Introduction

After the death of her Japanese American mother, sixty-four-year-old Anne Kuroda Duppstadt finds the courage to confront the toxic legacy of her father, a famous artist and cruel narcissist. When a former art professor invites her to his island art studio, she begins pursuing her lifelong dream to become an artist in her own right. But the needs of her family tug at her heart. Her thirty-two-year old daughter s love life is falling apart, and Annie s husband, facing retirement, struggles with depression, leading her to conclude, There is a glass ceiling for women...and it s made out of the people we love.

The Love Ceiling draws readers into the soul of a universal theme for women: the pull between family and creative self-expression. It is the story of a daughter, a wife, a mother and grandmother, and a journey into creativity. A 2009 NEXT GENERATION INDIE FICTION WINNER.

Editorial Review

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Excerpt

1

ANNIE

The exhibition's title was splashed in blazing letters across the huge banners surrounding the entrance of the museum. ALEXANDER GUNTHER: 1947-2007: A Retrospective. I felt queasy the minute I saw my father's name and it struck me as ironic that as often as I toyed with the idea of inventing some ailment, something harmless and quickly curable, which would give me an excuse to skip his opening tonight, now that we were here-I actually did feel ill. Stomach cramps, which had been dormant for decades, had been my historic response to him and I could only think of the old warning: be careful what you wish for.

From the car I could see the banners had been carefully designed to reflect the palette of his most acclaimed work from the early fifties: black, white, gray with slashes of brilliant reds. Crimson and vermillion, like fire or blood, always predominated and the critics invariably related them to elements of passion. To me it looked garish, even a little obscene. The dates of the exhibition were at the top of the banners…April twenty-eighth to July fifth. How true it was, I thought, as we stopped at a light just south of the museum, that April is the cruelest month.

"Annie, what are you doing with that window?" Jack looked over at me, tapping his fingers against the wheel, impatient for the light to turn.

"What?"

"You've been fiddling with the button-it's been going up and down for the past two blocks. It's driving me nuts!"

I put the window up and folded my hands in my lap. "I don't want to go in there."

"Fine. We'll go home," he said with a smile. "And what would you tell everyone?" His tone was gentle, and it reminded me of the sweet way he would tease Cass and Ian when they were little.

"That I got sick. Which isn't far off, because he makes me sick." I looked at my hands in my lap, trying to keep from fooling with the window button. The skin on the backs of my hands was decorated with tiny brown dots as if I'd been splashed with rusty water. I can't remember when the spots first appeared. Maybe ten years ago-when I was fifty-three-and this year I'll turn sixty-four. What happened? Ten years? Where did that go?

Will you still need me, will you still feed me, when I'm sixty-four? I looked over at Jack, handsome in his dark suit. He is boyishly handsome, like Russell Baker or Tom Brokaw, although he has a bit of a chin bag, and a bald spot on the back of his head, but the rest of his hair is lovely and silver. Jack isn't vain, although he'd had a brief flirtation with Rogaine, which lasted about four days. But in spite of the fact that he's nine years older than I am, the years have been nicer to Jack than to me, and he's never had to force himself to exercise like I do. Starting with the Jane Fonda workout, I think I've tried (and quit) every exercise every invented. I'm at least ten pounds overweight, okay, maybe twenty, and it's the same perpetual poundage I've been trying to lose for the past twenty-five years. I'd also probably look younger if I did something about the dishwater gray threads multiplying explosively in my hair, but ever since my last birthday I decided I had better things to do with my time than sit in a salon with tinfoil on my head.

I felt flushed and I put the window down a few inches. "I really need some air." The evening was a little chilly, but a clear night with no sign of rain. I stuck my nose out the window like a dog. The weather had cooperated for Alexander the Great.

I turned back to Jack. "Or I could say I had a conflict-something came up that I couldn't get out of."

"Like what?" The light changed and he drove ahead toward the museum.

"Like needing to cut my toenails." I sighed, only half-smiling. "Or floss my teeth."

"Annie-" Jack glanced at me, shaking his head.

