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Mothers and Daughters: A Novel
Mothers and Daughters: A Novel
Mothers and Daughters: A Novel
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Mothers and Daughters: A Novel

Rating: 3.5 out of 5 stars

3.5/5

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A rich and luminous novel about three generations of women in one family: the love they share, the dreams they refuse to surrender, and the secrets they hold

Samantha is lost in the joys of new motherhood—the softness of her eight-month-old daughter's skin, the lovely weight of her child in her arms—but in trading her artistic dreams to care for her child, Sam worries she's lost something of herself. And she is still mourning another loss: her mother, Iris, died just one year ago.

When a box of Iris's belongings arrives on Sam's doorstep, she discovers links to pieces of her family history but is puzzled by much of the information the box contains. She learns that her grandmother Violet left New York City as an eleven-year-old girl, traveling by herself to the Midwest in search of a better life. But what was Violet's real reason for leaving? And how could she have made that trip alone at such a tender age?

In confronting secrets from her family's past, Sam comes to terms with deep secrets from her own. Moving back and forth in time between the stories of Sam, Violet, and Iris, Mothers and Daughters is the spellbinding tale of three remarkable women connected across a century by the complex wonder of motherhood.

This book was later published under the title Mercy Train.

LanguageEnglish
Release dateMar 29, 2011
ISBN9781429972390
Author

Rae Meadows

Rae Meadows is the author of four previous novels, including I Will Send Rain. She is the recipient of the Goldenberg Prize for Fiction, the Hackney Literary Award for the novel, and the Utah Book Award, and her work has been published widely. She grew up admiring the Soviet gymnasts of the 1970s, and in her forties decided to go back to the thing she loved as a child. She now trains regularly in gymnastics. She lives with her family in Brooklyn.

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Rating: 3.5925925925925926 out of 5 stars
3.5/5

