more drop of nectar, one more shared joke.

The hat, though, that’s just a theory. I get frantic sometimes wishing I knew for certain. I think that if I had the whole story, I might be able to reverse the evil spell, cure her psychic flu, and send her off to college with a happy heart. Even if having all the details gave me no power at all, I would still give anything to know what really happened to my daughter on that day one year ago.


AUGUST 12, 2009

It’s the first day of my senior year. Well, unofficially, school isn’t really in session yet, but the whole band has to be here a week early for “camp.” The big marquee sign at the edge of the field where we march reads: AUGUST 12, 2009. 10:43 A.M. 92 DEGREES, WELCOME, BAND CAMP!!!! SCHOOL STARTS IN ONE WEEK! ! ! . . . WEDNESDAY, AUGUST 19!!!! SEE YOU THEN! GO, PIRATES!!!!

Rivers of sweat run down my back. It is way too hot for all those freaking exclamation points. And way, way too hot for Mr. Shupe, who is bellowing at me, “Clarinets, wake up!” I try to focus. “Lightsey, get your section under control! You’re a senior now! Start acting like one!”

Once Shupe finishes bullying me and the section I lead, he moves on to torture the freshman trombone players. “T-bones! Did they teach you the definition of ‘line’ in middle school?” Their section looks like an amoeba wobbling all over the field. Mr. Shupe does not do wobbly. Mr. Shupe does crisp.

Then he tells us what he tells us at the start of every school year about how we are “Shupe’s Troops” and the way they did things “in the Corps.”

The Corps? Dude, you were in the Marine Corps band.

This fake military stuff makes the band boys feel like they’re Green Berets. They are as delusional as Mom, who is always telling me that I am “marching, both literally and figuratively, to the beat of a different drummer” and that “being uncool at Parkhaven is the coolest thing imaginable.”

Uh, right, Mom, hang on to that dream.

Shupe yells at the percussion section, “Drum line! It’s called a line, not a squiggle! What did you all spend your summer doing? Smoking crack?”

The freshman horn players laugh so hard they lose their em - bouchure. Wait until they’re seniors like us and have heard all of
Shupe’s lines often enough to recite them along with him.

I can almost remember when the first day of band was fun. When it was a thrill to be one of a hundred people all marching in perfect, straight lines. When I loved the neatness and crispness of it and felt like

I belonged. Now, though, it is like that moment when you discover that you’re too old to ride the Teacups. That they’re not the tiniest bit scary or fun and that even riding them as a joke, goofing on the whole thing, isn’t fun anymore.

My fingers drip sweat and slide around on the keys, which doesn’t really matter, because I’ve been faking it for the past hour anyway. My lips are barely touching the mouthpiece. The air is too hot to touch. Like I am really going to stick a piece of scorching metal in my mouth. I feel weirdly distant from everything. It is taking more and more energy just to ignore the monster headache squashing my head.

“Lightsey!”

Oops. At first, I think Shupe has noticed that I am fake-fingering and fake-playing, but it is worse than that.

“Where’s your hat? Did you not read the three, count them, three e-mails I sent that specified that for today, and today only, everyone was required to wear their hats?”

Maybe it’s the weird distant feeling, but I shout back, “Sir, yes, sir! I was unable to find said hat! Sir!”

Anyone would have known that I was messing with him with that fake marine stuff. Not Shupe. He believes that this is how the entire world should talk to him—like respectful recruits.

“You’re a senior, Lightsey! You have to set an example! It’s Semper Fi—”

“Not Semper I!” I shout along with him.

Yelling at Shupe is not worth the effort, because now not only is my head pounding insanely, but I don’t seem to have the energy to even sweat anymore. I am suddenly as dry as this dusty field I’ve been tramping back and forth on for the past three years. Then everything gets brighter and brighter. When it starts to seem like a flash has gone off in my face, I signal to Shupe that I am stepping out to get a drink of water.

“Make it fast, Lightsey! You need to tune up your section!”

The water station is on the side between our practice field and the football team’s. Since it is so hot, the football guys are practicing without pads, just the stretchy tees and shorts they wear under their uniforms, so they look like humans instead of the hulking video-game predators they resemble with their shoulder pads on.

It feels like I’ve been walking forever, but the big red-and-yellow Igloo cooler of water doesn’t get any closer. Then everything turns
bright. Really bright. The football players seem to be in a movie that has been overexposed. One player separates from the others and heads toward the water station. He looks like he is running in slow motion through a shimmery mirage. The number seven printed in black on his white jersey floats through space. His dark, shoulderlength hair rises and falls with each step. In the overexposed movie, he looks like an invading barbarian, some warrior from an ancient time.

