Sea Glass by Anita Shreve

From Barnes & Noble

The Barnes & Noble Review
Few writers are able to straddle the genres of popular and literary fiction. Although marriage, adversity, and resilience are conventional themes in both, much popular fiction relies on standardized plot twists or gimmicks to attract its readership. Novelists like Anita Shreve, however, don't require either of those contrivances to form a large and loyal following. Again and again, her touching stories defy classification and offer an incredible richness of emotional complexity.

In the textile-manufacturing region of New Hampshire in 1929, newlyweds Honora and Sexton Beecher wrestle with all the wonders and challenges that young couples have always faced. They've just purchased a house near the ocean that needs a lot of work, but the couple is dedicated to making it a home. When the economy fails and a single unscrupulous act perpetrated by Sexton is revealed, more than love will be required to keep the marriage from collapsing under the weight of this betrayal. Sexton -- formerly a traveling salesman -- is forced to take a job at the local mill alongside other men, women, and children whose very survival is being threatened by the harsh burden of their daily toil. Repeated pay cuts and inhumane conditions propel the workers closer to a potentially violent clash with management and union breakers. Alliances are formed, honor is challenged, and character flaws become fatal as the tinderbox explodes, leaving old bonds broken and new ones bolstered.

Momentum builds steadily in this beautifully developed story, unfettered by needless machinations. Shreve deftly weaves the lives of a diverse collection of characters into a tapestry that is rich with the complete range of human emotion and lush with tactile nuance. (Ann Kashickey)

From the Publisher

With all the narrative power and emotional immediacy that have made her novels acclaimed international bestsellers, Anita Shreve unfolds a richly engaging tale of marriage, money, and troubled times-the story of a pair of young newlyweds who, setting out to build a life together in a derelict beach house on the Atlantic coast, soon discover how threatening the world outside their front door can be.

Book Magazine

Shreve's latest novel concerns a hastily married young couple who set themselves up in a house on the New Hampshire coast on the eve of the 1929 stock market crash. Honora is virtuous, self-reliant, hardworking, thoroughly good; her husband, Sexton, is precisely none of these things. The relationship goes sour before there's been much of a honeymoon, and the story plays out at a deft pace, accumulating momentum one slight, sure-handed chapter at a time. Before long, Honora will befriend a bored Boston socialite named Vivian, feel a dangerous affection for a local mill worker named McDermott and find herself immersed in the planning of a strike. She'll also develop a habit of collecting sea glass—the random bits of broken glassware that wash up on the shore and serve, throughout the book, to inspire some heavy-handed metaphors. Shreve is at her best when describing the Depression years and depicting the history of Honora's ramshackle, vulnerable house. (The house is familiar Shreve territory, as it made an appearance in her earlier bestsellers, The Pilot's Wife and Fortune's Rocks.) Unfortunately, the characters themselves are not convincing or compelling; they are either all good or all bad, yet they tend to sound somewhat the same.
—Beth Kephart

Publishers Weekly

In addition to spinning one of her most absorbing narratives, Shreve here rewards readers with the third volume in a trilogy set in the large house on the New Hampshire coast that figured in The Pilot's Wife and Fortune's Rocks. This time the inhabitants are a newly married couple, Sexton and Honora Beecher, both of humble origins, who rent the now derelict house. In a burst of overconfidence, slick typewriter salesman Sexton lies about his finances and arranges a loan to buy the property. When the 1929 stock market crash occurs soon afterward, Sexton loses his job and finds menial work in the nearby mills. There, he joins a group of desperate mill hands who have endured draconian working conditions for years, and now, facing extortionate production quotas and reduced pay, want to form a union. The lives of the Beechers become entwined with the strikers, particularly a principled 20-year-old loom fixer named McDermott and Francis, the 11-year-old fatherless boy he takes under his wing. A fifth major character is spoiled, dissolute socialite Vivian Burton, who is transformed by her friendship with Honora. As Honora becomes aware that Sexton is untrustworthy, she is drawn to McDermott, who tries to hide his love for her. The plot moves forward via kaleidoscopic vignettes from each character's point of view, building emotional tension until the violent, rather melodramatic climax when the mill owners' minions confront the strikers. Shreve is skilled at interpolating historical background, and her descriptions of the different social strata the millworkers, the lower-middle-class Sextons, the idle rich enhance a touching story about loyalty and betrayal, responsibility and dishonor. This is one of Shreve's best, likely to win her a wider audience. 6-city author tour. (Apr. 9) Forecast: Expectations of brisk sales, indicated by the one-day laydown, will likely be achieved. Readers should find timely resonance in the setting of 1920s economic turbulence. Copyright 2001 Cahners Business Information.