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  • Rating: 4 out of 5 stars
    4/5
    You know, I’m not a mother, but I am a daughter. And even my mother has begun to send me “Mother’s Day” cards, because although I am 41, divorced and childless, and it appears I will likely never birth a child, she says I am still a “mother” to many in the world and care for many. I'm a mother at heart, if not in function. So I could identify with this book and its characters on many levels.There was a lot for me to relate to in this book, despite my not having children.This story was about three generations of women. Grandmother Violet, mother Iris and daughter/granddaughter Sam. I think that Violet as a young girl was my favorite character, although I also loved that of Iris at the end of her life as well.This book perfectly captured the stereotypical mother-daughter relationship!My final word: This book was very easy to read, and often stirred my emotions. I would love to try something else by author Rae Meadows, and would recommend this book in a heartbeat!
  • Rating: 3 out of 5 stars
    3/5
    3 women, 3 generations, 3 lives: How one women's decision impacted generations to come. Written as a narrative by each of the women, the writer takes you back to experience the key events that shaped how each woman's character was formed. Each narrative could (and should have) stood alone as a separate novel in a trilogy (or even four book series). Unfortunately, Ms. Meadows did not take this approach and the reader is left feeling as though there was more to the story. She does, however, cause us to think about who we are and how our decisions shape the future.
  • Rating: 4 out of 5 stars
    4/5
    Rae Meadows exhibits a keen understanding of the complicated relationship between mothers and daughters. As a daughter, mother, and now grandmother (with 2 granddaughters), I identified with the common, and often lifelong, push-pull struggle of mothers and daughters to connect and yet maintain individual identities. Any daughter/mother who reads this book will have a better understanding of herself. Like the character Samantha and her mother Iris, I wish I had asked more questions about my mother’s life. I wish I knew more of her story; but also like these characters I understand that what she wanted like all of us was to love and be loved. This novel really struck a chord with me. Almost as a side note, the orphan train storyline was interesting and informative. This was a really enjoyable read.
  • Rating: 4 out of 5 stars
    4/5
    Mothers & Daughters by Rae Meadows is the story of three women. Sam is a new mother who is having a hard time adjusting to life with a daughter of her own. She is afraid to leave Ella with anyone else and has been unable to get back to her career as a potter after nearly a year. Her relationship with her husband has changed as well..." Since the baby, it seemed her feelings toward him required moment-to moment readjustment."Sam's mother Iris died just before Ella was born. A box containing mementos of Iris's life ends up on Sam's doorstep. As she goes through the box, she discovers things she never learned about her mother while she was alive. And her grandmother Violet as well.Meadows explores the mother/daughter dynamic between each of the women. Each women's past influences how she mothers her own daughter. The daughters really don't know their mothers intimately. The story of each of the women is told in revolving chapters. I became so invested in the story of Violet and her mother Lilibeth. Violet ended up on an Orphan Train, sent from New York City to the arms of a 'suitable' home. I was fascinated by her story and found myself wanting more than was written. Without giving away the storyline, Iris's life saddened me. Parts of her tale moved me to tears. I found Sam a bit hard to like in the beginning - she seemed somewhat self indulgent, but I came to appreciate her by the end of the book.I quite enjoyed discovering who each woman was, how her life was shaped and how that in turn influenced the next generation. A thoughtful book that might make you take a second look at the relationship you have with your own mother.
  • Rating: 4 out of 5 stars
    4/5
    An honest look at the relationships between mothers & daughters. Also a bit of history on the orphan trains in England and their history. Easy read and quite enjoyable.
  • Rating: 3 out of 5 stars
    3/5
    The orphan trains (1854-1929) organized by the New York Children’s Aid Society represent a fascinating bit of social engineering. It is estimated that close to 250,000 children from the East Coast made their way to new homes in the West and Midwest on these trains. As the trains moved westward, orphans and homeless, or otherwise neglected, children were displayed at local train stations where, one-by-one, they were chosen by families desiring a child. Oversight and record keeping concerning these “adoptions” was often purposely sloppy in order to ensure that the relocated children would not be able to return to their former home cities. Rae Meadows centers Mothers and Daughters around one such train and the little girl whose mother placed her on it out of desperation. Eleven-year-old Violet would ride her orphan train all the way from New York City to Minnesota, enduring stops along the way where the babies and younger children were snatched up eagerly by families wanting a child. The older, less desirable, children like her often rode the train to the end of the line where they were offered work rather than a new family. This would be Violet’s fate.Mothers and Daughters is the story of three generations of women, a short line beginning with Violet and ending with her granddaughter, Samantha. In the present, Sam’s 72-year-old mother, Iris, is dying and has asked Sam to be with her until it happens. Sam is pregnant with a daughter of her own, but Iris will not live long enough to meet her. Back home after her mother’s death, Sam is surprised to receive a box of her mother’s things that appears to have been unopened for decades. Among the papers in the box is a little bible dated 1910 – and inscribed by the New York Children’s Aid Society. Feeling certain that the bible once belonged to her grandmother, Sam hopes to learn, these many years later, how it came into her hands and what connection her grandmother might have had to the aid group.Meadows rotates sections in strict order to tell the stories of Violet, Iris, and Samantha, three women with very different lives. Short pieces on Violet (largely concerned with her childhood on the streets of New York and her orphan train experience) are followed by sections on Iris (as she prepares to die) and on Samantha (as she spends time with her dying mother and starts life with her new baby). Of the three characters, Violet is the best developed and readers will be fascinated by her life on the streets and her experiences on the orphan train. Iris and Sam have lived more ordinary lives and they are, as a result, less memorable than their ancestor. Mothers and Daughters is an interesting intergenerational novel but it does little to explore how the women have been shaped by those who preceded them, somewhat weakening the impact of the individual stories. The novel’s real strength is in its depiction of the orphan train as seen through the eyes of one little girl who was forced to grow up much too quickly. Violet’s story deserves a novel of its own; perhaps one day Rae Meadows will give us one.Rated at: 3.0
  • Rating: 3 out of 5 stars
    3/5
    Loved the premise of the book. Ms. Meadows builds up the story and the characters and just when the "meat" of the story should happen, it ends. I was disappointed that none of the characters stories were completely finished.
  • Rating: 4 out of 5 stars
    4/5
    "Mothers & Daughters", a multi-generational story of three women turned out to be anything but what I thought it would be. I assumed that it would be about the relationships between a grandmother, daughter and granddaughter. I was so wrong.The story takes place all over the place but the main setting is during the Orphan Train years of 1854 - 1929. The characters are Lilibeth, the mother (if you could call her that) of Violet, who was the mother of Iris, who was the mother of Samantha who was the mother of Ella. Lillibeth is a rover; someone who cannot take care of herself and must always have a man around and never stays in one place or with one person, even her daughter, for very long. Violet is very street smart and sturdy as a child and is the character whose mother puts her on the Orphan Train. She is not adopted but is eventually chosen at a train stop as kitchen help for a women's hospital. She finally has her own room and is treated with respect and care, if not love. She grows up to become a hard working woman who marries a farmer and works alongside him throughout their years. She raises Iris to be a confident young lady and Iris in turn marries and has a son and a daughter. The conflict in the story comes with Iris' terminal illness in her later years and how she and her daughter Sam decide to handle it. I put off reading this book for a couple of weeks for the reason stated in the first paragraph. But I was very pleasantly surprised at how involved I became with the characters and how much I actually liked this book. My favorite character was Iris. I frequently pass off my ARC/ER books but this one I shall hold on to as I know I will want to read it again. I found it to be a wonderful character study.