Then the movie gets even slower and everything begins to float— players, Igloo cooler, goalposts. All the sounds—the tweets from the drum major’s whistle, tuba blats, football coaches yelling—they fade farther and farther away. Then I am looking at a pure white sky. Then yummy cool darkness.

“Drink this.”

Water dribbles across my cheeks and into my hair. I open my eyes and am staring at a black number seven. With some effort, I part my lips. The water funnels into my mouth and I swallow. Big mistake. It comes right back up, along with the Diet Cherry 7UP and half a bagel with strawberry cream cheese I had this morning. The barfing brings me around and I notice that I have just puked all over Tyler Moldenhauer.

Even though I’ve spent the past three years marching at every football game Parkhaven ever played in, I made it a point of honor to know as little as possible about the sport. But Tyler Moldenhauer is such a god at Parkhaven that he managed to penetrate even my footballophobic consciousness.

“Sorry.”

“Why? Did you puke on me on purpose? Keep sipping. You get overheated, you puke. Simple as that. I do it at the start of every season. Besides, I never saw anyone puke pink before. Is that a band thing or a girl thing?”

I attempt a smile, but it comes out as rubbery as I feel.

He looks up, searching for help. Someone to take me off his hands. “Your band director guy hasn’t even noticed yet. Is he blind or what?”

“It’s hard to see much when you’ve got your head shoved that far up your butt.”

He laughs and his abs bounce against my ear. When he yells at Shupe—“Uh, man down over here!”—I feel the rumble through my
whole body.

Shupe looks over at me, holds his hands up to the sky in irritation, yells, “O’Dell! Acevedo! Get Lightsey to the nurse’s office!”

Tyler helps me up as the two girls run toward me. Everyone considers Wren and Amelia my best friends even though we’ve been drifting apart for a long time. When I am on my feet, he asks, “You OK?” Not wanting to release any more puke breath in his direction, I just nod. Wren and Amelia reach us. He lets me go, but keeps his arms out, ready to catch me. “You got her?”

I say I’m fine and wave Wren and Amelia away. But when I take a step forward, my knees buckle like Bambi learning to walk. Tyler grabs me. “A little help here,” he orders the girls, setting me between them. They feel like tiny pipe-cleaner people compared to Tyler. Like they would crumple if I put any weight on them. My arms around their skinny shoulders, I limp off the field.

The instant we are out of hearing range, Amelia loses it and squeals, “You had your head in Tyler Moldenhauer’s lap!”

“OK,” Wren blurts out, “that means that Amelia and I are now, officially, the only girls at Parkhaven who have not had their heads in Tyler Moldenhauer’s lap. Or their faces, at any rate.”

At that point, I am supposed to go, “Wren! You’re so bad!” and slap at her and get all giddy and hectic. But I can’t say anything. These two girls who I ate lunch with almost every day since freshman year, and sat with through endless band trips, and helped through endless crushes, seem like people I knew a long time ago. And never had that much in common with anyway except marching around in a really ridiculous hat.
Sarah Bird|Author Q&A

About Sarah Bird

Sarah Bird - The Gap Year

Photo © Matt Lankes

Sarah Bird is the author of seven previous novels. She is a columnist for Texas Monthly and has contributed to many other magazines including O, The Oprah Magazine; The New York Times Magazine; Real Simple; and Good Housekeeping. Sarah, the 2010 Johnston Dobie Paisano Fellow, makes her empty nest in Austin, Texas.

Author Q&A

Q: The “gap year,” or any amount of time at the end of high school and preceding college, can be fraught for parents and their children. What made you decide to write about this time in a parent’s (and a child’s) life?
 
A: The Gap Year was born in the frozen food aisle at the moment when I burst into tears because our son was leaving for college and I realized that never again would I ever buy Pepperonini Pizza Hot Pockets. That sounds facetious, but it’s not. I was so blindsided by the depth of my grief for this vile snack food that, as with most of the big puzzles in my life, I would need to write a novel to begin to understand what “empty nest” truly meant to me.
 
 
Q: This is a novel that deals with some of the most personal relationships in life, and readers will undoubtedly think about their own families while reading. Did you draw on your own relationships while writing the book?
 
A: In 2008, our son became a member of the largest college freshman class in history. Everything about the experience surprised me. Let’s just start off with the cost. I knew that college costs had skyrocketed so we’d put aside a small fortune. We learned, however, that small wasn’t going to cut it. Instead, a great walloping fortune would be required.
 
