The Children's Crusade: A Novel
From New York Times bestselling, award-winning author Ann Packer, a “tour de force family drama” (Elle) that explores the secrets and desires, the remnant wounds and saving graces of one California family, over the course of five decades.

Bill Blair finds the land by accident, three wooded acres in a rustic community south of San Francisco. The year is 1954, long before anyone will call this area Silicon Valley. Struck by a vision of his future family, Bill buys the property and proposes to Penny Greenway, a woman whose yearning attitude toward life appeals to him. In less than a decade they have four children. Yet Penny is a mercurial housewife, overwhelmed and undersatisfied, chafing at the conventions confining her.

Years later, the three oldest Blair children, adults now and still living near the family home, are disrupted by the return of the youngest, whose sudden presence sets off a struggle over the family's future. One by one, they tell their stories, which reveal Packer's “great compassion for her characters, with their ancient injuries, their blundering desires. The way she tangles their perspectives perfectly, painfully captures the tumult of selves within a family” (MORE Magazine).

Reviewers have praised Ann Packer's “brilliant ear for character” (The New York Times Book Review) and her “naturalist's vigilance for detail, so that her characters seem observed rather than invented” (The New Yorker). Her talents are on dazzling display in The Children's Crusade, “an absorbing novel that celebrates family even as it catalogs its damages” (People, Book of the Week). This is a “superb storyteller” (San Francisco Chronicle), Ann Packer's most deeply affecting book yet, “tragic and utterly engrossing” (O, The Oprah Magazine).
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The Children's Crusade: A Novel
From New York Times bestselling, award-winning author Ann Packer, a “tour de force family drama” (Elle) that explores the secrets and desires, the remnant wounds and saving graces of one California family, over the course of five decades.

Bill Blair finds the land by accident, three wooded acres in a rustic community south of San Francisco. The year is 1954, long before anyone will call this area Silicon Valley. Struck by a vision of his future family, Bill buys the property and proposes to Penny Greenway, a woman whose yearning attitude toward life appeals to him. In less than a decade they have four children. Yet Penny is a mercurial housewife, overwhelmed and undersatisfied, chafing at the conventions confining her.

Years later, the three oldest Blair children, adults now and still living near the family home, are disrupted by the return of the youngest, whose sudden presence sets off a struggle over the family's future. One by one, they tell their stories, which reveal Packer's “great compassion for her characters, with their ancient injuries, their blundering desires. The way she tangles their perspectives perfectly, painfully captures the tumult of selves within a family” (MORE Magazine).

Reviewers have praised Ann Packer's “brilliant ear for character” (The New York Times Book Review) and her “naturalist's vigilance for detail, so that her characters seem observed rather than invented” (The New Yorker). Her talents are on dazzling display in The Children's Crusade, “an absorbing novel that celebrates family even as it catalogs its damages” (People, Book of the Week). This is a “superb storyteller” (San Francisco Chronicle), Ann Packer's most deeply affecting book yet, “tragic and utterly engrossing” (O, The Oprah Magazine).
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The Children's Crusade: A Novel

The Children's Crusade: A Novel

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The Children's Crusade: A Novel

The Children's Crusade: A Novel

Unabridged — 13 hours, 14 minutes

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Overview

From New York Times bestselling, award-winning author Ann Packer, a “tour de force family drama” (Elle) that explores the secrets and desires, the remnant wounds and saving graces of one California family, over the course of five decades.

Bill Blair finds the land by accident, three wooded acres in a rustic community south of San Francisco. The year is 1954, long before anyone will call this area Silicon Valley. Struck by a vision of his future family, Bill buys the property and proposes to Penny Greenway, a woman whose yearning attitude toward life appeals to him. In less than a decade they have four children. Yet Penny is a mercurial housewife, overwhelmed and undersatisfied, chafing at the conventions confining her.