Sherri Forgash Ginsberg - KLIATT

The author claims, rightly so, that old houses contain many interesting stories about their inhabitants. Shreve writes about the same house here that serves as a background for her novels The Pilot's Wife and Fortune's Rocks. The house, itself, does not play a big role in this tale, but nonetheless it is a character in its own way. Honora, McDermott, Vivian, Sexton, Alphonse and Alice are the main players, with each chapter concentrating on one of them—short chapters with crisp dialogue. The story begins in 1929, an eventful year with the stock market crashing in October. Honora and Sexton are barely in their 20s, and after a brief courtship they are married. He's a salesman on the road but usually takes her with him. They enjoy a comfortable life and buy a house on the beach, where Honora begins collecting the glass that washes up on the sand with each smashing wave. The reader quickly becomes emerged in the idyllic setting and the passion of the characters, and enthralled with the hardships of the mill workers. The author conveys her story with just the right touches of drama. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2002, Little, Brown, Back Bay, 376p.,

Library Journal

Newlyweds Sexton and Honora Beecher have plenty of dreams, but they didn't plan on the stock market crash of 1929. Copyright 2001 Cahners Business Information.

Kirkus Reviews

In Shreve's ninth novel, a bitter strike racks the New Hampshire coastal community that also provided the setting for Fortune's Rocks (1999). Newlyweds Honora and Sexton Beecher move there in June 1929. Twenty-year-old Honora barely knows her husband; Sexton loves his wife but quickly proves just as shifty as you'd expect a traveling salesman to be. He cuts a few corners to get them a mortgage just days before the stock market crashes, loses his job, and is forced to go to work at one of the local textile mills that have been slashing wages and speeding up production for years before the Depression began. Shreve cogently contrasts the Beechers' fearful, middle-class scrimping with the more desperate situations of mill workers like Francis, an 11-year-old who works the bobbins, and McDermott, at 20 already nearly deaf from the looms' noise. On the other end of the social spectrum is wealthy, hard-drinking, promiscuous Vivian Burton, whose friendship with Honora draws her into the strike that erupts after yet another pay cut. Falling in with labor activists gives Vivian a new perspective on life: "My sort," she says to McDermott, "seem, well, despicable, really"-though that doesn't prevent her from rewriting a communist strike leader's cliche-ridden leaflet in one of the novel's few humorous scenes. Honora and Vivian gain purpose and moral stature over the narrative's 15-month course, but the men don't fare so well. Sexton's stupid (but convincingly motivated) recklessness provokes a violent climax that puts an end to any hope for the burgeoning tenderness between Honora and McDermott, while Francis sees the two people he most loves brutally murdered. The mood here is dark, but Shreve's fans will take some comfort in her typically elegant, lucid prose, evocative of the natural world and subtly probing of character. Even the abrupt entrance of death, so annoying in The Last Time They Met (2001), here seems plausible and appropriate. A sterling effort from an intelligent and entertaining popular novelist.

Product Details

• Reading Group Guide
• Read a Sample Chapter

Reading Group Guide

2. The story in Sea Glass is told from the perspective of several different characters. Did you find yourself empathizing with one character more than the others? If so, which character and why?

3. The house into which Honora and Sexton move as the novel opens -- a house that seems, by anyone's standards, too large for just two people -- functions almost a character in its own right in Sea Glass. Discuss the various roles the house plays in the story -- the importance of its size, its location, etc. If you've also read The Pilot's Wife or Fortune's Rocks, did you recognize the house from those novels?

4. Discuss the relationship that develops between Alphonse and McDermott. In what ways is their friendship important to each of them?

5. Everyone keeps secrets. Most husbands and wives keep secrets from each other. Do you blame Sexton for his deviousness in securing a downpayment for the house? Do you blame him for his failure to be entirely honest with Honora? Were his actions innocent? criminal? somewhere in between?

