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Synopsis

For as long as she can remember, Dana Clarke has longed for the stability of home and family. Now she has married a man she adores, whose heritage can be traced back to the Mayflower, and she is about to give birth to their first child. But what should be the happiest day of her life becomes the day her world falls apart. Her daughter is born beautiful and healthy, and in addition, unmistakably African-American in appearance. Dana’s determination to discover the truth about her baby’s heritage becomes a shocking, poignant journey. A superbly crafted novel, Family Tree asks penetrating questions about family and the choices people make in times of crisis.

Excerpt

Chapter 1


Something woke her mid–dream. She didn't know whether it was the baby kicking, a gust of sea air tumbling in over the sill, surf breaking on the rocks, or even her mother's voice, liquid in the waves, but as she lay there open–eyed in bed in the dark, the dream remained vivid. It was an old dream, and no less embarrassing to her for knowing the script. She was out in public, for all the world to see, lacking a vital piece of clothing. In this instance, it was her blouse. She had left home without it and now stood on the steps of her high school—her high school—wearing only a bra, and an old one at that. It didn’t matter that she was sixteen years past graduation and knew none of the people on the steps. She was exposed and thoroughly mortified. And then—this was a first—there was her mother–in–law, standing off to the side, wearing a look of dismay and carrying—bizarre—the blouse.

Dana might have laughed at the absurdity of it, if, at that very moment, something else hadn’t diverted her thoughts. It was the sudden rush of fluid between her legs, like nothing she had ever felt before.

Afraid to move, she whispered her husband’s name. When he didn’t reply, she reached out, shook his arm, and said in full voice, “Hugh?”

He managed a gut–low “Mm?”

“We have to get up.”

She felt him turn and stretch.

“My water just broke.”

He sat up with a start. Leaning over her, his deep voice higher than normal, he asked, “Are you sure?”

“It keeps coming. But I’m not due for two weeks.”

“That's okay,” he reassured her, “that’s okay. The baby is seven–plus pounds—right in the middle of the full–term range. What time is it?”

“One–ten.”

“Don’t move. I’ll get towels.” He rolled away and off the bed.

She obeyed him, partly because Hugh had studied every aspect of childbirth and knew what to do, and partly to avoid spreading the mess. As soon as he returned, though, she supported her belly and pushed herself up. Squinting against the sudden light of the lamp, she took one of the towels, slipped it between her legs, and shuffled into the bathroom.

Hugh appeared seconds later, wide–eyed and pale in the vanity lights. “What do you see?” he asked.

“No blood. But it’s definitely the baby and not me.”

“Do you feel anything?”

“Like terror?” She was dead serious. As prepared as they were—they had read dozens of books, talked with innumerable friends, grilled the doctor and her partners and her nurse–practitioner and the hospital personnel during a pre–admission tour—the reality of the moment was something else. With childbirth suddenly and irrevocably imminent, Dana was scared.

“Like contractions,” Hugh replied dryly.

“No. Just a funny feeling. Maybe a vague tightening.”

“What does ‘vague’ mean?”

“Subtle.”

“Is it a contraction?”

“I don't know.”

“Does it come and go?”

“I don’t know, Hugh. Really. I just woke up and then there was a gush—” She broke off, feeling something. “A cramp.” She held her breath, let it out, met his eyes. “Very mild.”

“Cramp or contraction?”

“Contraction,” she decided, starting to tremble. They had waited so long for this. They were as ready as they would ever be.

“Are you okay while I call the doctor?” he asked.

She nodded, knowing that if she hadn’t he would have brought the phone into the bathroom. But she wasn’t helpless. As doting as Hugh had been lately, she was an independent sort, and by design. She knew what it was to be wholly dependent on someone and then have her taken away. It didn’t get much worse.

So, while he phoned the doctor, she fit her big belly into her newest, largest warm–up suit, now lined with a pad from her post-delivery stash to catch amniotic fluid that continued to leak, and went down the hall to the baby’s room. She had barely turned on the light when he called.

“Dee?”

“In here!”

Buttoning jeans, he appeared at the door. His dark hair was mussed, his eyes concerned. “"If those pains are less than ten minutes apart, we’re supposed to head to the hospital. Are you okay?”