Years later, the three oldest Blair children, adults now and still living near the family home, are disrupted by the return of the youngest, whose sudden presence sets off a struggle over the family's future. One by one, they tell their stories, which reveal Packer's “great compassion for her characters, with their ancient injuries, their blundering desires. The way she tangles their perspectives perfectly, painfully captures the tumult of selves within a family” (MORE Magazine).

Reviewers have praised Ann Packer's “brilliant ear for character” (The New York Times Book Review) and her “naturalist's vigilance for detail, so that her characters seem observed rather than invented” (The New Yorker). Her talents are on dazzling display in The Children's Crusade, “an absorbing novel that celebrates family even as it catalogs its damages” (People, Book of the Week). This is a “superb storyteller” (San Francisco Chronicle), Ann Packer's most deeply affecting book yet, “tragic and utterly engrossing” (O, The Oprah Magazine).

Editorial Reviews

APRIL 2015 - AudioFile

This audiobook is expansive in its narrative voices as well as its narrative scope. The story begins in 1950s California and goes on to span decades with the Blair family, a realistically flawed group. One quickly comes to care about the characters, who live vividly in one’s imagination, thanks to Packer’s gift with words. Cotter Smith et al. are expressive narrators as the novel’s point of view shifts from chapter to chapter. As each narrator portrays one of the Blair siblings, their individual voices blend beautifully with those of the surrounding chapters, creating a true familial effect. The strong quality in each voice not only provides aural unity but also propels the listener forward. Flawlessly paced and produced, this is an outstanding listen. L.B.F. Winner of AudioFile Earphones Award © AudioFile 2015, Portland, Maine

Publishers Weekly

02/02/2015
Packer (The Dive from Clausen’s Pier) begins her well-crafted family saga from the ground up with pediatrician Bill Blair’s Portola Valley, Calif., land purchased in 1954. Bill marries Penny, a young woman eager to have children—but she didn’t count on four kids, which forges her identity as a mother instead of the artist she yearns to become. Her children are intuitively aware of her distance and poignantly try to find a way to bring her closer to them. Their stories unfold through distinctive narrative styles, including both first- and third-person sections, suited to the characters: stressed internist Robert, brilliant psychiatrist Rebecca, dreamy teacher Ryan, and reckless drifter James. The multiple perspectives help render the complicated family fully. Of the siblings, James is the only one to relocate, and he periodically returns over the years. The impetus for his current visit stems from an idea that shocks his siblings, prompting them to examine their childhood to find the answer. “Or rather, I remembered my memory of the moment, because after so long that’s what memory is: the replaying of the filmstrip that’s slightly warped from having gone through the projector so many times,” Rebecca thinks. Packer is an accomplished storyteller whose characters are as real as those you might find around your dinner table. Readers will be taken with this vibrant novel. (Apr.)

BBC.com - Jane Ciabattari

"First-rate storytelling... Few writers are as emotionally astute at conveying subtle family ties as Packer."

The Boston Globe - Mameve Medwed

"As the details accumulate, as each character’s story builds, Packer’s writing gains depth and power. By the end, all the separate threads weave a complex, textured tapestry. What a gift to the reader, who will certainly recognize and identify with the novel’s universal themes of those knotted ties that bind, the varied meanings of home, and, in particular, the many ways the child is father to the man."

Miami Herald - Hannah Sampson

"Graceful, poignant... With her warm, nuanced portrayal of a family and its foibles, Packer delivers."

The New Yorker

"Bursting with poignancy... refreshing."

Abraham Verghese

"The Children's Crusade is an extraordinary tale of a physician, his wife and their four children. Set in Northern California, it is a coming-of-age tale of family as well as an American pastoral; the language is beautiful, painterly, even as it shows us how much of our adult identity has been fully formed in childhood. Ann Packer’s eye for detail, her genius at evoking an era with such faithfulness, and her mastery of story make us identify with and deeply care for her characters. This is a beautiful novel that will stay with me.

