Random House: Bringing You the Best in Fiction, Nonfiction, and Children's Books
Authors
Books
Features
Newletters and Alerts

Buy now from Random House

  • Tapestry of Fortunes
  • Written by Elizabeth Berg
  • Format: Trade Paperback | ISBN: 9780345533791
  • Our Price: $15.00
  • Quantity:
See more online stores - Tapestry of Fortunes

Buy now from Random House

  • Tapestry of Fortunes
  • Written by Elizabeth Berg
  • Format: eBook | ISBN: 9780679644699
  • Our Price: $11.99
  • Quantity:
See more online stores - Tapestry of Fortunes

Buy now from Random House

  • Tapestry of Fortunes
  • Written by Elizabeth Berg
  • Format: Trade Paperback | ISBN: 9780804121002
  • Our Price: $26.00
  • Quantity:
See more online stores - Tapestry of Fortunes

Tapestry of Fortunes

    Select a Format:
  • Book
  • eBook

A Novel

Written by Elizabeth BergAuthor Alerts:  Random House will alert you to new works by Elizabeth Berg

eBook

List Price: $11.99

eBook

On Sale: April 09, 2013
Pages: 240 | ISBN: 978-0-679-64469-9
Published by : Random House Ballantine Group
Tapestry of Fortunes Cover

Bookmark,
Share & Shelve:

  • Add This - Tapestry of Fortunes
  • Email this page - Tapestry of Fortunes
  • Print this page - Tapestry of Fortunes
ABOUT THE BOOK ABOUT THE BOOK
ABOUT THE AUTHOR ABOUT THE AUTHOR
PRAISE PRAISE
READER'S GUIDE READER'S GUIDE
Synopsis|Excerpt

Synopsis

NEW YORK TIMES BESTSELLER

In this superb new novel by the beloved author of Open House, Home Safe, and The Last Time I Saw You, four women venture into their pasts in order to shape their futures, fates, and fortunes.
 
Cecilia Ross is a motivational speaker who encourages others to change their lives for the better. Why can’t she take her own advice? Still reeling from the death of her best friend, and freshly aware of the need to live more fully now, Cece realizes that she has to make a move—all the portentous signs seem to point in that direction.
 
She downsizes her life, sells her suburban Minnesota home and lets go of many of her possessions. She moves into a beautiful old house in Saint Paul, complete with a garden, chef’s kitchen, and three housemates: Lise, the home’s owner and a divorced mother at odds with her twenty-year-old daughter; Joni, a top-notch sous chef at a first-rate restaurant with a grade A jerk of a boss; and Renie, the youngest and most mercurial of the group, who is trying to rectify a teenage mistake. These women embark on a journey together in an attempt to connect with parts of themselves long denied. For Cece, that means finding Dennis Halsinger. Despite being “the one who got away,” Dennis has never been far from Cece’s thoughts.
 
In this beautifully written novel, leaving home brings revelations, reunions, and unexpected turns that affirm the inner truths of women’s lives. “Maybe Freud didn’t know the answer to what women want, but Elizabeth Berg certainly does,” said USA Today. Elizabeth Berg has crafted a novel rich in understanding of women’s longings, loves, and abiding friendships, which weave together into a tapestry of fortunes that connects us all.

Praise for Tapestry of Fortunes
 
“A testament to the power of female friendships . . . Berg strips her writing down to what is essential and takes an unflinching look at lifelong regrets. The characters . . . will settle in your heart.”Booklist (starred review)
 
“Elizabeth Berg has carved out a place as one of America’s most beloved chroniclers of female friendship.”Chicago Tribune
 
“Luminous . . . As always, her writing is spare and lyrical, filled with . . . elegant description and profound insight.”Library Journal
 
“An incredibly uplifting and life-affirming story . . . Berg explores the themes of change and personal reinvention with exquisite phrasing, sharply-focused attention to detail, and boundless joy and heart.”—Bookreporter