The next shock was discovering that in order to even be allowed to spend these breathtaking sums I would have to take on a second job as a ratings coordinator. There are over four thousand colleges and universities in this country and each one had to be parsed because, as it turns out, the college your child goes to is, essentially, a referendum on you as a parent. Are you a five-star Ivy League parent? A small, selective liberal arts college parent? A giant, state university parent? A two-year community college parent? Being a no-college parent was so far beyond the pale that it wasn’t even ever mentioned.
 
So the getting-in part surprised me. But what surprised me even more was what happened once we settled on a college and the empty nest loomed as a reality. While pregnant eighteen years earlier, I had devoured every “What to Expect ” book out there. As we slogged through this college experience, I wished for a whole new slew of guides to help me through this unsettling phase. For example, I wondered, was it normal to both ardently pray for the day when this grumpy stranger you’ve raised would vacate the premises and to burst into tears in the frozen food aisle?
 
How about Real Estate Regret? Was it normal to uncontrollably replay the different—possibly better?—childhoods my son might have had if we’d lived in a different neighborhood—a neighborhood where he could have ridden his bike! Went to a different school—a school where the arts were emphasized!  
 
Though I chastised myself for the time I wasted on such pointless regrets, I couldn’t stop Real Estate Regret any more than I could control the spontaneous bouts of time travel that I was sucked into. Perhaps because the date of our son’s departure seemed like a deadline, the moment when his childhood and my active momhood would end, I kept spinning off into bouts of time travel where I’d revisit key moments in the past and hit the psychic Reset. Then, like Real Estate Regret, I’d create an entirely different childhood for my son in which, for example, his father and I had never allowed videogames. Or we had been active in the Methodist Church. Or in a Buddhist temple. Or we had owned a telescope and pursued astronomy as a family hobby. Or raised chickens. Or all made our beds every morning.
 
It would not stop. Obviously, I needed, probably still need, intensive therapy. Instead, I wrote The Gap Year.
 
 
Q: You write from both Aubrey’s perspective, as she addresses her diary, and from her mother Cam’s. What made you decide to structure the book this way? Did you find one perspective easier than another? Which voice came to you first?
 
A: I started off assuming that the entire novel would be told from Cam’s, the mother’s, point of view since that is my perspective and I had so much I wanted to say about the experience of a difficult separation from an only child. But, as I wrote, I was seized by the hunger that seized Cam when her daughter, Aubrey, following the natural order of things withdrew and closed her life off. As her daughter drifted farther from her, Cam was consumed by the hunger to know her offspring, to once again be so close that secrets were impossible. Cam did not have the power to satisfy her curiosity, but I did. I could plunge into Aubrey’s world and answer all the questions that plagued her mother:
What happened? Why did my sweet baby girl change so utterly? What is the strange hold her loser boyfriend has over her? Is she pregnant? Has she embezzled her college fund?
 
It is terribly poignant to me that, again as they must, these two stories run on parallel tracks that will never fully intersect. That, like all mothers, Cam will never again know what is in her daughter’s heart the way she once did.
 
 
Q: Do you hope that teenagers on their way to college will relate to Aubrey, or begin to understand Cam? What about mothers picking up the book?
 
A: I never had either hope, so I’ve been very surprised that a majority of my early readers have been mothers preparing to send daughters off to college. Even more surprising, and delighting, is that every mother has told me that she’d passed the book on to her daughter and that they’d ended up having a great discussion about unspoken fears, pressures, and the myriad ways in which moms, particularly the once most-beloved of moms, irritate their daughters.
 
 
Q: Is the religion of Next!, which Martin leaves his family for, based on Scientology or any real-life alternative followings?
 
A: Because so many of these groups are so litigious, I made a special effort to distance Next! from any real-life organization. Martin is based on someone who was very close to me who joined a group and left me puzzling for decades over the question of how a smart, sensitive, funny, successful person could make such a choice.
 
 
Q: One of the themes that runs through the novel is the struggle between holding on and letting go. What do you think: is it harder to hold on or to let go? What message do you hope readers will take away from The Gap Year?
 
A: Oh gosh, yes, that struggle. If only I’d known how prophetic the question that came to me in a dream I had when I was eight months pregnant, “The arrow or the anchor?,” would turn out to be! I included it in my dedication since it is such an essential issue. Tiger Moms, for instance, are most definitely in the arrow camp that girds its children to do battle and achieve on a very high level in the world. Most American moms lean more toward the anchor, toward grounding their children with unconditional love.
 