She nodded. “Just want a last look.”

“It’s perfect, honey,” he said as he stretched into an old navy tee shirt. “All set?”

“I don't think they’re less than ten minutes apart.”

“They will be by the time we’re halfway there.”

“This is our first,” she argued. “First babies take longer.”

“That may be the norm, but every norm has exceptions. Indulge me on this, please?”

Taking his hand, she kissed his palm and pressed it to her neck. She needed another minute.

She felt safe here, sheltered, happy. Of all the nurseries she had decorated for clients, this was her best—four walls of a panoramic meadow, laced with flowers, tall grasses, sun–tipped trees. Everything was white, soft orange, and green, myriad shades of each highlighted with a splotch of blue in a flower or the sky. The feeling was one of a perfect world, gentle, harmonious, and safe.

Self–sufficient she might be, but she had dreamed of a world like this from the moment she had dared to dream again.

Hugh had grown up in a world like this. His childhood had been sheltered, his adolescence rich. His family had come to America on the Mayflower and been prominent players ever since. Four centuries of success had bred stability. Hugh might downplay the connection, but he was a direct beneficiary of it.

“Your parents expected pastel balloons on the wall,” she remarked, releasing his hand. “I’m afraid I've disappointed them.”

“Not you,” he answered, “we, but it’s a moot point. This isn’t my parents’ baby.” He made for the door. “I need shoes.”

Moving aside knitting needles that held the top half of a moss green sleepsack, Dana carefully lowered herself into the Boston rocker. She had dragged it down from the attic, where Hugh hid most of his heirloom pieces, and while she had rescued others, now dispersed through the house, this was her favorite. Purchased in the 1840s by his great–great–grandfather, the eventual Civil War General, it had a spindle back and three–section rolled seat that was strikingly comfortable for something so old. Months ago, even before they had put the meadow on the walls, Dana had sanded the rocker’s chipped paint and restored it to gleaming perfection. And Hugh had let her. He knew that she valued family history all the more for having lived without it.

That said, everything else was new, a family history that began here. The crib and its matching dresser were imported, but the rest, from the changing pad on top, to the hand–painted fabric framing the windows, to the mural, were custom done by her roster of artists. That roster, which included top–notch painters, carpenters, carpet and window people, also included her grandmother and herself. There was a throw over one end of the crib, made by her grandmother and mirroring the meadow mural; a cashmere rabbit that Dana had knitted in every shade of orange; a bunting, two sweaters, numerous hats, and a stack of carriage blankets—and that didn’t count the winter wool bunting in progress, which was mounded in a wicker basket at the foot of her chair, or the sleepsack she held in her hand. They had definitely gone overboard.

Rocking slowly, she smiled as she remembered what had been here eight months before. Her pregnancy had just been confirmed, when she had come home from work to find the room blanketed with tulips. Purple, yellow, white—all were fresh enough to last for days. Hugh had planned this surprise with sheer pleasure, and Dana believed it had set the tone.

There was magic in this room. There was warmth and love. There was security. Their baby would be happy here, she knew it would.

Opening a hand on her stomach, she caressed the mound that was absurdly large in proportion to the rest of her. She couldn’t feel the baby move—the poor little thing didn’t have room to do much more than wiggle a finger or toe—but Dana felt the tightening of muscles that would push her child into the world.

Breathe slowly…Hugh’s soothing baritone came back from their Lamaze classes. She was still breathing deeply well after the end of what was definitely another contraction when the slap of flip–flops announced his return.

She grinned. “I'm picturing the baby in this room.”

But he was observant to a fault. “That was another contraction, wasn’t it? Are you timing them?”

“Not yet. They're too far apart. I’m trying to distract myself by thinking happy thoughts. Remember the first time I saw your house?”

It was the right question. Smiling, he leaned against the doorjamb. “Sure do. You were wearing neon green.”

“It wasn’t neon, it was lime, and you didn’t know what the piece was.”

“I knew what it was. I just didn’t know what it was called.”

“It was called a sweater.”

His eyes held hers. “Laugh if you want—you do every time—-but that sweater was more angular and asymmetrical than anything I’d ever seen.”

“Modular.”