6. To what extent does it matter that the novel is set at the dawn of the Great Depression? Imagine a similar story unfolding today. In what significant ways might the characters' lives be different?

7. What are Vivian's motives for supporting the striking mill workers? In view of her temperament and her wealth, are her motives plausible?

8. At what point in the novel does Honora fall in love with McDermott? At what point does she realize that she's in love with him?

9. In reviewing Sea Glass, many literary critics remarked on the appropriateness of the novel's title. What do the words sea glass connote in your mind? In what ways does the phrase function metaphorically as a description of the novel?

10. Allow yourself to play novelist for a moment and imagine Honora's life in the years beyond the events of the novel. What does the future hold for Honora? How would you want her life to unfold? Chart the future lives of the novel's other major characters as well.

Read a Sample Chapter

Honora

Honora sets the cardboard suitcase on the slab of granite. The door is mackereled, paint-chipped—green or black, it is hard to tell. Above the knocker, there are panes of glass, some broken and others opaque with age. Overhead is a portico of weathered shingles and beyond that a milk-and-water sky. Honora pinches the lapels of her suit together and holds her hat against the wind. She peers at the letter B carved into the knocker and thinks, This is the place where it all begins.

The year is 1929. A June day. A wedding day. Honora is just twenty, and Sexton is twenty-four.

The clapboards of the house are worn from white to flesh. The screens at the windows are ripped and flapping. On the second story, dormers stand like sentries keeping watch over the sea, and from the house a thicket sharp with thorns advances across the lawn. The doorsill is splintered, and she thinks it might give way with her weight. She wants to try the pitted knob, though Sexton has told her not to, to wait for him. She steps down into the dooryard, her pumps denting the springy soil, unleashing a scent that collapses years.

Sexton comes around the corner then, his palms upturned and filled with dirt. He is a man with a surprise, a stranger she hardly knows. A good man, she thinks. She hopes. His coat billows in the breeze, revealing suspenders snug against his shirt. His trousers, mended at a side seam, are loose and ride too low over his shoes. His hair, well oiled for the wedding, lifts in the wind.

Honora steps back up onto the granite slab and waits for her husband. She puts her hands together at her waist, the purse she borrowed from her mother snug against her hip. Sexton has an offering: sandy soil, a key.

"The soil is for the solid ground of marriage," he says. "The key is for unlocking secrets." He pauses. "The earrings are for you." Honora bends her face toward the pillow of dirt. Two marcasite-and- pearl earrings lie nearly buried in Sexton's hands. She brushes them off with her finger.

"They belonged to my mother," Sexton says. "The soil and the key are an old tradition your uncle Harold told me."

"Thank you," she says. "They're very beautiful." She takes the key and thinks, Crossing the sill. Beginning our life together.

The man came into the bank with a roll of tens and fives, wanting larger bills so that he could buy a car. He had on a long brown coat and took his hat off before he made the transaction. The white collar of his shirt was tight against his neck, and he talked to Honora as she counted out the money. A Buick two-door, he explained. A ????, only three years old. It was the color of a robin's egg, he said, with a red stripe just below the door handle. A real beauty, with wood-spoke wheels and navy mohair upholstery. He was getting it for a song, from a widow who'd never learned to drive her husband's car. He seemed excited in the way that men do when thinking about cars that don't belong to them yet, that haven't broken down yet. Honora clipped the bills together and slipped them under the grille. His eyes were gray, set deep beneath heavy brows. He had a trim mustache, a shade darker than his hair. He brushed his hair, flattened some from the hat, from his forehead. She had to wiggle the money under the grille to remind him of it. He took it, folded it once, and slipped it into the pocket of his trousers.

"What's your name?" he asked. "Honora," she said. "How do you spell it?"

She spelled it for him. "The H is silent," she added. "O-nor-a," he said, trying it out. "Have you worked here long?" They were separated by the grille. It seemed an odd way to meet, though better than at McNiven's, where she sometimes went with Ruth Shaw. There a man would slide into the booth and press his leg against your thigh before he'd even said his name.