Praise for Elizabeth Berg
 
“Truth rings forth clearly from every page. [Elizabeth] Berg captures the way women think—and especially the way they talk to other women—as well as any writer I can think of.”The Charlotte Observer, about Talk Before Sleep
 
“Elizabeth Berg’s gift as a storyteller lies most powerfully in her ability to find the extraordinary in the ordinary, the remarkable in the everyday.”The Boston Globe
 
“Berg’s writing is to literature what Chopin’s études are to music—measured, delicate, and impossible to walk away from until their completion. [Grade:] A+.”Entertainment Weekly
 
“Berg could be creating a new genre. . . . [She] is especially wonderful at depicting the small revealing moments of women’s friendships, the offhand sharing of secrets in the grocery store.”Kirkus Reviews


From the Hardcover edition.

Excerpt

When I was growing up, my mother’s best friend was a woman named Cosmina Mandruleanu. I liked her for a lot of reasons: her name, of course; her ash-blond hair and throaty voice and loud laugh; her bangle bracelets and black nylons and the way she was generous with the Juicy Fruit gum she always kept in her purse. She was someone who made smoking seem alluring; if she looked at you in that sidelong way when she exhaled, you felt as though you were sharing a risqué secret. She told me her grandmother was a Romanian gypsy who had passed on to her the Gift: Cosmina could tell fortunes. Mostly she used tea leaves, but she also read palms or used a crystal ball or her grandmother’s ancient Tarot cards. She said her gifts were in her mind, that she could use anything, even a pair of pliers, as a catalyst for accessing her powers. But people liked the traditional props, and so she accommodated them. She once told my mother that she, too, was a bit psychic, which made my mother fluff up with pride and say, “You know, I thought so.” When I asked Cosmina if she thought I had the Gift as well, she looked at me for a long time. Then she said, “You are a good student of human nature. That’s a start.”

Cosmina once volunteered to tell fortunes at my junior high school’s annual fund-raiser, so that the adults would have something to do besides drink weak coffee and watch Dunk the Principal. She sat in a corner of the gymnasium behind a TV tray on which she had draped a black cloth, and she wore a long black skirt and a black blouse over which she had a fringed red shawl. She’d knotted a black scarf at the base of her neck to cover her bright hair, and her makeup was more dramatic than usual: thick lines of kohl were drawn around her eyes. I offered her a dollar to have my own fortune read. She refused at first; she said she read adults only, it wasn’t right to read children, especially children of your friends. Finally, though, she relented. I stood before her in my pedal pushers and sleeveless blouse, my breath caught in my throat. She laid her hands on her crystal ball and closed her eyes. Then she peered into it. After a moment, she said, “Your task will be to learn in what direction to look for life’s great riches, and not to deny the veracity of your own vision.”

I stared at her, then whispered, “What does ‘veracity’ mean?”

She leaned forward and whispered back, “Truth.”

When I got outside, I wrote Cosmina’s words on the back of a flyer. That night, I read them again, then put the paper in a handmade wooden box I’d been given by my grandfather. It was large, about twelve by twenty, and four inches deep, made of black ash; and it had box-joint corners of which the maker was justifiably proud. He’d woodburned Japanese chrysanthemums into the lid, and they were beautiful--spidery and reaching, botanical fireworks. I’d wanted to save the box to use for something important. Here it was.



My best friend Penny’s grave has a simple headstone, light gray granite inscribed with her name, the date of her birth, and the date of her death, which was four months ago. Below that, as agreed, are these words: Say it. Penny believed that people didn’t often enough admit to what they really felt, and she thought that made for a lot of problems. Being close to her meant that you had to attempt unstinting honesty, at least in your dealings with her. Her husband, Brice, could get annoyed about this, and so could I--a lack of deceit requires a kind of internal surveillance that can feel like work, and there are, after all, times when a lie serves a noble purpose. But overall, I think both he and I understood the value of such candor, and appreciated Penny’s efforts to steer us toward it. And then there was this: we wanted to please her because we both loved her so much. Loved and needed her.