"Honestly, I do feel a little sick, sort of nauseated. Let's just go to Tomiko's and get a drink first. A little liquid courage so I can face it."

Not that Jack cared, but I'd replaced "Dutch" with "liquid" when I learned "Dutch courage" had been a British putdown of the Dutch. I'd welcomed taking Jack's name, Duppstadt. Unlike a lot of women in the seventies who kept their maiden names, I had been only too eager to dump "Gunther." I wanted nothing to do with my famous father.

"We can stop at Tomiko's- but if you want my advice, we're better off to just get this over with and then get a drink." Jack moved over to the right lane. "Okay?"

"I still can't believe he's going through with this. She's only been dead three weeks. Three weeks, Jack."

"I doubt the museum could cancel a big exhibition like this, they spent-"

"Look, I'm not nuts-I don't expect that he'd act like someone dear," I interrupted, "like Mr. Rogers in a cardigan sweater with a nice little bow tie, someone soft spoken and patient. That would be delusional-but is it too much to ask for just a bit of basic decency? And I'm not saying the museum should cancel, either. But he could have rescheduled the reception-he could play the grieving widower, people would understand. It could've been changed to a reception at the show's close, in July, right around the Fourth which he'd love because, of course, he'd assume all the fireworks and hoopla were for him."

"I'll drop you off in front and then park."

"You don't have to," I frowned. "I hate going in alone."

"Just wait for me on the steps." Jack reached over and patted my hand. "There's usually space in the Ampco garage or Harbor Steps. You won't have to wait long. You might run into Cass and Richard or Kelly." He pulled up in front of the museum. "Go ahead, honey. I can't stop here for more than a second."

"Okay," I agreed reluctantly. "I'll be on the steps." As I got out of the car, two young women walked by; both had cleavage that rivaled a produce display at the supermarket and one of them had a swatch of bare stomach peeking over the top of her pants. I thought they were regular people, not prostitutes; they walked along as if they had a specific destination, wearing these really stupid shoes-high heels like pencils. Weren't they afraid they'd fall on their fannies? I can't fathom for the life of me why this trampy look is fashionable. But at least Cass hasn't gone in for it. I glanced up toward the museum entrance, hoping I might see her and Richard. She said they'd both be coming-he didn't have to be on call at the hospital for once. She sounded happy, which was reassuring because Cass hasn't been herself lately and I've been worried about her. It's nice for her that he's coming, but I have to admit that I'm never too excited about seeing him. In fact, I sometimes wished she'd dump him and find some guy who could commit. Not marriage to any old person, not to some creep. I just wish Cass could have a reasonably happy marriage, a good enough marriage. The main thing that bothers me about Richard Matsunaga is his reluctance to marry my daughter, and I'm pretty sure he's the one dragging his feet. I can't see or talk to him without just wanting to goose him.

I stood on the steps waiting for Jack, looking up at the banners heralding my father's lifetime achievement. They say all children are artists, they create freely, naturally, without reserve or inhibition, and I certainly wanted to be one from the moment I first opened a box of crayons and knew to draw with them rather than eat them. I think my mother knew this, but in our house there was only room for one artist. She infantilized and indulged my father-probably partly out of fear, but everything he did was tolerated and the result was that he was the only one allowed to be a child. The great Alexander Gunther took up all the space, all the air, even the light.

Annie, you have a gift. An unusual sense of color. An intuitive feeling for light.

Mr. Fillinger had penciled his comments on the back of my pastel. I remember staring at the words and memorizing each one, breathing them in, holding them in my heart.

He'd taken our class on a field trip to Seward Park to learn to work outdoors. It was a crisp spring day and we sat on the grass in the upper picnic ground facing south where Mt. Rainier rises over Lake Washington. I was fifteen; it was the first time I'd ever worked in oil pastels and I loved them. The mountain was so beautiful and it was exhilarating trying to capture it, the deep green firs and the light dancing on the surface of the lake.

That day after school, I stood tentatively in the doorway of the studio at the back of the house. "Dad? Are you busy?"