"I'm Sexton Beecher," the handsome face dissected by grillwork said. At the next window, Mrs. Yates was listening intently.

Honora nodded. There was a man behind him now. Harry Knox, in his overalls, holding his passbook. Growing impatient.

Sexton put his hat back on. "I sell typewriters," he said, answering a question that hadn't yet been asked. "The courthouse is one of my accounts. I need a car in my job. I used to borrow my boss's Ford, but the engine went. They said it would cost more to fix it than to buy a new one. Don't ever buy a Ford."

It seemed unlikely she would ever buy a Ford.

The courthouse employed at least half of the adults in town. Taft was the county seat, and all the cases went to trial there.

"Enjoy the car," Honora said.

The man seemed reluctant to turn away. But there was Harry Knox stepping up to the grille, and that was that. Through the window at the side of the bank, Honora caught a glimpse of Sexton Beecher buttoning his coat as he walked away.

Sexton tries the switch on the wall, even though they both know there is no electricity yet. He opens doors off the hallway so that light can enter from other rooms with windows. The floorboards of the hall are cloudy with dust, and on the walls a paper patterned in green coaches and liveried servants is peeling away at the seams. A radiator, once cream colored, is brown now, with dirt collected in the crevices. At the end of the hall is a stairway with an expansive landing halfway up, a wooden crate filled with a fabric that might once have been curtains. The ceilings, pressed tin, are nearly as high as those in public buildings. Honora can see the mildew on the walls then, a pattern competing with the carriages and footmen. The house smells of mold and something else: other people lived here.

She enters a room that seems to be a kitchen. She walks to a shuttered window and lifts the hook with her finger. The shutters open to panes of glass coated with a year or two of salt. A filmy light, like that through blocks of frosted glass, lights up an iron stove, its surface dotted with animal droppings. She twists a lever, and the oven door slams open with a screech and a bang that startle her.

She bends and looks inside. Something dead and gray is in the corner.

She walks around the kitchen, touching the surfaces of shelves, the grime of years in the brush strokes of the paint. A dirty sink, cavernous and porcelain, is stained with rust. She gives the tap a try. She could budge it if she leaned her weight against the sink, but her suit is still on loan from Bette's Second Time Around. The butter yellow jacket with its long lapels narrows in nicely at the waist and makes a slender silhouette, a change from a decade of boyish dresses with no waists. She shivers in the chill and wraps her arms around herself, careful not to touch the suit with her hands. There are blankets in the car, but she cannot mention them so soon. She hears footsteps on the stairs and moves into the hallway just as Sexton emerges from the cellar, wiping his hands on a handkerchief.

"Found the furnace," he says. "In the fall, we'll have to get some coal."

She nods and gestures with her hand to the kitchen. He trails his knuckles along her arm as he passes her.

"What a mess," he says.
"Not so bad," she says, already loyal to what will be their home.

In April, the typewriter salesman returned to the bank. He came through the door so fast that Honora thought at first he might be a robber. The wings of his coat spread wide around his trousers as he made his way to her station. She resisted the urge to touch her hair, which she hadn't washed in days.

"Want to go for a ride?" he asked. "You bought the car." "It's a honey." "I can't." "When do you get off work?" "Four o'clock." "Banker's hours."

The clock on the wall said half past two. The sound of a woman's high heels could be heard on the marble floor. Sexton Beecher didn't turn around to look.

"I'll be outside at four," he said. "I'll give you a ride home."

I don't even know you, she might have said, except that Mrs. Yates was leaning in Honora's direction lest she miss a word. Honora was silent, which the man took for acquiescence. She noticed this time that his eyes weren't really gray, but green, and that perhaps they were set too close together. His forehead was awfully high, and when he smiled, his teeth were slightly crooked. And there was something cocky in his manner, but that might just be the salesman in him, she thought. Honora laid these flaws aside as one might overlook a small stain on a beautifully embroidered tablecloth one wanted to buy, only later to discover, when it was on the table and all the guests were seated around it, that the stain had become a beacon, while the beautiful embroidery lay hidden in everybody's laps.

Sexton returns with a can of oil from the car. Honora finds a piece of castile soap wrapped in a tea towel in her suitcase. He removes his jacket and rolls his sleeves. His left forearm is already tanned from leaning it out of the window of the Buick. Honora feels a small ping in her abdomen and looks away.