Christina Baker Kline

Do our childhood experiences determine our destinies? In shimmering prose and with exceptional wisdom, Ann Packer examines the life of a California family, laying bare the relationships between brother and sister, parent and child, while at the same time revealing the ways in which the past casts both shadow and light on the present. The Children’s Crusade is a provocative, dazzling novel from a world-class fiction writer.

Pittsburgh Post Gazette - Lisa Jennifer Selzman

"A sublime and intelligent exploration of one family and its mythology of sorts... Ms. Packer is a wonderful portraitist, allowing childhood moments to unfold in all their riveting innocence (including a breathtakingly perfect, terribly sad music recital scene) and following the family as choices beget choices and lives intertwine or unwind... This entertaining,poetic novel layers a multitude of human contradictions, and what is most moving is that even with so much hostility and melancholy, the family story here is one of love.
It is about how we return again and again to understand, to make things right, even as we seek to move on from ancient pain."

Vulture.com - Boris Kachka

Packer is an expert American realist at every level, from the interior monologue to the bird’s-eye view.

The Christian Science Monitor - Yvonne Zipp

"Packer has made complicated families her specialty... engaging writing, sense of place... The Children's Crusade [is] a journey worth taking."

MORE - Catherine Newman

"Tender, absorbing... Packer has great compassion for her characters, with their ancient injuries, their blundering desires. The way she tangles their perspectives perfectly, painfully captures the tumult of selves within a family. “

Newsday - Marion Winik

"Psychologically acute... provocative... Packer shows how unhappiness and happiness, selfishness and kindness, ricochet in complicated ways through relationships. This is a novel with something to teach about forgiving the people we love."

Vanity Fair - Elissa Schappell

An artful portrait of a California family.

Elle - Lisa Shea

A tour de force family drama… An engrossing saga… Packer brilliantly constructs the siblings’ narratives with both an appealing lightness and an arresting gravitas… Packer’s golden touch makes us care deeply for this memorable tribe.

San Francisco Chronicle - Dan Cryer

"A more ambitious work that succeeds beautifully. The beauty comes from the rich characterizations that make each of the Blairs spring to life. We do not like them all equally, but ultimately we come to know them equally... Packer’s dissection of domestic life reminds me of her elders in the field Anne Tyler and Louise Erdrich. But I’ve rarely read a novel so astute about the jumble of love and respect, rivalry and envy, empathy and scorn that makes up family dynamics. Packer is also a superb storyteller. “The Children’s Crusade” is as much plot-driven as character-driven. From its opening pages, the book seduces us into a world far from the present era, glides through ensuing decades, and finally drops us off in the 21st century."

Michael Chabon

In The Children’s Crusade, Ann Packer flawlessly executes the most daring, difficult and exhilarating feat in the novelist's repertoire: to re-create the history of an era and a place through the history of one family, finding intimacy in the sweep of time and import in the nuance of everyday life, pulling it off with mastery, authority and all the passionate artistry that lovers of her work have come to expect.

USA TODAY (4 stars out of four) - Martha T. Moore

"Absorbing... the novel spreads its branches widely... fully formed heartbreaking portrayals."

People Magazine (Book of the Week)

"An absorbing novel which celebrates family even as it catalogs its damages."

Booklist (starred review) - Joanne Wilkinson

Told in the most elegant prose... extraordinarily compassionate... A masterful portrait of indelible family bonds.

" The Oprah Magazine "O

"Packer's portrayal of one family's breakdown is tragic and utterly engrossing."

The New Yorker

"Bursting with poignancy... refreshing."

--Michael Chabon

In The Children’s Crusade, Ann Packer flawlessly executes the most daring, difficult and exhilarating feat in the novelist's repertoire: to re-create the history of an era and a place through the history of one family, finding intimacy in the sweep of time and import in the nuance of everyday life, pulling it off with mastery, authority and all the passionate artistry that lovers of her work have come to expect.