And here she is.

I lean back on my hands and look out over the acres of graves. I used to feel that cemeteries were wasted space, that they could be put to far better use as parks, or golf courses, or even to allow for more living space. But I’ve changed my mind. There is a wide peace here, even in sorrow; and it’s sitting beside Penny’s grave that I can best feel her.

“Going to Atlanta tomorrow,” I tell her.

Good gig?

“It is good. Early flight, though. You know I hate those early flights.”

Stop whining.

“Your sweet peas are blossoming,” I say. I planted some recently, at the base of her headstone.

I know. I see. Pink.

“Where are you?”

Silence.

“Penny?”

She’s gone.

She always leaves when I ask that question; I don’t know why I keep asking it. Well, yes I do. I keep asking it because I keep wanting to know where she is.

I sit for a while longer, appreciating the feel of the sun on my back, the sound of the mockingbird in the tree nearby imitating the whistle of a cardinal. A few rows away, I see an old man sitting on a fold‑up chair, his hat in his hands, his head bowed. I can see his lips moving. It might be prayer. Or he might be like me: he might be having a conversation. Out here, there are a lot of people like me. We don’t often speak to each other, but I think it’s safe to say we gratefully acknowledge each other’s presence, that little mercy.



The next afternoon, I’m at the Oshaka Women’s Club in Atlanta, where I’ve been hired to give a talk. I’m standing at the window in the speaker’s room and looking through the slanted blinds at the women gathered on the lawn, chatting amiably, laughing, leaning their heads together to share a certain confidence. They’re pretty; they look like so many butter mints, dressed in pastel greens and pinks and yellows and whites. It’s a warm spring day after a rainy night, and the women who are wearing high heels are having trouble with them sinking into the earth.

I sit down on the silk love seat to review my notes, but I don’t have to: I’ve delivered this speech called “You.2: Creating a Better Version of Yourself” so many times, in so many places, that I’ve pretty much memorized it. But looking at my notes gives me something to do besides stare at the flowered wallpaper, the Oriental rug, the gold-and-crystal sconce lighting, which I’ve already examined thoroughly. It also keeps me from what has become a persistent sadness; it’s taking me a while to get over Penny’s death. The last thing a motivational speaker needs is to appear low on energy, mired in despair.

This organization likes you to be there early, and they keep you in the speaker’s room until you go on; they feel it’s more exciting to their audience if they see you for the first time when you come onstage, smiling, waving, dressed in your power suit--in this case, a white St. John skirt and jacket, offset by a turquoise necklace and earrings.

A fifty-something woman wearing a yellow apron over a print dress comes into the room holding a little gold-rimmed plate full of food: tea sandwiches, cut‑up melon, cookies. “I’m just helping out in the kitchen before your talk,” she says. “I have to tell you, I am really looking forward to hearing you speak. I hope you won’t mind my telling you this, but you said something in your last book that truly helped change my life: Getting lost is the only way to find what you didn’t know you were looking for. It is so true. It helped me to flat out leave a man who was just a son of a bitch, plain and simple. It took a real leap of faith to do what you said. I did have to get kind of lost--to abandon certain ways of thinking, of being, really--and it was scary. But doing that gave me the courage to walk away from someone I should have left a long time ago. And six months later, I found someone else who is much better for me. I’m so happy to thank you in person for helping me to do that.”

She looks at her watch, unties her apron. “Oh my, I didn’t mean to run on. I’d better get a seat.”

She goes out of the room and I check my makeup one more time, straighten my suit jacket, and here comes Darlene Simmons, the club’s president, to escort me onto the stage.

When we come out from behind the curtain, the room immediately quiets. I sit in one of the two wingback chairs onstage, and Darlene goes up to the lectern and does the introduction. Then I go up and begin my talk.