  • Rating: 4 out of 5 stars
    4/5
    Mothers and Daughters is a book written in three voices. Violet is an 11-year old orphaned by her mother in NYC. She ends up in the midwest after riding the "orphan train" and eventually becomes a mother to Iris. Iris is a women enduring the end stages of cancer, and mother to Sam. Sam is a 30 something mother of an 8 month old daughter. The idea of telling the story of three generations of women in this way is intriguing. The underlying theme of loss and transition is poignant. However, the characters feel like they are never fully developed. Therefore, the emotional connection to them is severely lacking. A quick, easy, generally enjoyable read that falls a little flat.
  • Rating: 5 out of 5 stars
    5/5
    Normally, after reading a book, I allow myself a week or so to process what I’ve read before I write a review. However, every now and then, I’ve read a book that has consumed me in a way that I feel that I must, MUST, write about it and let others know that it affected me and that if they are looking for something to read they should consider finding this book the minute it comes out and allowing it to consume them, as well. Mothers and Daughters by Rae Meadows is one such book.In Mothers and Daughters, 3 generations of women are examined in a work of fiction to see how the secrets we keep impact our relationships upon one another. Patterns of behavior are found and the stories that we never tell are told to the reader in a way that makes us long to tell the characters what they have missed about their loved ones. The story begins with Samantha, a great-granddaughter who is struggling with the separation anxiety a new mother faces when she has to let go of her child for the first time. The story flashes to her great-grandmother Violet’s childhood and then back to Violet’s daughter (Sam’s mother), Iris during her last month’s of life. Each of the stories takes place during a vulnerable place in the life of the woman and it is compelling to read their thoughts.Usually, I tend to relate to the woman in the story that has the most contemporary story, however, Violet’s story, by far, had the siren song in this novel. A woman that Sam saw as withdrawn and plain, Iris saw as non-emotional and unable to express herself, had an incredible story that I couldn’t wait to read. There were times I found Sam’s story very hard to read and relate to her as I wanted her to have better judgment and rely less upon her child. Iris’ story was bittersweet.Overall, this story was difficult to get into, as stories with multiple main characters usually are, but once in I found myself swept away into their world. It was almost too short for me and I rarely feel that way about a book. I wanted to know more about their stories and feel more with them. It was a beautiful telling of the way our pasts and our futures intertwine.
  • Rating: 3 out of 5 stars
    3/5
    Mothers and Daughters by Rae Meadows is the story of three generations of women, their stories intermingled and told from their individual points of view. My favorite was the grandmother's, her childhood in NY city and subsequent move to the Midwest. However, I did not feel that her personality was consistent from child to adult. My least favorite character was the granddaughter, the new mother. She felt cloying in her love for her newborn and annoying in her inability to let go and find herself and her work again. True it was just a snapshot of her and she does come through in the end, but...I also did not understand her attraction to the young homeless girl. I feel like this book could have been much more. All in all, a good, but not great read. I did enjoy learning more about the Orphan Trains. Three Stars.
  • Rating: 3 out of 5 stars
    3/5
    I finished this book very quickly. The intoduction on the back cover about a box of belongings showing up on Sam's doorstep is what kept me interested in finishing this book. However, the book never got into what was in the box and Sam never researched and found out anything about her own mothers past and grandmothers life as a child etc. If the author would add a few more chapters of where Sam researches and learns about her Grandmother and the life/hardships she went through as a young girl, it would of made the book more satisfying to me.
  • Rating: 3 out of 5 stars
    3/5
    This book was a quick read. Unfortunately, I did not really connect with any of the characters but did find their different lives interesting. It made me think about my own relationships with my mother and daughter and how I can improve those. I wonder if it was too descriptive for me as I tend to skip over parts of books that just describe the setting.
  • Rating: 2 out of 5 stars
    2/5
    I've always been leery about reading novels that are described as "luminous," either in reviews or book blurbs. I must have missed that adjective on the back of the advanced readers' copy, because I read Mothers & Daughters anyway. The story is about three generations of women, the eldest of which traveled west from New York City on an "Orphans' Train" at the turn of the 20th Century. Being into genealogy and loving family history, I thought it made for an interesting premise. I looked forward to having the third generation daughter (Samantha) investigating her grandmother's background ... finding her story, etc., etc., etc.That was not to be, however. Violet's orphan train adventure was something only the readers share in ... apparently, the organizations that sent children west on the train made every effort to eliminate any photos or documents that would allow the children to revisit their own pasts. They probably thought that was best for the children. And Violet's grand-daughter, Sam, didn't even try. She was too wrapped up in herself to do much thinking about a distant relative. Although three generations of the same family (Violet, Iris, Samantha) are included in the story, none are fleshed out to my satisfaction. And the rambling story line (back and forth, back and forth from era to era) didn't serve much purpose, in my humble opinion. Reading Mothers & Daughters wasn't a total waste of time, but that's as far as I'll go in praise of it. Readers who are more accustomed to enjoying "luminous" and/or more literary novels may get more out of it than I did. Review based on published-provided copy of the book.
  • Rating: 4 out of 5 stars
    4/5
    Sam is a new mother struggling with finding an identity outside of being Ella's mother. Doesn't know if she even wants anything beyond being with her beloved baby. As the book opens, Sam is leaving Ella with a sitter for the first time. At loose ends, Sam returns home to find a box on her doorstep that her brother mailed to her. In it are mementos from her mother Iris' life and her grandmother Violet's life. Then the reader is told those stories through the voices of Iris and Violet. The author had many good stories to tell in this book but just skimmed the surface of most of them. That's not to say I didn't like the book. It was a quick and enjoyable read but could have been so much more.
  • Rating: 4 out of 5 stars
    4/5
    This book felt disconnect at times - because it went back and forth between each generation of women but I still found it hard to put down. The character were well developed and likable. The best part for me was that I learned about something that took place in this country at the turn of the century that is rarely discussed, which is still true today for some elements of the foster care/adoption process. I highly recomment this book. It would be a great book for discussion in book clubs.
  • Rating: 3 out of 5 stars
    3/5
    Mothers and Daughters, by Rae Meadows, tells the stories of three generations of women, Violet whose story centered around her being part of the Orphan Train experience, Iris, her daughter, dying of breast cancer, and Samantha, her granddaughter. Samantha is a new mother leaving her daughter with a sitter for the first time. The novel covers that day. The chapters alternate between the three, and within each chapter there are a considerable number of flashbacks.Each story is absorbing on its own, but somehow the three didn't really hang together. I just didn't feel that the woman were related. I didn't care for the back and forth progression, the abrupt stopping of one story and the restarting of the next, although it is not an uncommon technique. There is an interesting contrast between Violet's mother giving her up entirely (at age 11), and Samantha who can hardly stand to part with her baby daughter for a day. I just wasn't quite sure what to take away from that.Meadows is good at her craft, the book is a fast read, but I was just a bit disappointed because it sounded more to my liking than it was.
  • Rating: 3 out of 5 stars
    3/5