For myself, it was not a question of whether one was harder or easier; at a certain point, I had to accept that there was nothing to hold on to. That the only control I had lay in whatever residual love my child felt for me. So, honestly, I am the last parent on earth who has a message. All I know is that I never found our experience of letting go, of the emptying nest, represented anywhere in any way that I found truly useful. So I wrote the book I wanted to read.
 
Maybe, my only message is the one that my mom used to give her six children if one of us ever mentioned a flaw in her childrearing tactics, like smoking through her pregnancies, or giving us Phenobarbital on long car trips: “Eh, you lived to tell the tale, didn’t you?”
 
 
Q: The novel is dedicated “to the entirely beautiful mothers / of our entirely beautiful children” from the W. H. Auden poem “Lullaby” that precedes it. Why did you choose this dedication?
 
A: That wasn’t really an intellectual decision. It was the convergence of three “awarenesses.” That Auden is the most human of poets, so steeped in forgiveness. That this piece is entitled “Lullaby.” And that it causes me to weep every time I read it. Like right now.

Praise

Praise

“A smart, witty take on one of the classic milestones of parenting . . . Full of insight, acceptance and, above all, love.”
—Sharyn Vane, Austin American-Statesman
 
“While pacifying us with gut-bucket humor, the wicked writer makes us think! At its big, wide-open heart, The Gap Year is about self-discovery, about finding and making your own way in the world, a process that, apparently, continues until we die.”—Steve Bennett, San Antonio Express
 
“Humorous and lively . . . A perceptive if lighthearted depiction of the process of separation from the points of view of a mother and daughter.” —Margaret Quamme, The Columbus Dispatch
 
“Bird’s wit shines through on every page—she’s the kind of author readers all wish they could spend an hour kvetching with over margaritas—but she also has a real knack for eavesdropping on her characters’ inner lives.” —Joy Tipping, Dallas Morning News
 
 “A soulful portrait of that awkward, exhilarating and bittersweet point in a mother’s relationship with her child—the time to let go.” —Roberta MacInnins, Houston Chronicle
 
“At times funny, at times heartbreaking, this is fine fiction at its best.” —Ann La Farge, Hudson Valley News
 
The Gap Year is satire with heart . . . In this smart novel, love trumps the past and the expected future.” —Jeffrey Ann Goudie, The Kansas City Star 
 
 “Sarah Bird’s latest novel, The Gap Year, is a must-read for anyone who loves mother-daughter stories. . . . It becomes nearly impossible to put down once broiling tensions come to a nice simmer.”   —Kelly Blewett, Book Page
 
“A compelling read [that] builds to a satisfying and surprisingly tender conclusion. The Gap Year is sure to please Bird’s fans and readers struggling with their own mother-daughter issues.”—Amy Watts, Library Journal
 
“Told from alternating points-of-view, Bird’s handling of the familiar parent-teen clash of wills is accomplished with memorable, memorably realistic poignancy.” —Booklist
 
The Gap Year, haunting and laugh-out-loud funny, speaks to a mother’s soul.  On every luminous page, I’m reminded how being a mother is like being a contortionist: we latch on even as we let go.  Cam contemplates her daughter:  ‘Certain and human, such a hard mix.’   This is a page-turner of a book for every mother who ever worried she wasn’t up to the hard parts—gracefully accepting the you-never-understood-me complaints our children make; rising above the condescension of smug, over-achieving mothers; accepting our own self-doubt as we measure ourselves against impossible ideals.  Cam’s dilemma will feel like your dilemma from the moment you begin reading.”  —Debra Monroe, award-winning author of On the Outskirts of Normal: Forging a Family Against the Grain
  
“Told from both Cam’s and Aubrey’s perspectives, the narrative teases out the ever-deepening mysteries of parents and children as they grow up and apart. Bird’s breezy style and spot-on observations of contemporary family life give this headlong story a fizzy energy that carries through to the unexpected conclusion.” —Publishers Weekly
 
"Writing so sharp, smart, funny, and addictive, it’s as if Molly Ivins had given birth to a novelist daughter." —Z.Z. Packer
 
“Alternately hilarious and heartbreaking, The Gap Year is a pitch-perfect portrayal of a mother and teenage daughter on the precipice of seismic change. Everyone is given full rein in this snappy, deliciously vicious, modern spin on growing up, growing old, and letting go. Bird's timing is impeccable." —Cristina Garcia
  
Reader's Guide|About the Book|Author Biography|Discussion Questions|Suggestions

About the Book

The questions, discussion topics, and reading list that follow are intended to enhance your reading group's discussion of The Gap Year, the witty and resonant new novel from acclaimed author Sarah Bird.