Forty minutes later, I end by saying, “When I was a junior in high school, I was sitting in my world history class when the teacher suddenly asked this question: ‘What is truth?’ There was a long silence, we all just sat there, and then finally Janet Gilmore, the smartest girl in the class--and also, unfairly, the prettiest--raised her hand and she said, ‘Truth is what you believe.’ Mr. Sanders nodded approvingly. I was thinking, What does this have to do with history? But of course it has everything to do with history, because history is shaped by the belief systems of those who made it.

“Our own individual life history is also shaped that way. In large part, when you factor out fate, what we are is because of what we believe about ourselves. Wherever we are in the world, we mostly live in the small space between our ears.

“I challenge you to acknowledge and affirm your innermost beliefs: bring them into the light. When you know what the truth is for you, you can help create not only your history, but your destiny.”

I thank the audience, then step from behind the lectern to applaud them. I’ve been doing this long enough to know that many women are inspired, but some who walked in here cynical are walking out the same way. In some respects, I’m among them. But if there’s one thing I’ve learned in my years as a motivational speaker, it’s that most people need someone else to tell them what they already know. I include myself in this. I include myself most keenly. That, in fact, is how I start my talks: I say I am forever a physician in the act of healing myself, that to be human is to live in wonder and in need, and in perpetual evolution. I say that no matter what our occupation, our real job is to help each other out. Penny was the one who helped me. It kills me to use the past tense when I talk about her. It frightens me to think that there may never be anyone who can take her place.

Times when we were stumped and unable to advise each other about problems, we used to go out on my porch at night with my grandfather’s box. We would light candles and hunch over a table and inquire of the oracle. In addition to Cosmina’s fortune, which I wrote out all those years ago, the box holds a lot of different things for playing medium: cards, books, stones.

Penny and I asked about relationships, about work, about friends and relatives, and occasionally about politicians. We asked if the end of the world was nigh; we asked if the Twins would win the series. We were often playful but just as often we were deeply respectful. It was eerie how “on” the answers sometimes were, how using two or even three different methods for posing the same question could yield the same answer. I think on more than one occasion we kind of scared ourselves.

And then there was the time after Penny was first diagnosed, when I did the cards alone. I sat at my kitchen table and closed my eyes and simply thought, Penny. I was too afraid to ask a specific question. But the question was heard anyway, because I pulled the death card. I reshuffled the deck once, twice, and made a new spread. Pulled a card. Got the same thing.

I laid my head down on my arms and wept. Since that day, I, the motivational speaker, have not been able to motivate myself into making a new life without her.



“I’ll stop soon,” I used to tell Penny, who in recent years had begun advising me to quit working or at least cut down enough so that we could travel together. It was a dream of ours to go to Japan; I think Penny bought every book published about traveling there. We also wanted to take a leisurely driving trip across the southern states. Brice didn’t like to travel and was all in favor of Penny “getting it out of her system” with me. I had never married, and though I almost always had a relationship, sometimes a serious one, I never thought any of those men would be as much fun to travel with as Penny would be. We were passionate about many of the same things: small towns, vintage quilts, unique breakfast places, cobalt-blue glassware, spontaneous conversations with all kinds of people in all kinds of places. Penny was the kind of person who could go into a convenience store for a Coke and come out soul mates with the cashier.

We also seemed to operate on the same kind of schedule; it was a happy day when we admitted to each other that we loved taking the phone off the hook and napping in the mid-afternoons. “Do you sleep more than twenty minutes?” I asked. I felt a little guilty that my naps lasted thirty or even forty-five minutes. “I have gone for two hours!” she said, and I high-fived her.

We planned on alternating extravagant hotels with cheap motels on our road trip. “Maybe we’ll find a crumbly old pink one!” Penny said. “With one of those pools the size of a puddle!” It was our belief that tacky motels would be much more interesting, even if the beds gave pause. We wanted to walk the Freedom Trail in Boston and take donkeys down into the Grand Canyon. We wanted to feel the power of the vortexes in Sedona, Arizona, and to buy some crystals there. Oh, we had plans. So many plans that I kept putting off.