The tap retches and sprays a stuttering dome of brown water into the sink. Honora jumps back, not wanting the water on her suit.

"It's the rust," he says. "They said the water was turned on, but I didn't know for sure. A valve was stuck in the basement."

Together they watch the water clear.

His shirt is dirty at the back. She reaches over to brush it off. He leans against the lip of the sink and bends his head, letting her touch him in this way. When she stops, he straightens. She holds out the soap and together they wash their hands in the bulbous stream of water. She scrubs the marcasite-and-pearl earrings. He watches as she puts them on.

"Should I bring the picnic in, or do you want a nap?" he asks. She feels herself blush at the word nap. "I haven't been upstairs yet," she says.

"There's a bed. Well, a mattress. It looks clean enough."

So her husband had looked for a bed even before he searched for the furnace.

"There are blankets in the trunk," she says.

After a time, Honora stopped thinking of him as "the typewriter salesman" and began to think of him as Sexton. He drove over from Portsmouth eight times in the three months that they courted, telling his boss that he was onto something big in Taft. He was from Ohio, he told Honora, an American heading in the wrong direction. He'd had a year of college on the co-op program, but the freedom of traveling and the possibility of fat commissions had lured him east, away from the classroom. He made good money, he said, which might or might not be true; she couldn't be absolutely sure. Yes, there was the Buick, but she couldn't ignore the too-tight collars and a sole coming loose from a shoe. The sleeves of some of his shirts were frayed at the cuffs.

They courted in the Buick with all the typewriters (Fosdick's Nos. 6 and 7), her mother's house too small for any sort of privacy. Sexton was charming and persistent in a way Honora had never experienced before. He told her that he loved her. He also told her that he had dreams. One day there would be a Fosdick in every household, he said, and he would be the man to put them there.

"Will you marry me?" he asked her in May.

On his sixth visit, Honora noticed that Sexton could hardly contain his excitement. A stroke of luck, he said in the Buick when finally they were alone. His boss knew someone who knew someone who knew someone. An abandoned house, but upright nevertheless. All they had to do, in place of rent, was take care of it and fix it up.

"It's a way to save," he told Honora, "for a house of our own." When they announced their engagement, no one was surprised, least of all her mother. She'd seen it in him from the very beginning. In fact, she'd said so early on to Harold—wasn't that so, Harold?—that this was a man who would get his appointment.

Honora reaches down to touch the fabric in the carton. Faded chintz, curtains after all. And something else. A framed photograph tucked into the side of the box, as if snatched from a dresser at the last minute. A photograph of a woman and a boy. Years ago, Honora thinks, studying the dress that falls nearly to the ankle.

The stairs creak some under her weight, which even with the bedding isn't much. The sound embarrasses her, as if announcing her intentions. A crystal chandelier hangs rigidly over the landing, and she sees that the ceiling of the second floor has been papered like the walls. At the top of the stairs, a sense of emptiness overwhelms her, and for the first time she feels the enormity of the tasks that lie ahead of her. Making a house liveable, she thinks. Making a marriage.

It's just the empty rooms, she tells herself. The second floor is a warren of tiny chambers, a surprise after the spaciousness of the floor below. Some of the rooms are painted pale blue; others are prettier, with printed paper on the walls. Heavy curtain rods sit naked over the windows. On the window seats are cushions—frayed and misshapen from overuse.

At the end of the hallway, she finds a suite of three rooms with a series of dormers facing the sea. In the bathroom there is a sink and a bathtub. In the bedroom she thumps a mattress with her fist, making a small cloud of dust in the salt-filtered light of the window. Why did they take the bed but not the mattress? She tucks in the sheets, crouching at the corners, and listens for sounds of Sexton below, her heart beating so erratically that she has to put a hand to her chest. She unbuttons the yellow suit jacket, only then realizing that there aren't any hangers in the shallow closet by the door. She folds the jacket inside out and lays it on the floor next to her shoes. She slips off her skirt, turning that inside out as well. She sits on the edge of the mattress in her blouse and slip, and unrolls her stockings.