“Modular,” he repeated, pushing off from the jamb. “Knit in cashmere and silk—all of which comes easily to me now, but back then, what did I know?” He put both hands on the arms of the rocker and bent down. “I interviewed three designers. The others were out of the running the minute you walked in my door. I didn’t know about yarn, didn’t know about color, didn’t know about whether you were any kind of decorator, except that David loved what you did for his house. But we’re playing with fire, dear heart. David will kill me if I don’t get you to the hospital in time. I’m sure he’s seen the lights.”

David Johnson lived next door. He was an orthopedic surgeon and divorced. Dana was always trying to set him up, but he always complained, saying that none of the women were her.

“David won’t see the lights,” she insisted now. “He’ll be asleep.”

Placing her knitting on the basket, Hugh hoisted her—gently—to her feet. “How do you feel?”

“Excited. You?”

“Antsy.” He slid an arm around her waist, or thereabouts, but when he saw from her face that another contraction had begun, he said, “Definitely less than ten minutes. What, barely five?”

She didn’t argue, just concentrated on slowly exhaling until the pain passed. “There,” she said. “Okay—boy or girl—last chance to guess.”

“Either one is great, but we can’t just hang out here, Dee,” he warned. “We have to get to the hospital.” He tried to steer her toward the hall.

“I’m not ready.”

“After nine months?”

Fearful, she put her hand on his chest. “What if something goes wrong?”

He grinned and covered her hand. “Nothing will go wrong. This is my lucky tee shirt. I’ve worn it through every Super Bowl the Patriots have won and through the World Series with the Red Sox.”

“I’m serious.”

“So am I,” he said, all confidence. “We’ve had tests. The baby’s healthy. You’re healthy. The baby’s the perfect birth size. It’s in the right position. We have the best obstetrician and the best hospital—”

“I mean later. What if there’s a problem, like when the baby is three? Or seven? Or when it’s a teenager, you know, like the problems the Millers have with their son?”

“We aren’t the Millers.”

“But it’s the big picture, Hugh.” She was thinking of the dream she’d had prior to waking up. No mystery, that dream. It was about her fear of being found lacking. “What if we aren’t as good at parenting as we think we’ll be?”

“Now, there’s a moot point. A little late to be thinking of it.”

“Do you realize what we’re getting into?”

“Of course not,” he said. “But we want this baby. Come on, sweetie. We have to leave.”

Dana insisted on returning to the master bath, where she quickly washed her face, rinsed her mouth, and brushed her hair. Turning sideways for a last look, she studied her body’s profile. Yes, she preferred being slim—yes, she was tired of hauling around thirty extra pounds—yes, she was dying to wear jeans and a tee shirt again. But being pregnant was special.

“Dana,” Hugh said impatiently. “Please.”

She let him guide her down the hall, past the nursery again and toward the stairs. In architectural circles, the house was considered a Newport cottage, though “cottage” downplayed its grandness. Built in a U that faced the sea, with multiple pairs of French doors opening to a canopied patio, a large swath of soft grass, and a border of beach roses that overlooked the surf, it was a vision of corbels, columns, white trim and shingles gently grayed by the salt air. One wing held the living room, dining room, and library: the other, the kitchen and family room. The master bedroom and nursery were in one wing of the second floor, with two additional bedrooms in the other. The dormered attic housed an office, complete with a balcony. Every room in the house, with the sole exception of the first–floor powder room, had a window facing the sea.

It was Dana’s dream house. She had fallen in love with it on sight. More than once, she had told Hugh that even if he had turned into a frog with their first kiss, she would have married him for the house.

Now, approaching the nearer of two staircases that descended symmetrically to the front hall, she asked, “What if it’s a girl?”

“I’ll love a girl.”

“But you want a boy deep down, I know you do, Hugh. It’s that family name. You want a little Hugh Ames Clarke.”

“I’d be just as happy with Elizabeth Ames Clarke, as long as I don’t have to deliver her myself. Careful here,” he said as they started down the stairs, but Dana had to stop at the first turn. The contraction was stronger this time.

She was prepared for pain, but the fact of it was something else. “Can I do this?” she asked, shaking noticeably as she clung to his arm.

He held her more tightly. “You? In a minute.”