    If I were to base my enjoyment of this book simply on the publisher's description I would have been sorely disappointed. The novel that I read bears little resemblance to the blurb on the back cover. The back cover states "When a box of Iris's belongings arrives on Sam's doorstep, she discovers things about her mother she never knew -- or could even guess. But she is puzzled by much of what she finds. She learns that Violet, the woman she knows as her grandmother, left New York City as an eleven-year-old girl and found a better life in the Midwest. But what was the real reason behind Violet's journey? And how could she come that far on her own at such a tender age?" While it is true that a box of her mother's things does arrive on Sam's doorstep and that she is puzzled by what she finds, she does not find any of the answers hinted at in the description. As the reader, I learned Violet's story of travel on the orphan train but Samantha does not actually learn for certain that Violet was in New York City. In fact, Samantha spends very little time looking through the things in the box.With all that said, I did enjoy the majority of this novel. Each chapter focused on a different woman which meant that time was very fluid. For the most part the time shifts were easy to follow, although there were a couple of overlaps between Samantha and Iris that found confusing. Even within a chapter, time is fluid as the main characters move through their memories as well as current events.I connected to Samantha instantly as she struggled with being a new mother and leaving her child with someone else for the first time. So much of what she was feeling was familiar to me. The struggles of Iris and Violet were much less familiar but no less moving. As compelling as the stores were, I was unsatisfied when I reached the end. Violet and Iris's stories reach the expected conclusion but Samantha's story simply ends abruptly. It is clear that Samantha has some major realization at the end of her story but I am uncertain how it impacts her view of life going forward.
  • Rating: 2 out of 5 stars
    2/5
    I got this book from Early Reviewers. I wanted to like this. I really, really, really did. I did not, however. Very few books I read get a 1.5 star rating. I'm relatively easy on most books and give away my 4 and 5 start ratings lavishly. I was originally going to give it a 2.5 stars because I did like SOME of it, while I didn't care for other parts of it- so a 2.5 would have been comfortably right down the middle of love and hate. But I realized something that I can't forgive... this story isn't complete. First of all- the description is somewhat deceptive. "when a box of Iris's belongings arrive on Sam's doorstep, she discovers things about her mother she never knew- or even could guess," reads the back of this book. That leads me to expect a story about a daughter uncovering truths about her mother and possibly grandmother- which the rest of the description goes on to mention. This book is actually so little about Iris's past that it's hardly even a blip in my recall. Violet, Sam's grandmother, winds up taking center stage in between short 'present' chapters about Iris as an old lady, dying of cancer, and Sam as a new mother after her mom's death. Here's what I loved- the parts about Violet as a child were interesting. That's really it. It's a good portion of the story, but that doesn't make up for the fact that Violet's childhood is so poorly intertwined with the rest of the story to make sense. Sam is given a box of her mother's possessions that hint that her mom didn't tell her a lot of information, but the book just randomly jumps back and forth between the three women in all different ties with very little sense of ease. Iris' discussion of her impending death just stops, and suddenly we're back with Sam going through some awful, boring, annoying post-partum depression and anxiety about leaving her baby for one day with a sitter. Don't get me wrong- I'm a mom of a toddler and I understand that maybe people who've gone through ppd can relate. The rest of us, however- ok, maybe it's just me, I don't know- haven't gone through it and paragraph after paragraph of her pain and reluctance to leave her baby is just annoying. She had some moments where her observations were accurate, but other than that, Sam was not a likable character. Oh, and a prostitute that she feels bad for a stalks, because that's for some reason important to remind the readers her feelings about mothering. I mean, I get it- she thinks that this young prostitute probably lacked a nice mother figure in her life. But it was so random and out of place in the story.Speaking of likable characters- Violet and Iris's gay neighbor were the only ones that were tolerable. Sam was listless and droned on but did nothing productive. Iris seemed distant and uninterested in almost everything. She says she only got married because she felt that it was about time, her marriage was uneventful and she went through the motions because she knew she should, and when her husband left her for another woman, she hardly cared at all. She was like a robot. Sam's best friend, Melanie, was a caricature of the 'modern' parent who comes off as almost a bitch towards her own child, happy to get back to work as soon as possible, answering her child with sarcasm and coldness, willing to toss her into another person's arms without a care at all. She's a nice foil of Sam, but it's too much. Got it, modern working mother. Violet's mother was a floozy who seemed to forget she even had a child but the doted upon her dramatically in between sleeping with different men and crashing at opium houses, in a haphazard attempt to create a better life for the both of them. I just didn't like any of them, and the only one I did like, Violet, her story was cut short and I didn't wind up satisfied. I was originally going to call the end of the book 'abrupt'. but when I hear that word I think that it was at least an ending where things were tied together albeit quickly. The last we hear of Sam, she has found a mysterious letter that she is going to investigate to discover more about her mom and grandma. But then we jump back to Violet where he story is quickly concluded... abrupt would be the correct word for her story. She gets married, dies after having two kids, one stillborn, felt content aside from those memories of being free and reckless on the streets as a kid. Unsatisfying, but at least we know what happened. But what the heck about Sam? The author never went back to actually show Sam in the act of discovering any information at all. In fact, as far as the reader is aware, she has learning NOTHING about her mom or grandma except that she didn't know much at all about them. She doesn't learn why her Grandmother knew how to knit or bake desserts so well. She doesn't learn her history before she was 11 in the midwest. We, as the reader, learn these things in the form of a third person story, but Sam, the person who we are told discovers the past of her mom and grandmother- learns nothing at all. We don't get to see her reaction to anything at all. All we get to see of Sam is her floundering in her marriage because she's irrationally obsessed and worried about her baby, taking things out of a box her brother sends her, wondering about it's contents, and baking a pound cake to give to a strange neighbor. This had the potential to be a wonderful, heart-warming story about the bonds of mothers and daughters and how they shape each other. Instead the read has to fill in the connections between these women with random bits of information we're given. Tying things together shouldn't be the readers job, it's the authors responsibility. This isn't a finished story and I feel I've wasted time reading it.
  • Rating: 4 out of 5 stars
    4/5
    "Mothers and Daughters" by Rae Meadows was a nice read. I felt, however, that the book fell short of what it could be. When I came to the end, I felt the novel wasn't "finished." I feel like there could have been alot more to the three women's intertwining stories. That said, I enjoyed the book while reading it. The different stories were interesting. I felt the author could have spent more time with Iris and Violet's stories. I wanted to know more.
  • Rating: 3 out of 5 stars
    3/5
    I desperately wanted to love this book. I was intrigued by the concept. As a mother and daughter myself, I was expecting to connect to the character of Sam. Sadly, I did not. I found her to be a rather off-putting character. The only thing I really liked about her was the final gift she gave her mother. The book does indeed possess some "luminous" prose, but something just didn't seem right about it sometimes. I'm all for characters with large vocabularies, even children, but some of the language just didn't suit the characters situations. I liked the gritty details of Violet's life in New York City, but I had a hard time believing some of her more literary thoughts would reside in the head of that particular uneducated character from Kentucky. And the device of using a non-linear narrative from three viewpoints got to be confusing, I felt unnecessarily so. Why jump around so much? And without giving us any frame of reference for following along?Frankly I was disappointed by how much was left hanging, how much was left unsaid. And at the same time I was baffled by some of the details that were included. Why bother talking about Sam's encounter with the supposed prostitute? First, I don't believe that the character would have had that encounter. But even if she did, I didn't really see how it furthered the book. I did find some of Sam's comments on motherhood spot on, but overall she was not the kind of mom I am and I found her neuroses difficult to relate to. Oddly enough, the character I most related to was Iris. I wish there had been more about her. Violet was interesting, but we missed some of the best parts of her life. How did it feel for her to finally marry and have a family? Surely that must have been difficult for her. I would have liked to have that explored.My overall thought is that there are two books here. One is about Violet and the orphan train experience. How she got there, what happened in the first years, the type of woman she became. And one is about Sam and Iris. Though how Sam's abortion fits her personality of obsessive smother mother I couldn't understand. I guess because if Iris had a choice then Sam would never have been born? Theirs must have been a complex relationship, but that is really only hinted at. There should have been so much more between them and frankly, I didn't feel the love at all.Too much going on to be a truly enjoyable read for me. But I did find some of the prose to be quite lovely. And I think the bones for some truly gorgeous characters are exposed, but not fully fleshed out here.