Library Journal

★ 01/01/2015
The critically acclaimed Packer (The Dive from Clausen's Pier) has written an engrossing story of the Blair family, their secrets, wounds, and struggles for second chances. In 1954, Bill Blair, starting his career as a physician, buys wooded property in the hills near Palo Alto, CA, to build a house and start a family. Sadly, in fewer than ten years, his wife, Penny, always moody and distracted, has distanced herself from Bill and their four children: brilliant Robert, headstrong Rebecca, dreamy Ryan, and wild child James. She moves into an outbuilding/pottery studio but soon leaves for an artists' community in Taos. Eventually, three of the children marry and follow respectable careers, all living near the family home occupied by their father until his death. Bill leaves the house to the children, stipulating that if they sell, they need approval of one other sibling and Penny. Then James, still the rude impetuous problem child and sporadically in touch over the years, shows up needing money. The resulting conflict stirs up heart-wrenching memories and resentments. VERDICT Packer offers a flawless, compassionate portrayal of each family member at both their best and worst and shows what a strong hold the past has on the present. Literary fiction at its finest; highly recommended. [See Prepub Alert, 10/13/14.]—Donna Bettencourt, Mesa Cty. P.L., Palisade, CO

APRIL 2015 - AudioFile

This audiobook is expansive in its narrative voices as well as its narrative scope. The story begins in 1950s California and goes on to span decades with the Blair family, a realistically flawed group. One quickly comes to care about the characters, who live vividly in one’s imagination, thanks to Packer’s gift with words. Cotter Smith et al. are expressive narrators as the novel’s point of view shifts from chapter to chapter. As each narrator portrays one of the Blair siblings, their individual voices blend beautifully with those of the surrounding chapters, creating a true familial effect. The strong quality in each voice not only provides aural unity but also propels the listener forward. Flawlessly paced and produced, this is an outstanding listen. L.B.F. Winner of AudioFile Earphones Award © AudioFile 2015, Portland, Maine

Kirkus Reviews

★ 2015-02-08
A young doctor buys a piece of land in a place that will later be known as Silicon Valley, building a house that will shape his family for decades. Packer (Swim Back to Me, 2011, etc.) is an expert at complicated relationships; she likes to show more than two sides to every story. Who's responsible for the fracturing of the Blair family? The obvious answer is Penny, a woman oppressed by domesticity, who retreats from her husband and four children to spend all her time in the shed—she calls it her studio—where she works on collages and mugs made of too-thick pottery, eventually even sleeping there. Or could her husband, Bill, a pediatrician with endless patience and empathy for kids, have pushed his wife away? Perhaps it was James, the youngest (and unplanned) child, a holy terror from the day he was born, who tipped his family over the edge. In beautifully precise prose, Packer tells the Blairs' story, alternating chapters between the past, when the children were young, and the present, four years after their father's death, when they each get a chance to tell their own stories in the first person. While James has bounced around the world, his siblings—Robert, a doctor; Rebecca, a psychiatrist; and Ryan, a teacher—all live near their childhood home, which James wants to sell. Emotions have never had so many shadings as in Packer's fiction; she can tease apart every degree of ambivalence in her characters, multiplying that exponentially when everyone has different desires and they all worry about finding fulfillment while also caring for each other—except, perhaps, Penny. But though we rarely see Penny's perspective on why she withdrew from her family, we can fill in the blanks; it's the 1960s and '70s, a time when women were searching for a larger role in the world. Packer seems to set Penny up as the villain, but even that view becomes complicated by the end. When you read Packer, you'll know you're in the hands of a writer who knows what she's doing. A marvelously absorbing novel.