"What is it?" He looked up from the issue of Art News. "I'm sure whatever even you have to say is better than this asshole critic." He hurled the magazine across the floor.

"Maybe I should leave." I pulled the pastel close to my chest.

"No," he barked, "go ahead, what is it you want?"

"I made this in my art class. My teacher, Mr. Fillinger, said-"

"Mr. who?"

"Fillinger. He also teaches at the community college, he's had shows in galleries and he said-"

"He said something you did was good."

"Yes and he wrote on the back and I just thought-"

"Bring it here." He adjusted his leg brace and pulled himself up and limped to an easel in the center of the room. "Give it to me."

I handed it to him and my father read the comments on the back, and then clipped the little pastel to the easel. My stomach began to cramp and I was almost afraid to breathe as he stared at my delicate rendering of the mountain. His jaw was clenched as he walked with his awkward gait to a table where tubes of paint, brushes and palettes were scattered. His back was to me and I couldn't see what he was doing. After a few seconds he turned and returned to the easel.

"Now, what I'm about to do is for your own good." His eyes narrowed as he looked down at me. "This Fillinger is just trying to get in with me. He's using you." He motioned to the easel as if he were brushing away a gnat. "This work is Sunday hobby painting and pedestrian." He spat out the words, "it's representational, decorative crap. You'll never be a serious painter-you don't have it. I'm doing this so you'll never forget this moment, to save you a lot of pain." He paused, holding the palette knife poised over the pastel. "The art world is filled with rejection and betrayal and you're far better off if you learn now to stay away from it." The palette knife was loaded with brown paint and he gouged at the pastel, pulling the dark pigment from one corner to the other like smeared feces. I fled from his studio, my stomach roiling. The onset was so violent that when my mother heard me in the bathroom, she thought it was food poisoning.

The night air was cool and brisk and I hunched my shoulders against the chill. I placed my hand over the silver pin near my collar, running my fingers over it like a talisman. It was a silver frog, designed by Bill Reid, the Haida artist, and had belonged to my mother. The frog, a reproduction she'd gotten at the museum store in Vancouver, had been one of my mother's favorite pieces. My dear, sweet, sad mother. She was the only reason I was here at all, and if there was any consolation I could find about losing her, it was that after tonight I'd never have to deal with my father again. At the most the future might hold a courtesy visit at Christmas, and I suppose I could stomach that, if it was short. Hello Dad…Merry Christmas…Good-bye.

I didn't see any sign of Cass and Richard or Kelly, my daughter-in-law. What if they never came and I just turned around and left? How wonderful, I could just picture the pompous old rooster looking around the crowd, making excuses for us, and then finally realizing that he, the great Alexander Gunther, had been stood up. Too bad, you jerk.

Cass and Ian always liked these openings, although Ian was in Chicago on business and wouldn't be here tonight. I sometimes wished my kids felt the way I did about my father: the same conflicted, retaliatory mess that would make it equally impossible for them to spend more than ten minutes in the same room with him. I'd never say so directly, because I knew it was childish and I felt stupid about it, after all he was their grandfather-not their father-but I always felt slightly betrayed when they made more than a token appearance at one of his affairs.…Affairs. How many would show up tonight? Art groupies crawled around my father like ants at a picnic, the only question being how many would appear.

"Annie! We're over here!" Kelly shouted from the steps near the main door.

I turned and waved, my spirits lifting when I saw Sam. With my mother gone, my grandson was like oxygen. Kelly, as usual, looked perfect in her essential little black dress, and Sam, who had just turned three, looked like a miniature adult in gray pants, a navy blazer, white shirt and tie.

From the distance, where I stood at the bottom of the steps, I was struck with how strongly Sam resembled Stan Bailey, Kelly's dad. I'd always wondered what narcissism or wish for immortality made us search for ourselves in our grandchildren, hoping the roll of the genes would come up with our eyes, or mouth or any one of our assorted features in this new little member of the tribe? It seemed shallow and vain to me, and my mild disappointment that Sam looked more like Stan Bailey than my family embarrassed me. When I thought about it, if you went far enough back, everyone in the human family resembled Curious George anyway, so what was the point of all this effort to identify whose nose showed up on the baby?