  • Rating: 4 out of 5 stars
    4/5
    When the Early Reviewers copy of this book arrived, so temptingly packaged in its own treasure box, I put down the book I was reading to begin it right away. My first impression--with the modern Sam chapter--was "oh, Mommy lit." But once I got into the Iris and Violet chapters, my impression changed, and I was hooked. I particularly loved the nitty-gritty details of life as a child on the streets of end-of-the-century 1800s NYC, and Violet's chapters were the ones I most looked forward to reading. But all the characters were interesting, and what they had to say about mothering, and about being a daughter, felt right-on to me. A wonderful read.
  • Rating: 4 out of 5 stars
    4/5
    Mothers and Daughters is the story of three generations of women and the interconnectedness of their lives as women, as mothers and as daughters. Rae Meadows has taken the idea of a novel about the orphan trains that took impoverished, delinquent and orphaned children off the streets of New York City and transplanted them to Christian homes in the Midwest, then viewing it through the lens of her own experiences with motherhood, has written a story about what motherhood means, what it changes and what it cannot change. I found some of her feelings difficult to relate to because I have no children. However, the book helped me to think about and gain a better understanding of these feelings and instincts. I was also drawn to consider some of the difficult choices that had to be made by these women. I found this to be an inspiring, thought-provoking read. I would highly recommend it.
  • Rating: 5 out of 5 stars
    5/5
    Mothers & Daughters is a generational novel, taking the perspectives of Violet, Iris and Samantha, who come to understand their roles as mothers in terms of their relationships with their own mothers. Samantha is a new mother, conflicted with her all-encompassing love for her new infant daughter and her role as an artisan potter and wife. On the first day she can bear to leave her child with a sitter, a trunk arrives with remnants from her recently deceased mother's (Iris) past. As she puts the pieces of the puzzle together, the stories of her mother Iris and her grandmother, Violet, are told through alternating chapters. Violet had arrived in the midwest from NYC via the "Orphan Train", after her drug-addicted mother could no longer care for her. She in turn, had difficulty connecting to Iris and subsequently, Iris to Samantha. This novel was both heart-wrenching as touching. It didn't seem like a long enough novel to fully flesh out each character and their lives, but offered only brief glimpses into their experiences. It was, however, a very enjoyable novel, which makes one think about their own family legacy of motherhood and childrearing.
  • Rating: 4 out of 5 stars
    4/5
    Wow, what an incredible story. This is basically about three women, three generations (Grandmother, Mother, and Daughter) all grown women, three different time periods. Violet - I believe early 1900's (there are no dates in this book, that would have been helpful).basically raising herself on the streets of NY city due to a druggie, vagabond mother who will do anything for money. At eleven yrs old her mother puts her on the "Orphan Train" headed for the west.Iris - (Violet's daughter) Iris has cancer that starts out as breast cancer. She has decided to take matters into her own hands and asks for her daughters help.Samantha - (Iris' daughter) This goes back and forth between past (before her mother's death) and present (after her death). Sam's brother sends her a box that their father has found in the basement. It is a box of their mother's belongings. What will Sam find in the box, maybe a past she didn't know about?The only problems I had with this book was - The time line is all out of whack and it takes you a few minutes to figure out when you are. It doesn't say if you are in the present or past or how far in the past, so I got confused several times. It doesn't really take away from the story though, once you figure it out. Dates would have been helpful.And - I would have liked to have known more about what Sam finds out. It kind of leaves you lingering.I was very connected to this book and to the characters almost like I never have been before. Almost 3 yrs ago I lost a friend to what started out as Breast Cancer. I have been avoiding books on this subject like the plague! So... I did not know that was what this book was about! Surprise, surprise! Needless to say I had to put the book down several times because I could not see the pages through the tears. I made it through, I am proud of myself.This is a very good book about Mother - daughter relationships.I really recommend it to anyone Female.
  • Rating: 4 out of 5 stars
    4/5
    This is a beautiful book to look at. A slipcase cover designed to look like an antique keepsake box holds a book showing a child in a beautiful country scene on the cover. (My edition is the 2011 Henry Holt paperback.)I sometimes like to ponder the cover and its relationship to the story. The depicted keepsake box contains the remnants of a mother's life, which one of the daughters sifts through looking for clues to her mother's soul. The cover's country scene is an intriguing picture of a young girl wearing butterfly wings, gazing across a colorful muted farmhouse scene. Except for the wings, she fits the description of Violet, only 11 years old in 1900, but who had to make some tough decisions because her mother was incapable. I picture the ramifications of her choices - both in regards to everyday things like locale, mate, and vocation, to those more subtle things like personality, perceptions, underlying feelings about people, God and motherhood – flitting through time and generations on the wings of her early decisions, and coloring, as the cover is so vibrantly colored - even if some parts are so muted as to be unknown - the very essence of each female to come after her.So, there's the story, summarized in it's cover! This is a book about relationships, and the unknown parts of a loved one's life. It is a story about children, wanted and unwanted, of mothers, trying or not, of regrets and of getting on with life in its many phases.It was an interesting story, told in an engaging manner. The intertwined stories of the mothers and daughters, narrated hither and yon through time, I found to be an effective device, in portraying the thoughts and emotions of these women. Some personal nitpicks: The author seems antagonistic toward Christianity; all the bad guys are Christians. Besides that, though, there is something lacking here, but I can't quite put my finger on it. Overall, I enjoyed the book. (3.6 stars)
  • Rating: 4 out of 5 stars
    4/5
    While reading Mothers and Daughters, I found it a bit hard to relate to. Not to say I didn't like it because I did like it quite a bit, but this book focuses heavily on two of the three main characters feelings as a mother. Now, I'm in my early twenties and parenthood is nowhere near at the forefront of my mind during this time. So, while I thought those passages were intriguing, I didn't relate to them at all. Again, I mention that even though I didn't necessarily relate to Sam and Iris' storyline, I did like them. However, I was fascinated by Violet's storyline. Call me ignorant, but I had no idea that the Children's Aid Society even existed, let alone how heartbreaking the whole idea is. I can see how people could think that it was a good idea (like today's foster care system, the Children's Aid Society basically took children away from parents who were poverty-stricken, neglectful, or otherwise unfit to be a parent, only the choice to give up the child was solely of the parents). However, the fact that there were purposely no records kept about where the children were going or who was going to care for them is just very distressing to me. Due to this, I was drawn to Violet's storyline. In fact, I think I would've preferred if the whole book was about Violet and the Children's Aid Society, but then it wouldn't have been named Mothers and Daughters. While I did like the storylines, one major problem that I had with Mothers and Daughters was the jumping around. One minute we were dealing with Violet's point of view, the next minute it was Sam narrating during her one day narration, then it was Iris narrating from where she was and then her point of view from the past. It became a bit confusing to figure out who was narrating from what point in time. I got a bit of whiplash. Regardless of this, I did somewhat enjoy Mothers and Daughters. It really was a well-written short, intriguing novel about Mothers and Daughters. So, I do recommend it.

