Decorum (43 page)

Authors: Kaaren Christopherson

BOOK: Decorum

9.86Mb size Format: txt, pdf, ePub

“There’s no sense in getting worked up,” said Ida. “We all knew it would happen sooner or later. And I for one am glad that it happened sooner.”

“What do you mean ‘we all knew’?” said Esther. “I knew no such thing.”

“Fiddlesticks,” said Ida. “Of course you did.”

“I knew,” said Vinnie. “I knew the moment we made Connor’s acquaintance that he was just what Francesca needed. I think it’s splendid that they will be together.”

“Oh, I don’t know,” Esther sighed. “I don’t know what to think.”

“What we think doesn’t really matter. It’s what they think that counts. Besides,” said Ida, “there’s no going back now. It’s in print.”

A
CKNOWLEDGMENTS

In searching for a way to thank the people who have touched
Decorum,
I was tempted to save the best for last. Then I thought better of it. I have put the best first.

My deepest gratitude goes to my mother, Betty J. Christopherson, who one evening in 1999 said yes when I asked, “Would you let me tell you a story I’m thinking about writing?” I shared my sketchy notes about an Irish immigrant, an heiress, and a mistress that I hoped to turn into a novel, yet unnamed. The way she listened bespoke confidence that encouraged me to begin to write. Her enthusiasm grew with each scene she read for me. Her faith in my abilities spurred me on, especially through my periods of self-doubt. Thank you, Mom, for remaining my biggest fan.

Decorum
has traversed a long road to submission of the final copyedited manuscript to Kensington Publishing in July 2014. In that time, versions of the manuscript in whole or in part have passed through many hands. My fear in naming people, of course, is that I may have missed someone. Nonetheless, I am grateful to all, including those named here: Sally Christopherson, Amy Christopherson Rempel, Pam Beard, Carole Aikman, Anne Alexander, Deborah Lloyd Allers, Susan Behnke, Judy Blair, Kathleen Dawn, Laura Kelly, Amy Martin, Vicki Moeser, Michael Mulcahy, Judy Parker, Byron Radcliffe, Terri Lynn Simpson, Chris and Catherine Schultz, and Martha Swearingen.

A critical turning point in
Decorum
’s journey occurred the year I joined a writing workshop led by the amazing Hildie Block. Few learning experiences have been as tough and affirming as that year of weekly discussion and critique. Special thanks to Hildie for her wisdom, encouragement, and good-natured badgering to find an agent, and to my fellow workshop students Jim Ball, Stephanie Brennickmeyer, Pat Everett, Christina Kovac Loebach, Judy Colp Rubin, Joanne Schulte, Jane Tarrant, and Susan Woodward for their invaluable help.

Thank you to the many family members, friends, colleagues, and acquaintances who have kindly inquired, “How’s the book?” through
Decorum
’s ups and downs. I am grateful to those who, in particular, have kept up the drumbeat of encouragement: Elayne Archer, Beth Bagnold, Linda Kay Benning, Melita DeBellis, Misha Galley, Kathy Gracenin, Kathy Green, Jacqueline Hess, Cindy Arciaga Hodor, Suzanne Kindervatter, Susan Lundquist, Art Sauer, Greg Saunders, Lonna Shafritz, Linda Sorkin, Pam Sutton, Jennifer Thorp, and Paula Tarnapol Whitacre.

To Victoria Skurnick, my agent at Levine Greenberg Literary Agency, many thanks for her enthusiasm, wise counsel, and common sense. To my wonderful editor at Kensington Publishing, John Scognamiglio, and to Vida Engstrand, Alexandra Nicolajsen, Michelle Forde, Jane Nutter, Paula Reedy, Peter Senftleben, and Gary Sunshine, thank you all for making the publishing experience for a Kensington debut author a good one.

Mollie Bryan, my great-grandmother, has been with me in spirit ever since I began using her etiquette book for reference, the 1881 edition of
Decorum: A Practical Treatise on the Etiquette and Dress of the Best American Society,
revised by S. L. Louis. What began as a simple search for facts soon gave the novel its organizing theme and its title. I am grateful that she acquired this book in 1882 and for its inspiration well over a century later.