Hugh had trusted her right from the start. It was one of the things she loved. He hadn’t hesitated when she suggested barnboard for the floor of his otherwise modern kitchen or, later, when she insisted that he hang his family portraits—large, dark oil paintings of Clarkes with broad brows, square jaws, and straight lips—in the living room, though he would have gladly left them packed away in the attic.

He took his heritage for granted. No, it was more than that. He rebelled against his father’s obsession with heritage, said that it embarrassed him.

Dana must have convinced him that he was a successful figure in his own right, because he had let her hang the oils. They gave the room visual height and historical depth. She had splashed the large leather furniture with wildly textured pillows, and Hugh liked that, too. He had said he wanted comfort, not stuffiness. Butter–soft leather and a riot of nubby silk and chenille offered that. He had also said he did not like the settee that had belonged to his great–grandfather because it was stern, but he gave her wiggle room there, too. She had the oak of that settee restored, the seat recaned, and cushions and a throw designed to soften the look.


From the Hardcover edition.
Barbara Delinsky|Author Q&A

About Barbara Delinsky

Barbara Delinsky - Family Tree

Photo © Jerry Bauer

BARBARA DELINSKY is the author of more than seventeen bestselling novels with over twenty million copies in print. She has been published in twenty-five languages worldwide. Barbara lives with her family in New England.

 Barbara Delinsky is represented by Random House Speakers Bureau (http://www.rhspeakers.com).

Barbara Delinsky can be found online here:

Website: http://www.barbaradelinsky.com/

Facebook: http://www.facebook.com/bdelinsky

Twitter: http://twitter.com/BarbaraDelinsky

Author Q&A

Q&A WITH BARBARA DELINSKY, AUTHOR OF FAMILY TREE:

FAMILY TREE deals with issues close to the heart such as love and relationships. However, it also speaks to larger social issues of identity, race, and community. What served as inspiration for your story? Were you influenced by larger, social issues?

Interestingly, there was no single event or newspaper piece or personal experience that inspired FAMILY TREE. The book was inspired by the times we live in, with those larger social issue creeping into my consciousness and crying for expression. Interestingly too, I don’t see the book as one about race. Basic identity, yes. Community, definitely. But the book is also about hypocrisy — about those people who say one thing and do another, who wear one face in public and another in private, who want us to do as they say, not do as they do. We all know people like this, whether personally or in the news. Writing about them was a temptation I couldn’t resist.

The concept of family is central to FAMILY TREE. The book begins with Dana and Hugh Clarke’s growing family on the eve of their daughter Lizzie’s birth. In addition, FAMILY TREE is full of atypical families: Dana and her grandmother Ellie Jo; Dana and her long-lost father, Jack Kettyle; Hugh and his prominent ancestry who can be traced back to the Mayflower; Crystal’s paternity case against he senator; and the knitting club, a group of woman who care for each other as if they were a family. What do you see as the basic values that define a family?

I would define a family as a unit that is linked by either genetics or love. Indeed, one of my goals in writing FAMILY TREE was to create discussion of what, indeed, constitutes a family. I personally consider a close and caring group of friends to be family, hence the knitting group. This is a family we choose. Those others, the ones that come with the territory of birth, marriage, and DNA, are more visceral. Here, the stakes are higher with regard to both joy and pain.

Dana and Hugh’s young family is almost torn apart because of Lizzie’s unexpected African-American physical traits. Hugh, feeling pressure from his Caucasian New England family, begins to doubt Dana’s fidelity and ultimately damages his relationship with his African-American friend, David. Is Hugh’s mistrust from outside pressures? Or do his reactions reveal his real attitudes about race?

That is a pivotal question in this book. Hugh is a lawyer who has, time and again, gone out on a limb defending minority clients. Yet suddenly, seeing that his own child has minority roots, he feels a qualm. Do I think he is racist? Absolutely not. I think he is stunned. He is frightened. He is savvy enough to know exactly what his bi-racial child will face in life. And, yes, he bows to outside pressures at the start. But he loves this baby from the get-go. She is the vehicle that enables him to honestly and realistically examine his attitudes about race.

The notion of secrets resonates with every character and drives the plot of FAMILY TREE. Questions of paternity and infidelity branch across generations, leaving change in their wake. For instance, why does Ellie Jo keep her husband’s secret?