About the Guide

“Alternately hilarious and heartbreaking, The Gap Year is a pitch-perfect portrayal of a mother and teenage daughter on the precipice of seismic change. Everyone is given full rein in this snappy, deliciously vicious, modern spin on growing up, growing old, and letting go. Bird’s timing is impeccable.” —Cristina García, author of National Book Award finalist Dreaming in Cuban
 
“The Gap Year, haunting and laugh-out-loud funny, speaks to a mother’s soul . . . This is a page-turner of a book for every mother who ever worried she wasn’t up to the hard parts—gracefully accepting the you-never-understood-me complaints our children make; rising above the condescension of smug, overachieving mothers; accepting our own
self-doubt as we measure ourselves against impossible ideals. Cam’s dilemma will feel like your dilemma from the moment you begin reading.”  —Debra Monroe, award-winning author of On the Outskirts of Normal: Forging a Family Against the Grain
 
From the widely praised author of The Yokota Officers Club, a keenly felt, wonderfully written novel about love that can both bind family members together and make them free, set in that precarious moment before your child leaves home for college.
 
Cam Lightsey, lactation consultant, is a single mom, a suburban misfit who’s given up her rebel dreams to set her only child on an upward path.
 
Aubrey Lightsey, a pretty, shy girl who plays clarinet in the school band, is ready to explode from wanting her “real” life to begin.
 
When Aubrey meets Tyler Moldenhauer, football idol of students and teachers alike, the fuse is lit. Aubrey metastasizes into Cam’s worst teen nightmare: full of secrets and silences, uninterested in college. Worse, on the sly she’s in touch with her father, who left when she was two to join Next—a celebrity-ridden cult—where he’s a headline grabber. As the novel unfolds—with emotional fireworks, humor, and edge-of-your-seat suspense—the dreams of daughter, mother, and father chart an inevitable, but perhaps not fatal, collision . . .

About the Author

Sarah Bird is the author of seven previous novels, most recently How Perfect Is That, The Flamenco Academy, and The Yokota Officers Club. She lives in Austin, Texas.

Discussion Guides

1. How does Bird use humor to convey character? What about the characters who aren’t particularly funny?

2. On page 14, Cam observes a group of mothers with their young children, “They wanted what we all want: reassurance that they had made the right choices.” Does Cam believe she has chosen wisely? Does Aubrey agree with her? How do Aubrey’s own choices reflect upon Cam’s?

3. Discuss the way Bird uses time—setting Aubrey’s story in one period and Cam’s in another. How do the two timelines play off each other?

4. Cam believes that Tyler is the reason for the friction between her and Aubrey, but how does the secret that Audrey is keeping about Martin affect her rebellion against Cam?

5. “My mother hovered and clung more than any helicopter mom that was ever invented after her. But even she couldn’t control any of the most important events in my life.” (page 50) How does Cam’s distaste for her own mother’s parenting style affect her relationship with Aubrey? Why is Bobbi Mac so important, in contrast?

6. What do Aubrey’s and Cam’s notions of independence and individuality say about their decisions in life? Who seems more comfortable following her own path?

7. Discuss the notion of maternal sacrifice. How are Cam’s and Dori’s sacrifices interpreted by their daughters?

8. Why does Martin allow himself to be sucked into Next? Why doesn’t Cam do the same?

9. Throughout the novel, Cam and Aubrey make assumptions—about each other, about Tyler, about Martin. Why can’t they communicate more openly?  Why have they lost each other’s trust?

10. On page 225, Martin tells Cam, “For some of us, being right is so much sexier than sex.” What does he mean by this?

11. How does the revelation about Tyler’s upbringing change your perception of him? What do you think Cam’s response would be?

12. Martin tells Cam she is “a true rebel,” who always knew exactly who she was and what she wanted. (page 264) How does this differ from the way Aubrey sees her? From the way Cam sees herself?

13. Discuss the ending. How does Twyla’s newborn, Aubrey, help Cam to accept her own daughter?

Suggested Readings

Back When We Were Grownups, by Anne Tyler; About a Boy by Nick Hornby; Imperfect Birds by Anne Lamott; Little Children by Tom Perrotta; Siddhartha by Hermann Hesse; The Scarlet Letter by Nathaniel Hawthorne.

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