Finally, to the Source, the Divine Spark at the center of all that is creative, my humble and heartfelt thanks.

A READING GROUP GUIDE

DECORUM

Kaaren Christopherson

About This Guide

The suggested questions are included
to enhance your group’s reading of
Kaaren Christopherson’s
Decorum.

DISCUSSION QUESTIONS

1.
Every generation redefines what it means to “have it all.” What do you think having it all meant to someone in the 1890s? What do you think it means to Francesca Lund? Connor O’Casey? Blanche Alvarado? Edmund Tracey? How do you think their servants would define it? How would any of these definitions be similar to or different from the way you would define it today?

2.
Connor and Tracey each hope to make significant changes to his life as a result of marriage to Francesca. What does each man expect to gain if he marries her? What might he expect to lose? How does he feel about it?

3.
During the conversation at Christmas dinner Blanche and Francesca discover that their respective situations with regard to men and marriage may not be as different as they may appear on the surface. How are their situations and choices similar? How are they different?

4.
What attracts Connor to Francesca? Why does he not consider Blanche to be marriage material for him? What are Blanche’s prospects if she doesn’t marry Connor?

5.
What barriers does Edmund Tracey face in attempting to improve his lot in life? Are their causes internal or external? Why does he make the choices he makes?

6.
In an era when large families are the norm and many children a social value—and sometimes an economic necessity—how do you think Maggie Jerome feels when confronted with a large and congenial family like that of John Ashton and Isabel Worth? How has Maggie appeared to compensate throughout her life? How would childless women in general have coped in society in the 1890s?

7.
As long as Francesca remains unmarried, Vinnie Lawrence is assured of companionship and equal status with another single woman. How do you think Vinnie feels once Francesca becomes engaged? What choices does a single, middle-class woman in her late twenties have in 1890?

8.
Connor and Blanche both yearn for acceptance by New York society. Connor can move about in business while Blanche must wait for a visit from a society matron. What are their respective obstacles to being accepted? What are their respective advantages that might give him or her hope?

9.
Marriage contracts were not that uncommon among the wealthy in the nineteenth century, yet Edmund Tracey is indignant over the marriage contract Francesca wants him to sign before they wed. Why?

10.
In the nineteenth century, the “grand tour” became not only an imperative for wealthy young men, but a mania. Wealthy young women also traveled, but very often in more restricted circles and circumstances. How do you think Francesca is upholding or breaking tradition by proposing to go to Banff? How do you think Vinnie, who is not wealthy, feels about accompanying Francesca, as Francesca’s guest?

11.
Why do you think a woman of Francesca’s social standing, personal values, and temperament would even contemplate Connor’s unique proposition, which could lead to scandal?

12.
Jerry confronts Connor over the latter’s decision to follow Francesca to Banff and Francesca’s consent to the plan. Why do you think Jerry does this, despite the fact that technically Francesca is of legal age and, being unmarried and orphaned, has no one else to whom she must answer?

13.
What do you think will happen to Maggie and Jerry Jerome once Francesca, Vinnie, and Esther leave for Banff?

14.
Blanche takes several extreme measures to turn her prospects around. What are they? Given her background, how might she feel that she’s prepared to take risks? How might she be better equipped to meet these challenges than other women?

15.
By the end of the story, Francesca, Blanche, and Connor have undergone a number of changes in situation, attitude, and outlook. How is each person different than he or she was at the beginning of the book? Did Tracey experience similar changes over his lifetime?

This book is a work of fiction. Names, characters, places, and incidents either are products of the author’s imagination or are used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.

KENSINGTON BOOKS are published by

Kensington Publishing Corp.
119 West 40th Street
New York, NY 10018

Kensington and the K logo Reg. U.S. Pat. & TM Off.

eISBN-13: 978-1-61773-522-6
eISBN-10: 1-61773-522-1
First Kensington Electronic Edition: April 2015

ISBN: 978-1-6177-3521-9

ISBN-10: 1-61773-521-3