Sea of Lost Love (39 page)

F
ather Dalgliesh pondered the rapid passing of time. It had been five years since Celestria had gone to live in Italy. Little had changed in Pendrift. Merlin still told bad jokes in the Snout & Hound, and Trevor still laughed at them. Julia had begun to redecorate Pendrift Hall, and Archie had made some good investments for a change, with which he bought more land without the need for a loan. Wilfrid and Sam were at university, and in the summer, when Harry came to stay, they still set traps and still failed to catch anything, though they boasted great heaps of corpses to the pretty girls they met on the beaches of Rock. Elizabeth and Bouncy had grown very close. Now that she was going blind, he would sit with her on the lawn outside the dower house and tell her what he had learned at school. Often he would read to her from his school books, and she never grew bored.

Father Dalgliesh often thought of Celestria. They always toasted her at dinner up at the Hall. She had saved it, and for that they would be forever grateful. Monty's death was never discussed, not because of shame but because they all liked to remember him in their own way, quietly. Occasionally, Father Dalgliesh would catch one of the family staring wistfully out to sea and know instinctively what was on his or her mind. But he never asked. He rarely thought about Monty himself, except for that one time in Mexico.

Father Dalgliesh had traveled to the remote village of Zihuatanejo on a charity mission, to spread the word of God. On the second day of his visit he had taken a walk along the beach.

He was alone, savoring the solitude after the rigorous demands of the day. He was standing with his hands in his pockets, looking out to sea, when a man sitting on the sand caught his attention. He was waving to two dusky-skinned children who were playing down by the sea with their young mother in a red cotton dress. They waved back before continuing their project.

Father Dalgliesh walked closer. There was something strangely familiar about the man. He wore a panama hat set at an angle on his head, and in his hand he held a smoking cigar, toying with it between his fingers. He looked up at the priest. His eyes lingered on him for what felt like a very long time. Suddenly he raised his hat. Father Dalgliesh caught his breath, for he had surely been recognized. He had seen Robert Montague only once, at Archie's fiftieth birthday party, but this man, with his insouciant air, had to be him. It can't be, he thought to himself, stunned, trying to decide what to do. But the man had gotten up from the sand and was striding over to his children. Father Dalgliesh shook his head. It couldn't be. It was impossible.

The evening sun was still very hot. The priest began to sweat. Should he go and talk to him? Or should he pretend that he hadn't recognized him? Was the similarity between the two men perhaps a horrendous coincidence?

While he deliberated, the man stood a moment, gazing out to sea, lost in thought. Then he crouched down and dragged his finger through the damp sand. He hesitated a moment, then turned to the priest, his eyes squinting in the sun. Father Dalgliesh watched in amazement as he got up. Taking the smaller child's hand, he left the beach and wandered up the track, followed by the woman and the other child. He didn't look back.

Father Dalgliesh watched them go with regret. Then his eyes turned back to the place where the man had written something in the sand. Something he clearly wanted Father Dalgliesh to see. He wandered over, his stomach churning with the sense that he had missed an opportunity that would never come around again.

It was then that he noticed two words written in the damp sand:
Forgive me
. Just as soon as he had finished reading it, a rogue wave surged up the beach and washed the words away.

Sea of Lost Love

Introduction

Celestria Montague and her family have been spending summers at their mansion, Pendrift Hall, for generations. During the summer of 1958 death and tragedy strike and the illusion of her pampered life begins to unravel. Facing bereavement and financial ruin Celestria can't accept the events of the summer and takes on the role of detective to uncover the truth about her family. Celestria's search takes her to the small town of Marelatte in the heel of Italy where she meets friends and strangers, and is forced to confront the truth about her family, her past, and her future. At the end of her journey Celestria has gone from sheltered girl to independent woman, capable of taking care of herself and her family, and of finding love and companionship in the most unexpected places.

1. What significance does the sea hold throughout the course of the novel? Do you think it is important that the story begins on the coast and ends, in the epilogue, on a coast of another continent?
   
2. Pamela and Celestria rank suitors on a “food chain.” How did you react to this? In what ways is Hamish “as removed from the London food chain as it was possible for him to be”? In what ways is Father Dalgliesh like “a ray of light”?
   
3. Discuss Celestria's relationships with her cousins Lotty and Melissa. Do they respect one another? How do their approaches to romance differ? Do you think that their relationships with one another change over the course of the summer? How has each girl matured?
   
4. Bouncy disappears for a few hours on the same morning of Monty's disappearance. How did this affect your reaction to Monty's vanishing? Were you immediately skeptical? What does Bouncy represent for the Montague family?
   
5. Monty seems to have been loved by nearly everyone with whom he came into contact. Men and women alike adored him. Why do you think Celestria's grandfather Robert W. Bancroft II never trusted him? Discuss how your opinions of Monty changed as you read about Celestria's investigation and discoveries. When did you begin to mistrust him? Have you ever been fooled by a person's charm?
   
6. “‘I want to shout and scream, and they're all going about their day grieving with great dignity, as a Montague should.'” How do the characters close to Monty mourn him differently? How is Natalia's death mourned differently by the loved ones she left behind in Marelatte? What do the different methods of grieving say about the characters?
   
7. What role does religion play for the Montague family? Some members of the family are strictly observant, while others shun religion completely. Why do you think Pamela eventually finds God? “After years of not believing, she now understood why people went to church.” Why do you think she needs tangible proof, like seeing the ghost of her father, to believe in a spirit world? Do you think that her newfound faith will really make her a better person?
   
8. Discuss the development of Hamish and Celestria's relationship. To what do you attribute the immediate, strong connection they both felt? How does the way he treats her differ from the way suitors in England treat her? What does she prefer about Hamish? Do you think they compliment each other well?
   
9. Many of the characters in the book exhibit a fierce loyalty to their hometowns. Julia and Archie can't stand the thought of leaving Pendrift; and Freddie, Gaitano, and Hamish are very tied to Marelatte. Why do you think people feel such strong ties to their homes? Do you think the historical period plays a role? Given this information, why is it meaningful that both Celestria and Hamish are willing to give up their hometowns to be together?
   
10. The night before his disappearance Monty fought with Pamela and said hurtful things about Celestria: “‘He said the sooner you married, the better, because you were only going to turn out like me, driving him insane with your demands.'” By the end of the novel, do you think Celestria has succeeded in escaping the fate of turning out just like her mother? In what other ways has she matured?
    
11. “The knowledge that [Celestria] was preserving their memory of [Monty] gave her the deepest sense of satisfaction.” Why do you think that Celestria chose not to share what she learns about her father with the rest of the family? Who do you think she is protecting?
    
12. Discuss the epilogue. What do you think Father Dalgliesh's responsibility is at this point? Is the message in the sand a confession? Do you agree with Celestria that the family is better off not knowing the truth?
    

1. One of the first things that Hamish and Celestria bond over is their shared love for
   The Count of Monte Cristo.
   Try to find one shared love with each member of your reading group. Whether it is a favorite song, book, ice cream flavor, or old cartoon, try to uncover the common links you all share.
   
2. Learn more about Puglia. Read the
   Travel & Leisure
   article that features the real-life Il Convento di Santa Maria di Costantinopoli, Santa Montefiore's inspiration for Federica and Gaitano's bed and breakfast in
   Sea of Lost Love.
   http://www.travelandleisure.com/articles/puglia-rustica.
   
3. When Celestria and Gaitano discover that they share a love of book discussion Celestria reveals her “‘grandfather called it “pecking the flesh” of a good novel.'” Try to come up with other phrases for what you and your book club members do when you're discussing a great book.
   
4. Learn more about Santa Montefiore's husband, Simon Sebag Montefiore, and his writing by visiting his website at http://www.simonsebagmontefiore.com/.
   

You're a Londoner. How do you think American audiences will react differently to
Sea of Lost Love
from the way English readers have? Do you think Americans will more easily relate to Celestria? Did you change the story at all for publication in the States?

 

I didn't change the story although I did consciously make the decision at the start to have an American character—I love the Americans and am aware that my American market is very important to me. I like to think that everyone can identify with my characters whatever country they live in. My books are translated into twenty-five different languages. I write about love and loss—we're all human beings and those conditions are universal. Besides, Italy is a beautiful country to escape to. I can't imagine anyone not being seduced by it!