I climbed the steps and held out my arms to Sam, who in spite of his dressy attire bolted from his mother and cuddled with me as if he were wearing his snuggly pj's.

"How handsome you look." I held him close and leaned over to peck Kelly's cheek. "Hi, Kelly. You look beautiful, as always."

"Thanks. This is quite the event isn't it?"

"Yes, quite." There's something about the way Kelly tosses her head and runs her hand through her long blonde hair that reminds me of Ann Coulter. Kelly's personality isn't junkyard dog vicious; it's only the little head thing she does that seems similar. And of course, this is not an observation I would make to anyone, not even Jack. I have tried to like her. Truly, I have.

"I have a tie." Sam said proudly, lifting it so close to my face I had to look cross-eyed to see it.

"It's a fine tie, Sam." I laid my cheek against his. "Have you seen Cass?" I scanned the steps of the museum as more people began arriving. The guests attending tonight's opening reception were my father's family, friends, colleagues, museum members and members of its board, donors to the museum, the academics, art critics, collectors, and one other group: a selection of students he'd invited from his teaching years. How many of the ones he'd been screwing would show up, I couldn't help wondering again as I watched more guests arriving. Wouldn't he have the decency to resist the attention for once? I always picked up on it and had from the time I was fifteen. You'd think by eighty-three he'd try for some statesman-like dignity, but he'd just become a lecher emeritus, strutting like a peacock oblivious to his aging, tattered tail.

"We just got here." Kelly looked around. "We thought Cass would be with you."

"We decided to come separately, we're not going to stay long."

"I thought Sam and I should just come alone, too." Kelly smiled. "I never know how long he'll hold up."

I tipped my head back to look at Sam. "I'm with you, Sam. I never know how long I'll hold up." Sam giggled and I gave him a little kiss.

"There's Jack." Kelly waved and I turned to see him mounting the steps. He really did look handsome in that dark suit. His gray hair added dignity to his lined, boyish face-Mother Nature was certainly kinder to her sons than her daughters. Although to look at Jack, you'd never know that lately he'd been kind of lost. At the height of his career he was one of the country's leading researchers in hematology, but his latest grant wasn't funded and he was slowly being forced out. I knew it had been eating away at him, but Jack was a master at acting like everything's fine. He fit in easily with this kind of tony, well-heeled crowd, whereas I invariably felt awkward, as though I'm ten years out of style, in a dress with underarm pit stains beginning to seep into the fabric, while my slip is showing (even though I was wearing a black pants suit).

Jack held out his arms for Sam and I passed him over.

"Hi Grandpa." Sam grabbed his tie and held it under Jack's nose. "I have a tie."

"That's quite the tie!"

"Hi Jack." Kelly kissed him, then stood back and looked at Jack and Sam appreciatively. "I wish I had a picture of you two. I didn't bring our camera, I was sure you'd have one," she said to me.

"Actually, no." I watched the crowd again. "I suppose Cass will find us. Maybe we should go in."

A table was set up near the coat check with a guest book and the exhibition catalogue. Young men and women in crisp white shirts and black pants, the staff from the Bon Appétit Company, which catered all museum events, circulated among the guests with trays of champagne and hors d'oeuvres. The food was exquisite: polenta squares with pesto, caviar and crème fraîche in a buckwheat blini, smoked salmon in cucumber cups, chicken kabobs with spicy mango sauce, and my favorite, tiny Vietnamese spring rolls with shrimp and avocado. We each took a glass of champagne while we waited to sign the guest book.

"I'll get some orange juice for Sam, they should have some at one of the bars." Kelly left Sam with Jack and me and went to the closest of the three open bars stationed on the mezzanine.

I noticed a fourth bar on the Grand Staircase. They certainly haven't spared any expense. I wonder which collectors had helped underwrite the exhibition? I sipped my champagne, then noticed the people next to me turning to look at the Grand Staircase. There was a buzz and a scattering of applause, as my father, so recently a widower, descended from the gallery above, like a monarch about to greet his subjects.