Ellie Jo is of a generation that found shame in certain things, her husband’s secret being one of them. Times have changed; in the modern day, Earl’s secret would be easily handled, with little shame involved. But Ellie Jo is not of the modern day. Goodness, my mother died of breast cancer when I was a child, yet I didn’t learn it until I was nearly an adult. Why? My father couldn’t say the word ‘breast,’ much less ‘cancer.,’ and he was far from unique. His and Ellie Jo’s may have been The Greatest Generation, but it was also one of the most silent ones.



Both Eaton and Hugh Clarke struggle with the question of identity once they are forced to reexamine their past. How much do we shape our own identities apart from our families? Are Eaton and Hugh more alike than they think? What characteristics, good or bad, do they share?

Here, too, the modern day differs from the past. We are a mobile society now. Families are dispersed geographically in ways they did not used to be. Many families see their younger generation doing things occupationally that are new and different. New locations, new occupations, new social liaisons — all do shape identities to be different from those in the family nest. That said, though, some traits do carry over from one generation to the next. Physical traits do. Hugh and Eaton have the same stature and the same coloring. Emotionally, though, the two are definitely alike. Both are dogged in their chosen fields. Both are hard-headed. Both are also, at the core, compassionate people who do have the ability to change and to grow.

Driven by Hugh to discover her ancestry, Dana delves into her ambiguous family past in order to learn about the father she never knew. Although he wants to develop a relationship once they’ve reconnected, why does Dana have a hard time opening up to her estranged father? As she learns about his life and his relationship with her mother, does her attitude towards her mother change? How does this alter her concept of family?

Dana has grown up without a father and, perhaps by way of rationalization, prides herself in neither needing nor wanting one. She goes looking for the man solely for the sake of her daughter, but a part of her remains resentful he never cared enough to look for her. Why does she have trouble opening up to him? Fear of being hurt, perhaps? Fear of being seen as the illegitimate one, the intruder in a tight-knit family? One of the problems is that he is a really, really nice man. Liking him, for Dana, though, means believing his story, which in turn means finding fault with her mother. In time, she is able to set fault aside and be realistic about both of her parents. She sees that people are human and do make mistakes. This helps her understand her husband.

Many of your books use New England as a setting. Massachusetts is the setting for FAMILY TREE. Did the location impact the story itself?

As a lifelong New Englander, I know this region more than any other and, therefore, feel comfortable setting my books here. Massachusetts is the home of Plymouth Rock, the site of the Mayflower’s first landing. In that Hugh Clarke’s forebears were on that boat, the state is an appropriate setting for FAMILY TREE. Beyond that, though, the issues in FAMILY TREE are not region-specific. They are broad issues that impact readers wherever they live.


From the Hardcover edition.

Praise

Praise

Family Tree is warm, rich, textured, and impossible to put down.”
—Nora Roberts


“Full of complex and fascinating family dynamics as its characters are forced to come to terms with issues such as faith, race, and loyalty, Family Tree is thought provoking and memorable. . . . Delinksy will be ‘discovered’ by a new generation of readers.”
Bookpage


“Delinksy smoothly challenges characters and readers alike to confront their hidden hypocrisies.”
Publishers Weekly

“A page-turner that you’ll be discussing with your friends.”
News and Sentinel

“Delinsky delves deeper into the human heart and spirit with each new novel.”
Cincinnati Inquirer

“Fail-safe delivery of an issue-packed story perfect for reading groups.”
Kirkus
Reader's Guide|Author Biography|Discussion Questions|Suggestions

About the Book

Raising provocative questions about how we define family, how we view ancestry, and whether racism still lurks in even the most open minds, Family Tree offers book clubs a variety of compelling topics to explore.

From beloved, bestselling author Barbara Delinsky, this is the story of Dana and Hugh Clarke, a wealthy, white East Coast couple whose beautiful newborn child clearly has African ancestors.

Dana never knew her father, and her mother died when she was young. Dana had always craved the stability of a home and family, and she made these dreams come true when she fell in love with Hugh. Unlike Dana, he could trace his ancestors back to the Mayflower. His father even built a successful career as a historian and author, carefully researching the Clarke lineage to the last detail. Or so they thought.