Book preview

Mothers and Daughters - Rae Meadows

SAM

Sam was hungry for pound cake. Or at least for the making of it, for the recipe’s humble simplicity—one pound each of flour, butter, eggs, and sugar—which had a certain elegance. The old-fashioned-ness of pound cake appealed to her, too, its satisfying solidity and lack of pretension, its buttery richness. Blame it on Wisconsin, she thought.

The trees had begun to change with the sugar maples leading the way, their golden-red leaves glowing through the rain-spattered windshield. It was October. Sam loved the ephemeral majesty and beautiful decay of fall, yet she couldn’t enjoy it. Winter loomed. The promise of cracked lips from parched indoor heat, burned cheeks from pinprick winds, the grit of sand and salt everywhere. This would be their third winter in Madison, and she wondered how she would bear it, stuck inside with Ella, who was increasingly mobile, crawling circles around the living room, as darkness closed them in by four o’clock.

She sat in the backseat nursing Ella across the street from her friend Melanie’s large Arts & Crafts house near Vilas Park on the Westside. She ran her thumb across Ella’s forehead, the skin poreless and heartbreakingly soft, and then traced the tiny curlicues of her ear. Ella’s hot baby hand braced against Sam’s chest in close-eyed concentration. How easily Sam was forgetting the last eight months, each developmental milestone quickly replaced by another. When had Ella first smiled? Rolled over? Sat up? It would soon be lost in a fuzzy hodgepodge of that first year, of when Ella was a baby, the specifics no longer interesting or important.

Today was the first time she would leave Ella with a babysitter. She didn’t want to, but she was doing it to show Jack that she was normal. He had been urging her to get back into her studio for months. She knew he was starting to find it worrisome that she never wanted to leave Ella, that she thought she was the only one capable enough to look after her.

Jack was right. Sam did think that. The fear of something going wrong with the baby was overpowering. No one would be as watchful and anticipatory as she was. What if Ella fell back and cracked her skull? Swallowed a penny and choked? Got stung by a bee and went into anaphylactic shock? At times she resented the primacy of her role as mother. She felt all-consumed by her daughter, a need to smell her neck and see her breath and feel her weight and warmth. Jack was bemused by her irrational scenario spinning, wondering what had become of the woman who used to exude composure. A twenty-pound being had inverted their life together and made it unrecognizable, his wife unrecognizable.

But it was more than just leaving Ella. There was the matter of the commission. A teapot for the head of the English Department, an old-guard scholar whom Jack needed to win over. A gift for the man’s wife, requested almost a year ago. Sam knew Jack had to restrain himself from mentioning it as the months ticked on. She hadn’t used her studio since she was six months pregnant, when her belly made it impossible to center clay on the wheel properly. She did miss the damp-chalky smell of her porcelain. The luminous gray-white glow of pots not quite dry. The centrifugal birth of opening a shape, a vessel, from a lump. Something from nothing. But now going back to work spun an anxiety that was new and ferocious. With porcelain she had to bring total consciousness, to be vigilant with form, because there was no roughness to hide behind. She had a lingering fear that her hands would no longer work in steady tandem, that she had lost her ability, her eye. Or, almost worse, that her pieces would be lackluster, relegated to craft fairs or a tent at the farmers’ market, her creativity lost to motherhood. Cobwebs now ran from the window to her tools, and a strange crystalline mold grew up from her wedging table.

Ella pulled away and sat up gurgling and, with a large burp, dripped milk from her satisfied lips. Sam still got up a few times a night to nurse her. She couldn’t bear to let her cry it out—to let her scream for an hour until she collapsed in exhaustion—as if a baby’s need was something to be drained. Jack didn’t mind Ella’s wake-ups since he slept right through most of them. To the pediatrician and her friend Melanie, Sam lied and said Ella was sleeping through the night, not wanting to defend herself, expose her weakness. Sam had become the type of parent she used to disparage: the pushover, the hoverer, the handmaiden to the royal empress.

The rain had stopped, and the stately neighborhood was drenched in shiny yellow and red leaves. Ella twisted and squawked, climbing up Sam’s front.

Okay, okay, baby, Sam said. We’re moving.

Her phone rang as she got out of the car, bobbling Ella and baby gear. She banged her knee against the door and spilled the diaper bag.

She answered her husband with a clipped Hi, trying to keep the baby from flipping out of her arms.