"He looks good," Jack whispered.

"Yes," I said with indifference. "This is his moment. He lives for this."

Age had robbed him of some height. He was less than six feet now, but still commandingly elegant in his gray silk jacket and the creamy, ivory silk turtleneck carefully chosen to complement his glorious white hair. The years didn't seem to have left a mark there; it was still thick and full and was beautifully cut to just graze the top of his shirt collar. His cobalt blue eyes had lost little of their intensity and the laser surgery he'd had fifteen years ago-always a risk taker, he'd been among the first to have the procedure-still made glasses unnecessary. He had theatrical looks, most closely resembling Peter O'Toole without the traces of dissipation. He moved slowly down each stair, not for effect, although that was a welcome by-product, but out of necessity. Polio, when he was young, had left him with his left leg atrophied and misshapen. Aided by a brace, he'd been able to walk, albeit a halting and uneven gait-but he could do it. When he was in his sixties, the stress on his good leg caught up with him and he needed to use aluminum crutches with arm pieces enclosing his forearms. He couldn't walk without them.

When I tried to be objective, I could say that Alexander Gunther was a passionate man, charismatic and possessing great warmth. It's a warmth that radiated, captivating people who drew in its heat and light, then reflected it like mirrors with a glow that fueled him. He had very little interest in other people as separate beings in their own right, with a separate orbit. They were important to him only in this fueling, mirroring capacity, temporarily feeding the hollow, stunted need of the pure narcissist. I've always thought his hunger for reflection actually made him a surprisingly good teacher. It was a venue he loved: all eyes on him, students lapping up his every word like kittens with cream. His teaching had been compared to Hans Hofmann; in fact he studied with Hofmann at Hofmann's school on Eighth Street in New York from the late forties into the early fifties. Like Hofmann, my father was robust, enthusiastic, expansive, and assured. But unlike Hofmann, he could never treat his students like colleagues. He always had to be one up and have power over people. So he was limited to the less confident and more worshipful students who outgrew him and left after a few years before the next crop took their place.

He stopped a moment on the Grand Staircase, smiling and nodding to the crowd milling about below until he saw me, Jack, Kelly and Sam and lifted one of his crutches in a little salute, holding the pose, milking it, I thought, before proceeding down the steps. His progress was slow and laborious. He would stop briefly to chat and receive accolades from well-wishers while continuing to make his way to us, his beloved family. It was a charade I knew well.

"Annie," he smiled, leaning heavily on his crutches as he bent down to kiss my cheek.

"Hi, Dad. Congratulations." My tone was wooden as my guard went up automatically, but I was not impolite. My mother and her Japanese civility were too much a part of me for that.

Jack shook his hand. "Great achievement, Alex. And a wonderful turnout."

"Thank you." He smiled, and then turned to kiss Kelly. "I'm delighted you brought this little guy."

Kelly beamed, tossing back her head. "Never too early to see art!"

"I have a tie," Sam announced.

"I never wear them myself…" Alexander touched the top of his turtleneck.

Of course the subject goes back to him. I only half listened as he expounded on why, when, and how he'd come to give up ties.

"…you know, I was just a young squirt myself when my mother first took me to an art exhibit, it was…"

Naturally. More about him. It would always be about him. I stared blankly just to the right of him, so I appeared to be listening.

"…my mother took me to the Northwest Printmakers Show when I was eight. It was a professional show, Ken Callahan was one of the judges and George Tsutakawa had a print in it, and he was only in high school. Can you imagine? And then she took me to the Northwest Annual when I was nine. It was at the Henry Gallery and although most of the paintings were representational…"

A little sneer here. Detectable only to me.

"…some were rather expressionistic, as well, even back then…"

Like he really knew this at age nine. Oh such genius.

"…and then of course, when I was ten, the Seattle Art Museum opened in Volunteer Park just a few blocks from me, where I grew up on Capitol Hill. So I was a frequent visitor." He smiled down at Kelly as if she were the only person in the room. "So it's a good thing you brought the little guy tonight."