“But when will you stop?” she would ask, year after year, and I would say, “Something will tell me when.” Once, exasperated, she said, “You act like there’s all the time in the world, and there isn’t!” To this I had no reply.
Elizabeth Berg

About Elizabeth Berg

Elizabeth Berg - Tapestry of Fortunes

Photo © Joyce Ravid

Elizabeth Berg is the author of many bestselling novels as well as two works of nonfiction. Open House was an Oprah’s Book Club selection, Durable Goods and Joy School were selected as ALA Best Books of the Year, and Talk Before Sleep was short-listed for an Abby Award. Her bestsellers also include The Year of Pleasures, The Day I Ate Whatever I Wanted, and Dream When You’re Feeling Blue. Berg has been honored by both the Boston Public Library and the Chicago Public Library and is a popular speaker at various venues around the country. She lives near Chicago.
Praise

Praise

Praise for Tapestry of Fortunes
 
“A testament to the power of female friendships . . . Berg strips her writing down to what is essential and takes an unflinching look at lifelong regrets. The characters . . . will settle in your heart.”Booklist (starred review)
 
“Elizabeth Berg has carved out a place as one of America’s most beloved chroniclers of female friendship.”Chicago Tribune
 
“Luminous . . . As always, her writing is spare and lyrical, filled with . . . elegant description and profound insight.”Library Journal
 
“An incredibly uplifting and life-affirming story . . . Berg explores the themes of change and personal reinvention with exquisite phrasing, sharply-focused attention to detail, and boundless joy and heart.”—Bookreporter

Praise for Elizabeth Berg

“Truth rings forth clearly from every page. [Elizabeth] Berg captures the way women think—and especially the way they talk to other women—as well as any writer I can think of.”The Charlotte Observer, about Talk Before Sleep

“Elizabeth Berg’s gift as a storyteller lies most powerfully in her ability to find the extraordinary in the ordinary, the remarkable in the everyday.”The Boston Globe

“Berg’s writing is to literature what Chopin’s études are to music—measured, delicate, and impossible to walk away from until their completion. [Grade:] A+.”Entertainment Weekly

“A writer whose luminous prose is likely to stay with you a long, long time.”Chicago Tribune

“Berg could be creating a new genre. . . . [She] is especially wonderful at depicting the small revealing moments of women’s friendships, the offhand sharing of secrets in the grocery store.”Kirkus Reviews

“Berg’s impeccable prose gives voice to that element in our psyche that enables us to cope with the impossible. . . . Berg writes on a higher plane.”Booklist

“One of the most life-affirming writers around.”The Miami Herald

“Berg has a gift for capturing the small, often sweet details of ordinary life.”Newsday


From the Hardcover edition.
Reader's Guide|Discussion Questions

About the Book

THE "HOLD ON A SECOND" PSYCHIC BY ELIZABETH  BERG
 
When I wrote Tapestry of Fortunes, I knew I wanted to include as­pects of divination. It was for whimsical as well as more serious reasons. I wouldn't say I believe entirely in the prognostic statements of Runes or Tarot cards or people who call themselves psychics, but there can be times when readings are eerily dead on. One of the first times I went to a psychic, I had a lot of fun with a pretty eccentric character: But there was something about the experience that let me know there was more to the business of inquiring of the oracle than I had thought. Here's what happened.

Claire Brightwater is the proprietor of Earth Dancer Gallery. This is a shop situated over a shoe store and next to a weight loss clinic. You can buy all kinds of Native American things there: kachina dolls, beautiful stones, feathers, books and tapes, blankets and jewelry and medicine wheels. Also, you can take advantage of Claire's psychic abilities. You know she has them because of the sign in her window. PSYCHIC, it says.

So I make an appointment for a reading. And when I arrive, I'm a little late and apologetic and out of breath. "Sorry," I say. "Sorry."
 