Hey, Jack said. Are you okay?

I’m fumbling everything. Heading into Melanie’s.

Oh, sorry. I thought you’d be on your own already. I’m proud of you, you know, he said.

It’s just a babysitter.

Still.

We’ll see how it goes. She felt herself love him again. Since the baby, it seemed her feelings toward him required moment-to-moment readjustment.

The rooter guy is coming today, Jack said.

I know, she said quickly, irritably. She had, of course, forgotten.

Roots from the big maple tree in front had invaded their sewer pipes, and every six months they had to be drilled out. Sometimes Sam would lie awake and feel their old house decomposing around her, the foundation cracking, the roof leaking, the wooden clapboards rotting. What a transparent metaphor, she clucked to herself, but she was still powerless against the feeling that their home was going to seed faster than they could repair it. One of these days as she bathed Ella she was sure the claw-footed tub would fall through the soggy floorboards into the basement.

Hey, you know how I told you about the committee search for David’s job? How Samuels wants a theory person even though that would leave no one to teach Modern American?

Uh huh.

Sam still didn’t know much about the esoteric workings of academia, but she supposed Jack didn’t know what raku meant, or what terra sigillatta was, or how a glossy brown-black temmoku glaze would turn yellow-green in a salt firing. Their professional lives were secret lives, to some extent, the details not really part of the marriage. She wondered if this made their work dangerous or necessary or both.

Jack lowered his voice. There’s some stuff going on here.

Dadadadada, Ella said, yanking Sam’s hair with her dimpled fist.

Got to go, Sam said to Jack. I’ll call you in a bit.

Sam squatted to pick up the diapers, now wet and dirty from the pavement, and tried to stretch her free hand under the car to get the pacifier that had rolled underneath, all without bumping the baby’s head. She stood, blew the hair out of her face, and kicked the door closed behind her.

I’m walking, honey, she murmured. Let’s get inside, shall we? I’ll only be gone for a few hours. Nothing to worry about.

Sometimes Sam thought that having a baby allowed her to act like a crazy person, talking to herself in public, even singing, and not always in a desperate move to placate her child. Her old self would surely have mocked her.

Samantha!

Melanie waved from the porch, her hair in a tousled shag with just the right highlights. She wore expensive jeans and an olive-hued, crushed velvet jacket, so chicly unlike the crunchy non-style of Madison. She and her husband, Doug, had moved from San Francisco—he was an anthropology professor—and she liked to complain about the provincial quality of Madison, the awkward Midwest pauses, the lack of irony and edge, even as she loved being a big fish here, a novelist (her book had been made into a movie) and a local celebrity. Jack found her aggressive and self-indulgent—and, Sam was pretty sure, attractive—but he liked Doug, who was quiet and cerebral, and the two couples had fallen into an easy sociability, their get-togethers never coming around too often to feel stifling.

Melanie and Sam had met three and a half years before in prenatal yoga, both newly arrived in Madison, both newly pregnant. And when Sam dropped out of class at week eighteen of her pregnancy, Melanie sought her out, and Sam would always be appreciative of that. It was her unadorned, to-the-point manner, her self-preservationist spirit that made Sam tell her the truth about the first baby. In fact, Melanie was the only person other than Jack who knew. Everyone else, including her mother, believed the pregnancy had ended with a late miscarriage. Sam tried to remember this when Melanie irritated her.

Sam waved and bounced Ella back onto her hip. Hey. She smiled. You look as fabulous as always.

Your standards have dropped. Come on in. This weather is ridiculous.

Melanie’s daughter, Rosalee, careened by and disappeared upstairs. Melanie took Ella and nuzzled her.

"Look at those cheeks. God, she’s cute. I can barely stand it. You know I really don’t want to have another one, but I still sometimes crave giving birth. I ogle pregnant women. I tape those ridiculous Baby Stories on TV and watch them one after another in a misty-eyed trance."

I’m sure there’s a support group for that, Sam said, setting the diaper bag on the polished concrete counter. She was surprised by Melanie’s admission and liked her more for it.

Don’t tell anyone. I wouldn’t want to lose my heart-of-stone reputation.

Believe me, I get it, Sam said. I didn’t know my mind could capitulate so easily to my body. Or what is it, to the propagation of the species?

Gross, Melanie said. And here we thought we were evolved.

Sam looked around the newly redone kitchen, a pasta water spigot over the stove, a deep rectangular stone farmhouse sink, a butcher-block island, a Subzero refrigerator. She wondered if all this was thanks to movie rights or if there was family money. It certainly wasn’t funded by Doug’s university salary.

Melanie, having had her fill, handed back the baby. Her large sapphire ring—Diamonds are tacky—caught on Ella’s sweater.

Shit, she said, freeing herself. So sorry. This sweater is charming, by the way.

My grandmother knit it. For me. Eons ago, Sam said. Her mother’s mother had died when Sam was just an infant, and Sam cherished the small sweaters and blankets—complete with MADE BY GRANDMOTHER tags sewn in—she’d made.

Ah. You have craftiness in your genes, Melanie said.

Sam smiled but felt a slight rankling. Of course pottery was craft in the traditional sense, and she was proud of the utilitarian nature of her ceramics. But was a set of her nested bottles in a crackled jade glaze less a work of art than Melanie’s book about a woman’s relationship with her Jack Russell terrier? Melanie, she thought, is someone who believes the compliments she receives.

Sam put Ella on the floor to crawl around on the terra-cotta tiles.

Melanie downed the last of her coffee, and Sam saw that the mug was one she had made, one of her earlier styles with an hourglass middle, glazed in a milky shino with deep orange flashes, fired in a wood-fire kiln that she had helped feed for ten hours, a quick flare-up singeing her eyebrows. She remembered the giddy thrill she’d felt when they’d pried the door open the next day to see what had become of their pieces. The base of the mug was a little too narrow, she saw now, with a bead of glaze that had crawled, lodging itself clumsily at the base of the handle in a smooth nub.