Sam. Your great-grandson, you turd. Did you forget his name? I took a long swallow of champagne and the bubbles stung my nose.

"Do you think that influenced your decision to go into art?" Kelly asked, ever so eagerly attentive.

"I think it was in the genes. It always is…"

Except for me, which you made quite clear. I took a smaller sip this time.

"…my Aunt Anne, Annie's namesake, was curator of a museum in Philadelphia. She died before I was born, in the flu epidemic of 1918. But she had great influence on my mother, and therefore on me. And the polio, you know…"

Oh here we go. The old polio bit. It got 'em every time. Another swallow, this time a big gulp. I wiped my nose. Kelly's eyes shone with admiration.

"…when I was thirteen, I was bedridden for almost a year and spent most of my time drawing. It saved me from despair. I had been quite physical and athletic up to that point. People often think these things are diametrically opposed-the artistic and the athletic-but often they're not, as it was in my case."

I continued to gaze slightly to the side, tuning most of it out. But then I saw her. I didn't know her name but the type was unmistakable. This one was a little closer to his age, perhaps ten years younger, in her early seventies. Thank goodness for that. Someone his granddaughter's age, like Cass, would be obscene. Her hair was pale silvery blonde and she was tall and slim in a stunning light sage pants suit, probably Gucci, with a large gold and emerald pin worn just below the shoulder. She approached him steadily, like a ship heading for port. A collector, no doubt.

"And this must be your family, Alex." She slid next to him, casually laying her hand on his forearm with familiarity.

He smiled and kissed her cheek. "Hello, dear. This is my daughter and son-in-law, Annie and Jack Duppstadt, and my grandson's wife, Kelly. I guess you'd call her my granddaughter-in-law."

Kelly beamed. "And this is Sam."

How nice. She's saved him the embarrassment of forgetting Sam's name.

"I'd like you all to meet Leslie Meldon. She's loaned the museum a piece from her collection for the exhibition."

"I'm delighted to meet you." She shook hands with me first, then paused and said softly, "I'm so sorry about your mother."

Oh please. It took you all of five seconds to pounce on my father.

"Thank you," I muttered, wondering if I'd managed to sound civil.

Then she shook hands with Jack and Kelly. "And how do you like being here?" she asked Sam.

"I have a tie," Sam announced, mantra-like.

"And which painting comes from your collection?" I seized a bridge to an exit.

"It's titled St. Helens, it's on the center of the left wall after you enter the gallery.

I turned to Jack. "Let's go look, we haven't seen the exhibition yet."

"I'm sure you'll enjoy it. It's truly splendid," she said with pride. "It was good to meet you."

"We'll catch up with you in the gallery." Kelly said, obviously still enjoying standing next to the great one, I noticed, as Jack and I made our way through the crowd.

On our way to the exhibition in the Northwest Galleries, I kept looking around for Cass and Richard, but there was still no sign of them. "I wonder if Cass and Richard got caught in traffic," I said. Jack always reminds me that the kids are adults. He says I worry too much. He's probably right, but Cass really hadn't been herself-she'd been strangely distant and it started even before Mom died.

I put my hand on Jack's arm. "Would you mind going back down by the entrance to see if they've just arrived? Maybe they're at the bar? There was a big group around it."

"Sure, I'll meet you in the gallery."

I watched Jack weave through the crowd and then I went on to the gallery. This was the first opening of my father's that I'd ever attended without my mother and I missed her terribly; my heart ached for her. I hesitated just outside the wide doorway and leafed through the exhibition catalogue, ALEXANDER GUNTHER: 1947-2007: A Retrospective. It recorded the recognition my father had received throughout his career, most notably his solo exhibitions at the Museum of Modern Art in New York, his Guggenheim International Award, and his election to the National Institute of Arts and Letters. All his glory and fame-the acclaim for his great talent. His great talent. The only one allowed to have any.