The kitchen was unseasonably hot and close for late June, steam rising from the iron and making droplets on her mother's nose and brow. Her mother wore her purple cotton dress with the petunias, her low-slung weight seemingly held up only by her pinafore as she lifted the iron and set it down again on the tea cloth over the butter yellow suit. Honora sat on a chair at the kitchen table, writing labels for the canning, both of them silent, aware of change. Her mother's hair was done up in a bun with combs and hairpins, and the stems of her glasses dug into the sides of her head. On the stove, there was the white enameled pot, the funnels and the jars, waiting to be filled with spring onions and asparagus and rhubarb jam. Even at the beginning of summer, the kitchen was always awash in jars, the canning going on late into the night, as they tried to keep one step ahead of the harvest from the kitchen garden her mother kept. Honora, who hated the peeling and the preparations she was expected to do after she got home from the bank, nevertheless admired the jars with the carefully inscribed labels on the front—Beet Horseradish Relish, Asa's Onion Pickles, Wild Strawberry Jam—and the way that, later, they'd be lined up in the root cellar, labels facing out, carrots to the north, wax beans to the south, the jars of strawberry preserves going first from the shelves. But this year her mother had cut the garden back, as if she'd known that her daughter would be leaving home.

Her uncle Harold, blind and papery, couldn't walk the length of the aisle of the Methodist church and so he stood by the front pew with his niece for half a minute so as to give her away properly. She was the last child to leave the house, the boys gone to Arkansas and Syracuse and San Francisco. Her mother sat in her navy polka-dot silk with the lace collar, her comfortable weight caught primly within the dress's folds. She wore real silk stockings for the occasion, Honora noticed, and not the tan stockings from Touraine's. Her mother's black shoes, serviceable rather than pretty, were the ones Harold always referred to as her Sunday-go-to-meeting shoes. Her mother wore a navy cloche, the silver roll of her hair caught beneath it with mother-of-pearl combs.

Just before they'd left the house, her mother had polished her gold-rimmed glasses at the sink. She'd taken her time at it and had pretended not to cry.

"You look very pretty," she said to Honora when she had hooked the stems of her glasses behind her ears.

"Thank you," Honora said.

"You let me know, won't you," her mother said. She took her hankie from inside the cuff of her dress. "About what you want me to do with the suit, I mean."

"I will."

"Some women, they like to keep the clothes they get married in. I had my wedding dress with me right up until Halifax."

Honora and her mother were silent a moment, remembering Halifax. "Your father would have been so proud," her mother said.

"I know."

"So you let me know about the suit. I'll be happy to pay for it, you decide to keep it."

Honora took a step forward and kissed her mother's cheek.

"Now, now," her mother said. "You don't want to set me off again."

Sexton walks into the bedroom with the picnic basket in one hand, the suitcase in the other. He looks at Honora sitting on the mattress, her stockings and her shoes and her suit folded, her garters peeking out from beneath a girdle to one side of the bed. His face loosens, as if he'd come prepared to tell his new wife one thing but now wishes to say something else. Honora watches as he sets down the picnic basket and the cardboard suitcase. He removes his coat and lets it fall from his arms, snatching it before it hits the floor. He yanks the knot of his tie sideways.

She slides backward and slips her bare legs under the cool sheet and blanket. She lays her cheek against the pillow and watches her husband with one eye. She has never seen a man undress before: the tug of the belt buckle, the pulling up of the shirttails, the shoes being kicked off, the shirt dropped to the floor, the trousers—the only garment removed with care—folded and set upon the suitcase. He unbuckles his watch and puts it on a windowsill. In the stingy light of the salted windows, she can see the broad knobs of his shoulders, the gentle muscles through the chest, the surprising gooseflesh of his buttocks, the red-gold hairs along the backs of his legs. Sexton kneels at the foot of the mattress and crawls up to his new bride. He puts his face close to hers. He slides under the sheet and draws her to him. Her head rests on the pad of his shoulder, and her right arm is tucked between them. His knee slips between her thighs, causing the skirt of her slip to ride up to her hips. He kisses her hair.

"What makes it so shiny?" he asks. "Vinegar," she says. "You're shaking," he says. "Am I?"

He presses his mouth to her shoulder. "We'll take our time," he says.

Copyright © 2002 by Anita Shreve