Sam felt abashed for her snide thoughts about her friend, who had always been loyal. What is wrong with me? she thought. How puerile. How unattractive, her mother would have told her.

Oh, that reminds me, Melanie said. If all goes well today, you could start dropping off Ella a few days a week. Sarah told me she’s looking for more work. She’s game.

Sam inwardly shrank. Before she could say she wasn’t ready, Ella bumped her head on a drawer handle and, after a long pause, her face red, her mouth wide, unfurled a howl. Sam rushed to her and swept her up, cradling her head against her shoulder, Ella’s cry still a painful tripwire to Sam’s core. She felt her breasts harden with milk and begin to leak.

Think about it and let me know, okay? It would be good for you. If it’s the money, we’ll figure something out. Melanie waved her manicured hand in the air. I would love, love, love to have you cranking out pots again.

Rosalee, her dark hair cut in a flapper’s bob, ran in and crashed into her mother’s legs.

Careful, please.

Mama, Rosalee said. Mama. Mama. Mama.

Melanie sighed. Yes, Rosa.

Juice, juice, juice, juice.

Melanie poured a little apple juice into a sippy cup and doubled it with water.

Sarah? Melanie called to the nanny, and then said quietly to Sam, She was on the clock at nine.

I’ll be right there!

Sarah jogged down the stairs and into the kitchen. She was what they called a Sconnie, a UW student from Wisconsin, apple-cheeked and sturdy-framed, as opposed to the Coasties, the more sophisticated, moneyed kids from New York and California who lived off-campus and ate sushi.

Sorry about that. Hi, Sarah said, waving to Sam. Oh, and hi to you. Ella smiled as Sarah touched the pad of her little nose.

Hi, Sarah, Sam said. Here’s her diaper bag. I’ll put the bottles in the refrigerator. There’s a jar of squash and a jar of sweet potatoes. And a thing of Cheerios. She’s not a great napper, but she’ll fall asleep in a sling if you don’t mind wearing her around. Oh, and she can sit up okay, but you have to watch her because she’s not that stable and can fall back and hit her head.

No problem, Sarah said. She exuded a warm confidence that Sam had never been able to pull off. We’ll have a great time together.

Melanie crossed her arms and smiled, amused by Sam’s worry. Sarah expertly fashioned the sling around her body and waited for Sam to relinquish the baby.

And my cell phone number—

On the refrigerator already, Melanie said, grabbing her keys from a pewter hook. She had an office space near the wine store on Monroe Street where she went to write every day until four. She’d gone back to work when Rosalee was just four weeks old and said she’d never regretted it. She was not about to relegate the importance of her creative life, her career.

It’s better for everyone, she had said, not the least of whom is me.

At the time Sam thought it impressive, a model for her to aspire to. After she had Ella, though, she couldn’t help but think her friend selfish.

Mama, Mama, Mama, Mama. Come with me. Come to my room, Rosalee whined, tugging at her mother’s hand.

Come on, Rosalee, Sarah said. Why don’t you show me your new Pocahontas dress?

Rosalee thrust out her bottom lip and stamped her foot.

Sam held out Ella to Sarah and tried not to let the tears leak out.

Believe me, Samantha, you’re going to get used to this, Melanie said.

From Sarah’s arms, Ella smiled at Sam with six little teeth, the two front ones spaced far apart, her eyes gray-blue and impossibly large. Sarah tucked Ella’s chubby legs into the sling and hammocked her, and then took Rosalee’s hand and whisked out of the room with a Bye over her shoulder.

I’ll walk you out, Melanie said, picking up her laptop bag.

Sam was embarrassed to be crying in front of Melanie, who was derisive of the earth-mother culture of Madison. Spare me the hippie bullshit, she’d say.

The sun streaked through the cloud breaks, warm on Sam’s head.

We’ll talk, Melanie said. Get back in the studio, woman. Okay?

They hugged, and Melanie clicked away in her heeled boots toward Monroe Street. Sam stood in her open car door and strained her ears through the birds and a leaf blower down the block, thinking she could hear Ella’s cry. But she couldn’t be sure. She sat behind the wheel.

She wished she could call her mother. She called Jack.

So?

I’m out here and she’s in there.

You did it, he said.

I don’t feel liberated.

You don’t have to.

I guess I’m headed home.

Your studio awaits.

I’m scared.

I know. Just get a feel for things. Get your hands dirty. Clear out the cobwebs.

"Literally. Have you seen it in there? It’s like Tales from the Crypt."

I thought I’d bring home Matsuya for dinner.

What if I suck?

Sam.

Okay. I miss her already.

You’re a good mom.

My usual. Spicy tuna roll, shrimp tempura roll.

I’m going up for tenure.

Already? What happened?

The department is shifting. Daniels was forced out. He’ll retire at the end of the year. I think the timing is right.

Wow. That’s huge. Not that I didn’t know you were the ‘it’ kid.

It doesn’t mean I’ll get it.

You’ll get it. You get everything.

She’d meant this as a compliment, because he was one of those people who got the grants, the jobs, the fellowships he applied for, one of those people who was well liked because of an easygoing exterior that belied the smart and driven man underneath. But her words hung in the air a moment too long and she couldn’t tell if she’d sounded a little bitter. She couldn’t tell if she’d been mean.

That’s not true, he said. If he was stung, he didn’t let on. I’ll tell you more about it later.

I love you, she said.

I love you, too. Hey, Sam?

Yeah.

I hate to be a nudge. But.

The teapot.

I need Franklin’s support. He’s already on the fence. I don’t want to give him a reason, you know? He asked me about it last week.

She hid her face in her free hand. She had to throw the body, the spout, and the lid, trim a base, pull a handle, assemble the parts, making sure that the piece actually worked, that it poured easily, while still looking graceful and light, with smoothed joints and upward lines and energy. Then the bisque firing, which might bring out cracks and warping, which would mean starting over. All this before figuring out the colors that would best suit the shape, the precise measuring of chemicals and minerals, and applying the glaze. And then another firing. It was an exhausting, teetering climb to imagine, and she couldn’t get quite enough

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