Product Details

BN ID: 2940171177201
Publisher: Simon & Schuster
Publication date: 04/07/2015
Edition description: Unabridged

Read an Excerpt

An excerpt from THE CHILDREN’S CRUSADE by Ann Packer
 
All afternoon the children avoided their mother: moving from room to room, or from indoors to outdoors, a step or two ahead of her. They joined together occasionally, all except Robert, but they didn’t gather again until their father returned. By then it was late afternoon; when they stood on the driveway, their shadows stretched from their feet nearly to the house. Robert’s stomach hurt  most when he stood up straight, so he walked bent over at the waist, hobbling like an old man. Their father had eight bags of ice, and they each took one from the trunk of his car and carried it to the deep freeze in the garage—each except James, who ran from one sibling to another, touching the bags of ice and yipping with something that wasn’t quite shock and wasn’t quite laughter.
“I think baths might be in order,” their father said. “Or showers, as the case may be,” he added, giving Robert a look that acknowledged his seniority.
Normally this would have pleased Robert, but he was too worried to smile or even nod. The others dashed toward the laundry room door, conscious of an earlier dictum of their mother’s that they avoid the other entrances to the house for the rest of the afternoon, since she had “done” them already and didn’t want to have to “do” them again. Robert trudged after them.
His watch was gone. He had been everywhere, retraced every step from his room to the piano to the shed; he had searched and searched, bent over examining every inch of the house and every inch of the ground. And now he was bent over again, not searching but shuffling in pain.
In his room, he looked in his desk again, just in case he was wrong in remembering that he had already looked there, but to no avail. With no choice but to search outside a fourth time, he left his room and headed back to the laundry room, almost literally bumping into his father as he came in.
“Line for the tub?” his father said.
“What?”
“There’s hot water to go around. I’ll bathe James and call you when we’re finished.”
“Okay.”
With Robert gone, Bill took a deep breath and let it out slowly. It was 4:55 and the party started at 6:00. Early in the summer he’d suggested they have the party on a Saturday this year, so he could help more, but Penny had insisted that it was a weekday kind of party—that a Saturday party was a different sort of thing and would change the guests’ expectations and her ability to deliver.
He found the children’s bathroom door closed and tapped at it. “Is that you in there, Rebeck?”
“Dad, can you come in?”
He opened the door and poked his head in. Rebecca was in the tub, slouched so that the ends of her braids skimmed the water. “Can you pass me the good-smelling soap?” she said.
Penny had cleaned, leaving the countertop sparkling and fresh hand towels on the rack, but there was no soap in sight.
“I’m not sure where . . .”
“Maybe the medicine cabinet?”
He opened the cabinet only to have three bars of soap and a glass bottle of cough medicine come tumbling out.
“Oh, oops, whoops,” he said, slapping at the soaps but slowing the bottle enough that it landed gently and didn’t break. “Now which of these is the good-smelling one?”
Rebecca grinned.
“Ah, you want me to smell them.” He brought a plain white bar to his nose, then a yellow bar of Dial, and then a pink bar that smelled of strawberries and chemicals.
“Don’t mistake it for an ice cream,” he said, handing her the pink one.
She watched him from under her dark eyebrows and brought the bar close to her lips.
“How was your day?” he said, easing himself onto the closed toilet seat.
She dipped the soap in the water and rubbed it between her palms. She thought of telling him about not getting to help, but she didn’t want to make him sad. She rubbed the soap harder, but it didn’t get sudsy; there was only a little foam, large-bubbled and unsatisfying. She was a bit sorry she’d asked for the strawberry, which wouldn’t be the most mature thing for her to smell like. She didn’t like it when adults spoke to her as if she were a little girl. Or a little girl—she hated it when people were talking to the boys and then changed their voices when they started talking to her. She brought one foot up out of the water and rubbed it with the soap.
“Hot,” she said at last.
“A hot day. That could be a good day, I suppose.”
“It wasn’t.”
“You aren’t a heat-loving girl.”
“I’m a comfort-loving girl,” she said, “who tolerates heat.”