She holds up her bracelet-laden arm. "No  problem." She  pulls  a chair  up next to her  desk. "Here," she says. "Sit down. Center yourself." She  has long, flaming-red hair. She is wearing a purple shawl and a colorful, long skirt and many rings. She is a wonder to behold, one of those women who look so good overweight that you want  to be overweight, too. I put my jacket and purse  on the floor and she says, "No, you have to get centered,"  and puts my purse under me and my jacket  behind me.  "There," she  says. "Now,  I'll just pay some bills here while you hold some crystals." She puts a pink one in my right hand and a purple one in my left. While she makes out checks, I hold the  crystals  tight.  I see another homemade sign  against one of the counters. NO PLASTIC. CHECKS OKAY. BARTERING  OKAY. In a little while, she looks up. "Okay?" I nod. She checks the pink crystal. "This is for love," she says. "Your heart is full of love." She nods, agreeing with herself. "Yes. Very beautiful." Then she takes the purple crystal. "This is for stress," she says. "This  is cold. You got a lot of stress." Now I nod, thinking, Well, I'm alive on the earth. Why wouldn't I have stress? Claire's advice to me about  stress  is  this: "You need to go back to the earth. You need to lie down on it, first on your back, arms  and legs spread out. Then lie on your front, and listen to the pulse  of the earth." This sounds like fine advice to me. I used to do it all the time when I was a kid. And I had much less stress then, come to think of it.

She tells me she sees a lot of oscillating around me. "You're going back and forth, back and forth inside, aren't you?" We stare intently at each other. The  phone rings. "Excuse me," she says. Then, into the phone, "Hello, Earth Dancer Gallery."  I'm thinking, wait a minute. What  kind of reading is this?  But she takes  care of the call and is back to me. She tells me to pull an I Ching card, and I get "Retreat." That  sounds  good, I tell her. Yes. I definitely need a vacation. Claire suddenly jerks her head up, stares into space. "No...note...NOTORIETY!" she says. She looks at me. "This word, it just came to me! Are you trying to be famous or something?"

"Well," I say, "I guess we'd all like to be famous. But I don't know if notoriety is the word I'd pick."

The UPS man comes. Claire tells me to hold on, she'll be right back. She goes over to the counter to pay the man, has a little chat with him. Sixty dollars I paid for this, I'm thinking. ]eez.

Next we do animal cards. Claire is an all-around kind of psychic. Turns out I'm an owl. "You need  to go into the dark for the light," Claire  tells me. "That's what this card is saying." Well, I'm all for opposites. You know, the blond beauty, held in the arms of the strong, handsome man, says, "Oh, I hate you, I hate you, I hate you!" just before she kisses him to death. There's something to opposites.

The phone rings again. Claire tells the caller, "He's not here. Can I take a message?" She writes something down, hangs up. "It's time for you to wear a feather in your hair, yes?" she asks me. She picks one out for me. Two dollars.

Now, I know how this is sounding. But the notion of wearing a feather is actually quite appealing. As is lying on the earth. As is a retreat. I'm starting to feel kind of happy. I ask Claire what music is playing in the background. It's very, very soothing. I want it. It's "Lazaris Remembers Lemuria," she  tells me. Just so happens I can buy one from her.

"Have you been feeling tired?" Claire asks.

"Yes!" I say. And I really have. Not just I don't want to do the dishes  tired. I've been deep tired.

She nods.  'All the women around here are tired," she says. "It's because of our connection to the earth. The earth is having a very hard time giving birth to spring this year, and we all feel it."

A customer comes in, a woman just looking. ''I'm doing a reading," Claire says, "but just let me know if you need any help." A few minutes later, there's another phone call, someone wanting to know about the upcoming pipe ceremony. Claire tells them all about it.

"Your work, you need to pay attention to what comes from the heart." She looks at me, shakes her head. "You will have great sucess."

Another customer, a teenage boy wearing a T-shirt featuring crys­tals, looking for bumper stickers. No bumper stickers. But Claire sells him some little rocks.