The newest addition to the family, infant Lizzie, raises accusations and doubt among all of her parents’ relatives. To Dana’s dismay, her husband greets the birth of their daughter with alarm and tinges of shame. To Hugh’s dismay, Dana is reluctant to track down her father and isn’t concerned about what people are saying regarding Lizzie’s heritage. As they gradually piece together the facts, a shocking truth emerges that will forever change this family–while opening their eyes to the real meaning of identity and unconditional love.

About the Author

The author of more than sixteen New York Times bestselling novels, Barbara Delinsky was a sociologist and photographer before she began writing. A lifelong New Englander, she and her husband have three sons, two daughters-in-law, and a cat. There are more than twenty million copies of her books in print.

www.barbaradelinsky.com

Discussion Guides

1. What were your initial theories about Lizzie’s ancestors? Did you ever doubt Dana’s fidelity?

2. How would you have reacted if you had experienced Dana and Hugh’s situation? How would your circle of friends and coworkers have reacted?

3. Discuss the parallel stories woven throughout the novel, including Dana’s painful reunion with her father, Ellie Jo’s secret regarding her husband’s other marriage, and Crystal’s paternity case against the senator. What are the common threads within these family secrets? What ultimately brings healing to some of the parties involved?

4. Crystal’s dilemma raises timely questions about the obligations of men who father children out of wedlock. Are Senator Hutchinson’s obligations to Jay the same as Jack Kettyle’s obligations to Dana? Should men always be financially obligated to their children, regardless of the circumstances? If so, what should those financial obligations be?

5. Why is it so difficult for Dana to feel anything but anger toward her father? In your opinion, did he do anything wrong? How does she cope with the shifting image of her mother?

6. What is the root of Hugh’s reaction in the novel’s initial chapters? Is he a racist? Is he torn between loyalties? Does he trust his wife?

7. Is your own ancestry homogenous? If not, what interesting or ironic histories are present in your ancestry? Do you believe it’s important to maintain homogeneity in a family tree? If you were to adopt a child, what would be your main criterion in selecting him or her?

8. Discuss the many differences between Dana’s and Hugh’s families. What drew Dana and Hugh to each other? To what extent is financial power a factor in shaping their attitudes toward the world? What common ground existed despite their tremendous differences in background?

9. What accounts for the universal fascination with genealogy? Should a person be lauded for the accomplishments of an ancestor, or snubbed for the misdeeds of one? Is genealogy a predictor?

10. In chapter 23, Eaton voices his frustration by shouting questions at the portraits of his parents. How might they have responded to his questions had they lived to see the arrival of Lizzie?

11. What should Dana and Hugh learn from the experience of Ali’s parents? What would the ideal school for Lizzie be like? What does Ali’s story indicate about integration?

12. Recent developments in DNA mapping have made it possible to discover not only lineage (as was the case for the biracial descendents of Thomas Jefferson) but also many general geographic details about one’s ancestry. If you were to undergo such testing, what revelations would please you? What revelations would disappoint you?

13. Discuss Eaton’s “reunion” with Saundra Belisle. Were their youths marked by any similarities, despite the fact that they lived in distinctly different worlds?

14. What role does location play in Family Tree? Would the story have unfolded differently within the aristocracy of the South, or in a West Coast city?

15. What does Corinne’s story reveal about the false selves we sometimes construct? Who are the most authentic people you know? Who in your life would stand by you after a revelation like Corinne’s?

16. Does Eaton’s history demonstrate the ways in which racism has waned in recent generations, or the ways in which very little has changed?

17. Consider whether the issues at the center of Family Tree manifest themselves in your life. Is your neighborhood racially integrated? How many people of color hold executive positions at the top companies in your community? Is there a gulf between the ideal and the reality of a color-blind society in 21st–century America?

Suggested Readings

What's hiding in your family tree? Included below is a brief list of organizations and Web sites that can assist readers interested in researching their ancestry.

www.ancestry.com
www.familytreemaker.com
www.genealogical.com
www.genealogy.com
www.genealogy.org
www.genealogyforum.com
www.genealogyportal.com
www.genhomepage.com
The National Archives: www.archives.gov/genealogy
The National Genealogy Society: www.ngsgenealogy.org
www.rootsweb.com
www.usgenweb.org
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