“Rebeck, it’s good to be home.” Leaning against the toilet tank, Bill felt the hours of work drain from his body.
“How many people are coming?” Rebecca asked, setting the soap in the soap holder.
“Looks like about sixty.”
“Good thing it won’t rain!”
“That’s right.”
“No, that’s what you always say! You say, ‘Good thing it won’t rain,’ and Mom says, ‘You don’t know it won’t,’ and you say it’s never rained in late July since you came to California.”
“I believe you,” he said with a smile. “You are one of the most reliable people I know.”
Rebecca looked away. “Dad?”
“Sweetie?”
“I tried to keep James occupied.”
He smiled. “Of course you did. I would never have thought otherwise.”
Ryan had tried, too, and he was trying again, lying with James on their bedroom floor, playing animals. He had a number of props for this, and he’d brought them out of the closet: old washcloths for blankets, a collection of bottle caps that Badger and Dog could use when they were ready to eat.
“Dog sayin’ arf arf arf,” James cried, making his dog lunge at Ryan’s badger.
“No, James,” Ryan said. “Dog is gentle. You love him, right?”
James didn’t answer.
“Maybe we should give him a bath before the party. Then he can put his new collar on.” Ryan went to the closet for a shallow plastic basin. “Let’s give them a bath together.” He set the basin between them and walked Badger over to it. “One, two, three,” he said, and he jumped Badger into the imaginary water, where Badger bounced up and down, splashing vigorously. “Alley-oop,” Ryan said, and he jumped Dog in, too. “Look, they’re splashing.”
“Alley-oop,” James said. “Alley-oop, alley-oop, ALLEY-OOP!” He scrambled onto his bed and jumped, shouting, “NO MORE MONKEYS  JUMPIN’  ON THE  BED.”
Their father appeared in the doorway. He had the rumpled look of late evening, his tie pulled loose, shirtsleeves rolled. “Time for your bath now, James,” he said quietly, and James slid off the bed and ran to him.
In her room Rebecca considered what to wear. Her colorful dresses were on one side of her closet and her plain dresses were on the other, and though she loved getting a bright new dress like the purple-striped one she’d picked out a couple weeks earlier, she generally ended up with something darker and less adorned. She had a navy dress with a small white collar that she had worn at least once a week this school year, and she was reaching for it when she saw, hanging way off to the side, a sleeveless white dress decorated with yellow daffodils, not just printed on the material but embroidered with bright yellow embroidery floss, the effect being of real flowers floating over a white background. Her Michigan grandmother had made it for her and sent it in a box with small floral sachets tucked between the folds of tissue paper. She had never worn it for fear of ruining it, and she was relieved, as she pulled it over her head, that it still fit, though it pulled slightly across her shoulders and was shorter than most of her other dresses. She found some white socks with yellow edges, sat on the bed, and pulled them onto her clean feet, carefully folding them down so they were cuffed identically. She strapped on her black patent-leather Mary Janes and stood before the mirror. She was satisfied with the way she looked—satisfied was the happiest you ought to be about how you looked; she had read that somewhere—though her hair, in the day’s braids, wasn’t quite as partyish as the rest of her. In fact, they were yesterday’s braids. She needed her mother’s help to redo them, though, and at this point, with the party starting in under an hour, Rebecca didn’t want to bother her.
She pulled the elastics off the tips of the braids and combed her fingers through her hair. When she was finished, it fell in sharp zigzags halfway to her elbows, and tears pricked at her eyes. She should have washed it. She really should have washed it, but it was far too late now—James was in the tub, with Ryan and Robert yet to go—and even if she had time she wouldn’t take a second bath just for her hair.
Or would she? She was caught in the middle, with the right but difficult thing off to one side and the wrong but easy thing off to the other, and she imagined the bathtub empty right now, available, and herself carefully taking off the dress, and removing the shoes and spotless socks, and putting her robe on, and going back down the hall to the bathroom—and she couldn’t say for sure that she would do it, which made her imagine shaking a finger at herself, a picture that came to her so frequently it might as well have been a scene captured by her father’s camera and put in one of the family photo albums. Except it wasn’t a real picture: it was the Rebecca of the moment, in this case wearing the daffodil dress, shaking her finger at another Rebecca, usually a younger, smaller Rebecca, standing with her head down.