We finish up and I realize I am feeling calmer and  more centered than I have in a long time. Some of what Claire said felt silly. And some of it felt scary-true. Whatever has happened, I feel better than I ever have after any therapy session. Plus I got a feather and a tape and permission to lie down on the earth.

I guess what I believe is that there is much to the unconscious that we can learn from and be guided by. Is using some tool for fortune telling one of them? Maybe you should find out for yourself. If you're not enlightened, you'll at least be entertained. That's my prediction.

Discussion Guides

1. Cecelia is a motivational speaker who preaches that "getting lost is the only way to find what you didn't know you were looking for" (8). Do you think Cecelia is able to take her own advice? How does mov­ing in with Lise, Joni, and Renie help her explore this philosophy?

2. Throughout the novel, Cecelia  and  the other  women  often rely on her box of fortunes to help them search for answers to their big questions. How do these answers affect their decision-making? Do their fortunes make a difference, or is it something else that ultimately guides them to these answers?

3. "I,  the motivational speaker,  have not been able to motivate myself into making a new life without her," Cecelia says, referring to Penny's death (10). What eventually changes for Cecelia and enables her to start a new life? Does Penny play a part in this change, even after her death?

4. When Brice, Penny's husband, tells Cece that he is getting re­married, she is initially surprised, but also happy that he is moving on. "People with people, good.  People alone, bad,"  Penny always used to say to Cece (35). Is it difficult for Cece to heed this advice? Why might it be easier for Brice?

5. Soon after Cece receives the postcard from Dennis, she decides to go visit him. What makes Cece so certain about seeing him again? Do you ever get over your first love? How might this relate to Lise's situation?

6. When Cece moves into the house, Renie is initially defensive and skeptical. Her career as a columnist, too, highlights her skeptical and sarcastic  tendencies. Why do you think Renie shows only this side of herself for much of the novel? How are the other women eventually able to uncover the more sensitive side of Renie?

7. When Cece volunteers at  the Arms and meets Michael, she opens up to him about Penny's death. She explains that it was "one of the most beautiful experiences" of her life (124).  What  does Cece mean about Penny's death being beautiful? How does that beauty continue to influence Cece's life?

8. Renie asks the women whether they believe  in the truth of the saying  "Be kind, for everyone is carrying a heavy burden'' (174). Wanda, the waitress  they meet during the road  trip, asserts that al­though not everyone carries a heavy burden, everyone does carry the burden of fear (175). How is this "burden of fear" a theme throughout the novel?

9. Mother-daughter relationships are central to the story: Renie struggles with meeting her estranged daughter; Lise's daughter urges
her not to reunite with her ex-husband after their divorce; Cece grows annoyed with her mother for acting more like a girlfriend than a parent (110). What makes a mother-daughter relationship so special? What makes it so fraught, and sometimes difficult?

10. After Michael dies, Cece remembers a conversation that she and Penny once had: Cece asked, "What's the point in loving  anything when it will just change or be  taken away?," and Penny replied, "The point in loving is only that. And when you lose something, you have to remember that then there is room  for the next thing. And there is always a next thing." (213) How does this idea relate to the broader theme of the novel? What is the "next thing" that Cece, Phoebe, and the other characters manage to find?

11. Toward the end of the novel, Cece mentions something that Dennis said about photography, which she  feels reverberates in her own life: "The greatest understanding of a thing is when you can't reduce it any further." (217) How does this statement relate to Cece's views  on love and friendship? How might it relate to your own?

12. Lise, Joni, Renie, and Cecelia are all very different. What do you think makes their relationships with one another thrive, in spite of their differences? Consider how this relates to the quote at the end of the  novel: "We are a convergence of fates, a tapestry of fortunes in colors both somber and bright, each contributing equally to  the Whole." (218-19)


Your E-Mail Address
send me a copy

Recipient's E-Mail Address
(multiple addresses may be separated by commas)

A personal message: