The New York Times bestseller and the USA Today #1 Hot Fiction Pick for the summer, The Chaperone is a captivating novel about the woman who chaperoned an irreverent Louise Brooks to New York City in 1922 and the summer that would change them both. Only a few years before becoming a famous silent-film star and an icon of her generation, a fifteen-year-old Louise Brooks leaves Wichita, Kansas, to study with the prestigious Denishawn School of Dancing in New York. Much to her annoyance, she is accompanied by a thirty-six-year-old chaperone, who is neither mother nor friend. Cora Carlisle, a complicated but traditional woman with her own reasons for making the trip, has no idea what she’s in for. Young Louise, already stunningly beautiful and sporting her famous black bob with blunt bangs, is known for her arrogance and her lack of respect for convention. Ultimately, the five weeks they spend together will transform their lives forever. For Cora, the city holds the promise of discovery that might answer the question at the core of her being, and even as she does her best to watch over Louise in this strange and bustling place she embarks on a mission of her own. And while what she finds isn’t what she anticipated, she is liberated in a way she could not have imagined. Over the course of Cora’s relationship with Louise, her eyes are opened to the promise of the twentieth century and a new understanding of the possibilities for being fully alive. Drawing on the rich history of the 1920s,’30s, and beyond—from the orphan trains to Prohibition, flappers, and the onset of the Great Depression to the burgeoning movement for equal rights and new opportunities for women—Laura Moriarty’s The Chaperone illustrates how rapidly everything, from fashion and hemlines to values and attitudes, was changing at this time and what a vast difference it all made for Louise Brooks, Cora Carlisle, and others like them.
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Laura Moriarty is the author of The Center of Everything, The Rest of Her Life, and While I’m Falling. She lives in Lawrence, Kansas.Excerpt. © Reprinted by permission. All rights reserved.:
The First time Cora heard the name Louise Brooks, she was parked outside the Wichita Library in a Model-T Ford, waiting for the rain to stop. If Cora had been alone, unencumbered, she might have made a dash across the lawn and up the library’s stone steps, but she and her friend Viola Hammond had spent the morning going door-to-door in their neighborhood, collecting books for the new children’s room, and the considerable fruits of their efforts were safe and dry in four crates in the backseat. The storm, they decided, would be a short one, and they couldn’t risk the books getting wet.
And really, Cora thought, staring out into the rain, it wasn’t as if she had anything else to do. Her boys were already gone for the summer, both of them working on a farm outside Win?eld. In the fall, they would leave for college. Cora was still getting used to the quiet, and also the freedom, of this new era of her life. Now, long after Della left for the day, the house stayed clean, with no muddy footprints on the ?oor, and no records scattered around the phonograph. There were no squabbles over the car to mediate, no tennis matches at the club to cheer on, and no assigned essays to proofread and commend. The pantry and icebox actually stayed stocked with food without daily trips to the store. Today, with Alan at work, she had no reason to rush home at all.
“I’m glad we took your car and not ours,” Viola said, adjusting her hat, which was pretty, a puffed turban with an ostrich feather curling down from the crown. “People say closed cars are a luxury, but not on a day like this.”
Cora gave her what she hoped was a modest smile. Not only was the car covered, it had come with an electric starter. Cranking cars, no business for a lady, was how the ad went, though Alan had admitted he didn’t miss cranking either.
Viola turned, eyeing the books in the backseat. “People were generous,” she allowed. Viola was a decade older than Cora, her hair already gray at the temples, and she spoke with the authority of her added years. “Mostly. You notice Myra Brooks didn’t even open her door.”
Cora hadn’t noticed. She’d been working the other side of the street. “Maybe she wasn’t home.”
“I heard the piano.” Viola’s eyes slid toward Cora. “She didn’t bother to stop playing when I knocked. I have to say, she’s very good.”
Lightning shot across the western sky, and though both women ?inched, Cora, without thinking, smiled. She’d always loved these late-spring storms. They came on so fast, rolling in from the prairie on expanding columns of clouds, a welcome release from the day’s building heat. An hour before, when Cora and Viola were canvassing, the sun was hot in a blue sky. Now rain fell fast enough to slice green leaves from the big oak outside the library. The lilacs trembled and tossed.
“Don’t you think she’s a tiresome snob?”
Cora hesitated. She didn’t like to gossip, but she could hardly count Myra Brooks as a friend. And they’d been to how many suffrage meetings together? Had marched together in the street? Yet if she passed Myra today on Douglas Avenue, Cora wouldn’t get so much as a hello. Still, she never got the feeling that it was snobbery as much as Myra simply not registering her existence, and there was a chance it was nothing personal. Myra Brooks didn’t seem to look at anyone, Cora had noticed, not unless she was the one speaking, watching for the impression she made. And yet, of course, everyone looked at her. She was, perhaps, the most beautiful woman Cora had ever seen in person: she had pale skin, ?awless, and large, dark eyes, and then all that thick, dark hair. She was certainly a talented speaker—her voice was never shrill, and her enunciations were clear. But everyone knew it was Myra’s looks that had made her a particularly good spokeswoman for the Movement, a nice antidote to the newspapers’ idea of what a suffragist looked like. And you could tell she was intelligent, cultured. She was supposed to know everything about music, the works of all the famous composers. She certainly knew how to charm. Once, when she was at the podium, she had looked down at Cora, right into her eyes, and smiled as if they were friends.
“I don’t really know her,” Cora said. She looked back out through the blurred windshield, at people ducking out from a streetcar, running for cover. Alan had taken a streetcar to work, so she could have the Ford.
“Then I’ll inform you. Myra Brooks is a tiresome snob.” Viola turned to Cora with a little smile, the ostrich plume grazing her chin. “I’ll give you the latest example: she just sent a note to the secretary of our club. Apparently, Madame Brooks is looking for someone to accompany one of her daughters to New York this summer. The older one, Louise, got into some prestigious dance school there, but she’s only ?fteen. Myra actually wants one of us to go with her. For over a month!” Viola seemed pleasantly outraged, her cheeks rosy, her eyes bright. “I mean, really! I don’t know what she’s thinking. That we’re the help? That one of us will be her Irish nanny?” She frowned and shook her head. “Most of us have progressive husbands, but I can’t imagine any one of them would spare a wife for over a month so she could go to New York City, of all places. Myra herself is too busy to go. She has to lie around the house and play the piano.”
Cora pursed her lips. New York. She felt the old ache right away. “Well. I suppose she has other children to look after.”
“Oh, she does, but that’s not it. She doesn’t take care of them. They’re motherless, those children. Poor Louise goes to Sunday school by herself. The instructor is Edward Vincent, and he picks her up and takes her home every Sunday. I heard that right from his wife. Myra and Leonard are alleged Presbyterians, but you never see them at church, do you? They’re too sophisticated, you see. They don’t make the other children go either.”
“That speaks well of the daughter, that she makes the effort to go on her own.” Cora cocked her head. “I wonder if I’ve ever seen her.”
“Louise? Oh, you would remember. She doesn’t look like anyone else. Her hair is black like Myra’s, but perfectly straight like an Oriental’s, and she wears it in a Buster Brown.” Viola gestured just below her ears. “She didn’t bob it. She had it cut like that when they moved here years ago. It’s too short and severe, a horrible look, in my opinion, not feminine at all. But even so, I have to say, she’s a very pretty girl. Prettier than her mother.” She smiled, leaning back in her seat. “There’s some justice in that, I think.”
Cora tried to picture this black-haired girl, more beautiful than her beautiful mother. Her gloved hand moved to the back of her own hair, which was dark, but not remarkably so. It certainly wasn’t perfectly straight, though it looked presentable, she hoped, pinned up under her straw hat. Cora had been told she had a kind, pleasant face, and that she was lucky to have good teeth. But that had never added up to striking beauty. And now she was thirty-six.
“My own girls are threatening to cut their hair,” Viola said with a sigh. “Foolish. This bobbing business is just a craze. When it’s over, everyone who followed the lemmings over the cliff will need years to grow their hair out. A lot of people won’t hire girls with bobbed hair. I try to warn them, but they won’t listen. They just laugh at me. And they have their own language, their own secret code for them and their friends. Do you know what Ethel called me the other day? She called me a wurp.That’s not a real word. But when I tell them that, they laugh.”
“They’re just trying to rattle you,” Cora said with a smile. “And I’m sure they won’t really bob their hair.” Really, it seemed unlikely. The magazines were full of short-haired girls, but in Wichita, bobs were still a rarity. “I do think it looks good on some girls,” Cora said shyly. “Short hair, I mean. And it must feel cooler, and lighter. Just think—you could throw all your hairpins away.”
Viola looked at her, eyebrows raised.
“Don’t worry. I won’t do it.” Cora again touched the back of her neck. “I might if I were younger.”
The rain was coming down faster, rapping hard on the roof of the car.
Viola crossed her arms. “Well, if my girls do cut their hair, I can tell you now, it won’t be so they can throw away hairpins. They’ll do it to be provocative. To look provocative. That’s what passes for fashion these days. That’s what young people are all about now.” She sounded suddenly stricken, more confused than indignant. “I don’t understand it, Cora. I raised them to have propriety. But both of them are suddenly obsessed with showing the world their knees. They roll their skirts up after they leave the house. I can tell by the waistbands. I know they defy me. They roll their stockings down, too.” She gazed out into the rain, lines branching beneath her eyes. “What I don’t know is why, what’s going on in their little heads, why they don’t care about the message they’re sending. When I was young, I never felt the need to show the general public my knees.” She shook her head. “Those two cause me more grief than all four of my boys. I envy you, Cora. You’re lucky to only have sons.”
Maybe, Cora thought. She did love the very maleness of the twins, their robust health and con?dence, their practical taste in clothing, their easy reconciliations after heated quarrels. Earle was smaller and quieter than Howard, but even he seemed capable of forgetting all worries when he held a racquet or a bat. She loved that they had both wanted to work on a farm, seeing it as an adventure in country living and physical labor, though she also worried they had no idea how much labor they’d signed on for. And she knew she had been lucky with her sons, and not just in the way that Viola meant. The Hendersons next door had a son just four years older than the twins, but those few years had made all the difference—Stuart Henderson had been killed in early 1918, ?ghting in France. Four years later, Cora was still stunned. For her, Stuart Henderson would always be a gangly adolescent, smiling and waving from his bike at her own boys, who were small then, still in short pants. Really, being lucky with sons seemed a matter of timing.
But whatever Viola said, Cora thought she might have fared just as well with daughters. She would have been good with girls, perhaps, using the right combination of instruction and understanding. Maybe Viola was just going about it the wrong way.
“I’m telling you, Cora. Something is wrong with this new generation. They don’t care about anything important. When we were young, we wanted the vote. We wanted social reform. Girls today just want to . . . walk around practically naked so they can be stared at. It’s as if they have no other calling.”
Cora could hardly disagree. It really was shocking, how much skin girls were showing these days. And she wasn’t some old prude or Mrs. Grundy; she was fairly sure she wasn’t a wurp, though she didn’t know what that meant either. Cora had been pleased when the hemlines moved up to nine inches from the ankle. Some leg showed, true, but that change seemed sensible: no more skirts trailing in the mud and bringing typhoid or who knows what into the house. And calf length was far preferable to the ridiculous hobble skirts that she herself had stumbled around in, all for the sake of fashion, not so long ago. Still, girls were now sporting skirts so short that their knees showed every time the wind blew, and there was no practical reason for that. Viola was right: a girl who wore a skirt that short just wanted to be looked at, and looked at in that way. Cora had even seen a few women her own age showing their knees, right here in Wichita, and really, in her opinion, these half-naked matrons looked especially vulgar.
Viola looked at her brightly. “That’s one of the reasons I’m joining the Klan.”
Cora turned. “What?”
“The Klan. Ku Klux. They sent a representative to the club last week. I wish you would have been there, Cora. They’re very interested in women joining up, holding positions.”
“I’m sure they are,” Cora murmured. “We vote.”
“Don’t be a cynic. They were much more speci?c than that. They know that there are serious women’s issues at hand, and that women need to be in the ?ght.” The ostrich feather bobbed as she spoke. “They’re against all this modernization, all these outside in?uences on our youth. They’re interested in racial purity, of course, but they’re just as interested in teaching personal purity for young women. We do need to keep our race pure, and Good Lord, we need to keep it going. My brother-in-law says a veritable takeover is coming, and it’s all being planned in the basement of the Vatican. That’s the real reason Catholics have so many children, you know, and meanwhile, our people have one or two or none at . . .”
Viola trailed off. She rolled her lips in. It took Cora a moment to understand.
“I’m sorry,” Viola said. “I didn’t mean you. Your situation is different.”
Cora waved her off. The twins were what she had. But both she and Viola were silent for a while, and there was only the tapping rain.
“In any case,” Viola said ?nally, “I think it would be good for the girls. Good, moral people to mix with.”
Cora swallowed, feeling short of breath. She had been wearing a corset day in, day out, for so many years that she rarely registered it as a discomfort. It seemed a part of her body. But in moments of distress, such as now, she was aware of her constricted rib cage. She would have to choose her words carefully. She could not come across as personally concerned.
“I don’t know,” she said, her voice breezy, not betraying her in any way. “Oh,Viola. The Klan? They wear those white gowns, those hoods with the spooky eyeholes.” She ?uttered her gloved hands. “And they have wizards and grand wizards, and bon?res.” Even as she smiled, she glanced into Viola’s small blue eyes, analyzing what she saw there. She had to consider her options, her best route to success. Viola was older, but Cora was richer. She would capitalize on that.
“It just seems a little . . . common.” She shrugged, apologetic.
Viola cocked her head. “But lots of people are—”
“Exactly.” Cora smiled again. She had chosen the right word, precisely. It was as if they were shopping at the Innes Department Store together, and Cora had shown disdain for an ugly china pattern. She already knew, with certainty, Viola would reconsider.
When the rain let up, they slid out and carried the crates in, sidestepping puddles, each woman making two trips. Inside, waiting for the librarian, they chatted about other things. They ?ipped through a pristine copy of Alice’s Adventures in Wonderland, and smiled at the illustrations. They stopped at the Lassen Hotel for tea, and then Cora drove Viola home.
So many years later, this easy ride home with Viola would be the part of the story where Cora, in the telling, would momentarily lose the regard of a grandniece she adored. This grandniece, who at seventeen, incidentally, wore her hair much longer than her mother preferred, would be frustrated to the point of tears that in 1961 she was not yet old enough to join the freedom riders in the South. She often admonished Cora for using the word “colored,” but she generally showed her more patience than she did her own parents, understanding that her aunt Cora was not a hateful person, just an old woman with tainted language.
But that patience was tested when she heard about Viola. Cora’s grandniece couldn’t comprehend why her great-aunt would remain friends with a woman who even considered being p...
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Book Description Riverhead Hardcover, 2012. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: " The Chaperone is the enthralling story of two women . . . and how their unlikely relationship changed their lives. . . . In this layered and inventive story, Moriarty raises profound questions about family, sexuality, history, and whether it is luck or will--or a sturdy combination of the two--that makes for a wonderful life."-- O, The Oprah Magazine "In her new novel, The Chaperone , Laura Morirty treats this golden age with an evocative look at the early life of silent-film icon Louise Brooks, who in 1922 leaves Wichita, Kansas, for New York City in the company of 36-year-old chaperone, Cora Carlisle. . . . A mesmerizing take on women in this pivotal era."-- Vogue "With her shiny black bob and milky skin, Louise Brooks epitomized silent-film glamour. But in Laura Moriarty''s engaging new novel The Chaperone , Brooks is just a hyper-precocious and bratty 15-year-old, and our protagonist, 36-year-old Cora Carlisle, has the not-easy mission of keeping the teenager virtuous while on a trip from their native Kansas to New York City. After a battle of wills, there''s a sudden change of destiny for both women, with surprising and poignant results."-- Entertainment Weekly "Throughout The Chaperone , her fourth and best novel, Laura Moriarty mines first-rate fiction from the tension between a corrupting coastal media and the ideal of heart-of-America morality. . . . . Brooks''s may be the novel''s marquee name, but the story''s heart is Cora''s. With much sharpness but great empathy, Moriarty lays bare the settled mindset of this stolid, somewhat fearful woman--and the new experiences that shake that mindset up."-- San Francisco Weekly "Film star Louise Brooks was a legend in her time, but the real lead of The Chaperone is Cora Carlise, Brooks'' 36-year-old chaperone for her first visit to New York City in 1922. As Cora struggles to tame Louise''s free spirit, she finds herself moving past the safety of her own personal boundaries. In this fictional account of Cora and Louise''s off-and-on relationship, Laura Moriarty writes with grace and compassion about life''s infinite possibilities for change and, ultimately, happiness."-- Minneapolis Star Tribune "When silent film star Louise Brooks was a sexually provocative and headstrong 15-year-old from Kansas, she traveled with a chaperone to new York City to attend dance school. In this fascinating historical novel, her minder, Cora, struggles to keep her charge within the bounds of propriety but finds herself questioning the confines of her own life.Thorough Cora the world of early 20th-century America comes alive, and her personal triumphs become cause for celebration."-- People "Captivating and wise . . . In The Chaperone , Moriarty gives us a historically detailed and nuanced portrayal of the social upheaval that spilled into every corner of American life by 1922. . . . [An] inventive and lovely Jazz Age story."-- Washington Post "#1 Summer 2012 novel."-- The Christian Science Monitor "A fun romp."-- Good Housekeeping "Devour it."-- Marie Claire "The novel is captivating, and the last lines about Cora (you might think I''m giving everything away, but I''m not giving anything away--the story rolls through changes in terrain so subtle that it''s like a train from Wichita to New York and back) capsulate it all, revealing the richness of the saga."-- The Daily Beast "The Chaperone," an enchanting, luminous new novel by Laura Moriarty, fictionalizes the tale of the very real caretaker who accompanied a 15-year-old Louise Brooks on the first leg of her journey to silent-movie stardom. . . . Moriarty is a lovely writer, warm and wise."-- Cleveland Plain Dealer "It is [Louise Brooks''s] endearing and surprising companion Cora Carlisle--a sharply drawn creating--who is the heart and soul of this stirring story."-- Family Circle "Captivating and wise."-- Newsday "While Louise lends The Chaperone a dose of fire, the nov. Bookseller Inventory # ABE_book_new_1594487014
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