“Carry on,” her father sometimes said when one or another of the children was stuck in a bad situation. He didn’t say it in a mean way; it was more: I know this is hard, I’m sorry it’s so hard, there are various things you could do, you could sit down and cry, or you could try to carry on. Can you carry on? I have a feeling you’ll be able to carry on.
Rebecca ran her brush through her hair, and that helped—the kinked strands blended together, and it looked a little less messy. She decided it would have to do. She left her room and headed for the kitchen, pausing when she saw that her mother’s door was ajar. She stood outside the door, listening. Water running, drawers opening: there was none of that.
Just then James came running out of the bedroom hallway in clean clothes. Her father followed, and when he saw Rebecca he stopped and smiled. “You look lovely,” he said, and a flood of warmth rose into Rebecca’s face.
“I forgot to wash my hair.”
“I’d never have known. To me you look perfect.”
“Let me see,” her mother called from the bedroom, and then she pulled open the door as if she’d been standing right there all along.
But she hadn’t. She’d been sitting on her bed gathering strength for the final push. She had cooked and cleaned, but the last part, getting herself ready, was the hardest. With the house and the food, she simply followed a plan that was the same from party to party, year to year. But when it came to herself, to her hair and makeup, her clothes and shoes, she was not so easily satisfied. Yes, she was a doctor’s wife and a mother of four, a suburban matron to the core of her being. But she wanted, just once a year, to look like someone important. The women she saw photographed at galas—they had something that went beyond a fashionable hairstyle or an expensive couture gown. It was an air of not doubting their right to be photographed, an air of having. As the daughter of a hardware store owner, Penny had never enjoyed anything like the advantages these women probably took for granted.
“Look at you,” she said to Rebecca.
Rebecca looked up at her father. When he was around she understood her mother better, or at least found it easier to know what to expect. She waited for him to say something that would make her mother go further, tell Rebecca how she liked the dress.
But Penny said nothing, and Bill hesitated and then said he was making progress on getting the children bathed. Cutting her losses, Rebecca reached for James’s hand and led him to the kitchen. Trays of hors d’oeuvres lay everywhere: on the stove, the countertops, the table, even the top of the refrigerator. “That’s a ton of food,” she said, more to herself than to James. “She did a lot of work.”
In the master bedroom, Penny was telling Bill the same thing. She wasn’t complaining, but she wanted him to be aware of her work so that he would feel honor-bound to do his, which wasn’t simply the shaking of hands and the fixing of drinks—it was much more than that.
“I am glad to see them,” he said. “Or I will be.”
“But I want you to act glad. Enthusiastic.” “Spirited” was another word. She wanted him to be spirited in the way he greeted the guests and even more spirited in the way he moved from group to group and joked with the men and teased or complimented the women.
“I’ll try,” he said mildly. 
“Why can’t you say you will?”
“Because I tried last year.” And the year before that, he thought but didn’t say. “I may not have it in me.”
She was at her dresser with her back to him, holding her hair on top of her head with one hand and using the other to pull tendrils loose in front of her ears. He could see her face reflected in the mirror, the way she turned her head slightly and cast her eyes sideways to look at her profile.
He said, “Is there anything else I can do?”
Dropping her hair, she found his eyes in the mirror and looked at him. She couldn’t say she wanted him to cross the room and turn her around to face him and then to hold her close. He couldn’t say he knew this but had Ryan to move along and himself to get ready—that even if he couldn’t transform himself as fully as she wanted, he needed to wash up and change. And so they held each other’s gaze for another moment until Penny—who of the two of them had more to lose—broke the look and opened a drawer in search of bobby pins. And with that, Bill returned to the children’s bathroom.
 

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