 

In the acknowledgments you thank your friend John Stewart, a psychologist, for helping you “delve into the minds of [your] characters.” How did you go about this? How did Mr. Stewart assist you? Have you used this method to help you develop the characters in all of your books?

 

This was the first time I researched my characters' psychological states with a professional. I felt I needed to understand Monty—what drives a person to such extreme behavior. John is a friend of mine and we enjoyed a couple of lunches together, discussing the characters. He was very helpful. Sometimes, though, there is no rational explanation for a person's frailty; he is simply that way by nature.

 

In each of your books readers are transported to beautiful, awe-inspiring locales. Do you travel much? Or are some of your descriptions based on research alone?

 

I have spent time in every location I have written about. I have to, in order to experience the place with all my senses! I rely, though, on places I have spent a lot of time in, hence my return to Italy and France. I would love to write about other places, but as I write a book a year, and have small children, I don't have the time to jet off to new countries. I will one day, but for now I rely on the places I know and love. I will add that I invent all my locations, I don't like history to interfere with my stories, especially as I write about the war where every French and Italian town has its own very memorable history and readers are very quick to write to me if I get something wrong.

 

Sea of Lost Love
is at once a romance and a mystery. How did you manage to balance the love stories with Celestria's unromantic quest to uncover the truth about Monty?

 

Sea of Lost Love
is my seventh title. The first four weren't mysteries. When I began my fifth,
Last Voyage of the Valentina,
I wanted to try something new but within my capability, so I added a thread of mystery. I so enjoyed it that I did the same for
The Gypsy Madonna
and
Sea of Lost Love
. I think it adds another level to my stories and gives me something to get my teeth into. I'm not a mystery writer. I like to think I write about love; however, a little mystery gives me pleasure, as I hope it does my readers!

 

You leave the reader with little doubt about Monty's true nature but never directly pass judgment on him. How do you hope readers will react to his deception? Is there any way to interpret his actions compassionately?

 

I leave it to the readers to make up their own minds about Monty. Personally, he's weak, and weak people are very dangerous. I found him rather compelling as a character—as a father I'd find him devastating!

 

You include passages that detail the temptation Father Dalgliesh felt. Was it important to you to humanize a religious figure? How do you hope readers will respond to a priest with a layered personality, complete with flaws?

 

I was very conscious of not going down the
Thornbirds
route with my priest, so I made him human but strong. Everyone is multidimensional, and no one is perfect. He fought with his feelings and overcame them, which is a wonderful thing. I loved my priest and I hope that comes across in the book. I like to think everyone evolves in my novels. They grow wiser through experience, life molds and changes them, as it does in reality. I have a soft spot for Father Dalgliesh!

 

Why did you choose to set so much of the book on the coast? Do you feel tied to the sea in any way?

 

I adore the sea. It mirrors the way we feel inside, always changing—one minute benign, the next formidable and menacing! It's a wonderfully expressive backdrop to a romantic novel.

 

Pamela does not believe in a spirit world until she sees her father's ghost. What are your personal beliefs concerning life after death?

 

I have seen spirits all my life. I firmly believe death is but a moving into another dimension, a return to where we all come from; and those we love, who have died, are around us all the time, sending us love and guidance.

 

Whose writing has inspired you? Do you find inspiration for your work in other art forms as well?

 

I'm inspired by other writers all the time. I admire so many creative people. Namely, Gabriel Garcia Márquez, Isabel Allende, Laura Esquivel, Fannie Flagg, Philippa Gregory, Carlos Ruiz Zafón, Sebastian Faulks, and the great classics: Tolstoy, Austen, Dumas, Edith Wharton. Naturally, I'm inspired by nature, life, and the colorful, eccentric people I'm fortunate enough to meet. I am also very moved by films—
The Notebook, The Bridges of Madison County, An Affair to Remember,
to name but a few.

 

What can readers expect next from you? Are you working on anything currently?

 

I've just finished my next book,
The French Gardener,
and am currently writing my ninth, based again in Italy, a continuation of
Last Voyage of the Valentina
. I hope to continue to write one a year—while there is life, there are stories!