I looked up to see Paris Recollection opposite the entrance. He had painted it when I was in high school, when he'd returned from Paris filled with a bitterness towards us that went far beyond his usual resentment, the same spring he'd destroyed my pastel of Mt. Rainier. The huge painting dominated the wall the way he had dominated my mother's life and diminished any ability I had. This time with the stomach cramps, tears came, and I frantically looked back at the crowd hoping to see Jack, hoping that he'd found Cass and they'd be there. view abbreviated excerpt only...

Discussion Questions

1. When Cass returns home and Annie has to give up her studio she says, "There is a glass ceiling for women and it's made out of the people we love." What do you think she means by this? Do you agree with Annie? What about the constraints for women imposed by society?

2. Both Jack and Cass refer to Annie's work at Woodside as "her little part-time job." Do you think this is a reflection of how society in general views women who work part time? Do you think Jack and Cass each have different reasons why they characterize it this way?

3. Annie and Cass disagree about the concept of unconditional love. Why do you think Annie becomes annoyed when Cass brings it up? What are your thoughts about unconditional love? Do we have the right to expect it from another adult? Annie thinks love has conditions, the condition that every effort will be made to treat the other with kindness and respect. Do you agree with her?
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4. Annie talks with her friend Martha Jane about Jack's fear of retirement, and his fear of losing his identity without his work. Do you think fears about loss of identity occur in women who have had careers outside the home? Martha Jane refers to women feeling invaded when their husbands retire. Do you think this is a common fear? Are women likely to worry about feeling "taken over" when a husband begins spending a lot of time at home?

5. In spite of Jack's growing acceptance of Annie's commitment to art, Annie still struggles with feeling she should get home to make dinner for him every night. Do you think this feeling is typical for women Annie's age or women of any age? For women who experience this sense of obligation how do you think it might influence their creativity?

6. How does what we learn of Annie's mother Akiko make her seem different from Martha Jane Morrison? How much of a role do you think culture and the history of Japanese Americans may have played in Akiko's personality? In what way do you think it might be difficult for women to learn to stand up for themselves when they've had a timid mother?

7. Annie was born with talent but her father's abusive behavior robbed her of the confidence to believe in it. Do you think she could have overcome her self-doubt without Fred's encouragement and Jack's support? Do you think creativity can thrive without encouragement?

8. Jack feels threatened when Annie tells him about wanting to work at Fred's studio. Do you think this is a reflection of Jack's personality or the fact that he's struggling with his own career? Or do you think it reflects a fear that arises naturally for most people when a person's spouse or a partner moves in a direction that doesn't include him or her?

9. Cass tells Annie that she felt she wasn't allowed to fail, and when she compares Annie's expectations to the expectations Mrs. Choi had for Lena, Cass thinks Annie expected her to "have it all." She was expected to have a great career, travels, adventures, marriage and children. Do you think Cass was accurate in assuming this? Did feminism bring a pressure on young women from their mothers or society to have it all? Do you think it's possible to have it all?

10. When Annie remembers her first marriage she talks about the classic but doomed dance where a woman chooses to pair with a person who psychologically resembles a parent with whom there has been a conflicted relationship, and it always turns out badly. Do you think Cass was influenced by her family relationships in her choice of Richard? Do you think Cass should have tried harder to make the relationship work when Richard wanted her back?

11. Annie thinks men aren't as well equipped to care for young children as women, and would "like it both ways" when it comes to marital fidelity. Martha Jane thinks women adapt better to retirement, and that their ability to have close friends helps them. Do all these women have an overly negative view of men? Do you agree with them on any of their conclusions? Is there a generational difference in how they see men and women?

12. Annie realizes that she won't be able to help her father until there is a reckoning. She then decides to confront him because she assumes it might be more painful not to. Do you think she did the right thing?

13. Martha Jane says there can't be forgiveness without deep remorse on the part of the person who has caused injury. Do you agree? How much do children owe their parents?

14. The epigraph, which precedes the novel, is a quote from Anaïs Nin: "Then the time came when the risk it took to remain tight in a bud was more painful than the risk it took to blossom." What does this mean to you? Does it apply to Annie's situation?

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