The Children

This is Edith Wharton's commentary on the self-centered attitudes fostered by many of the post-WW I well-to-do, and the inability, despite good intentions, of her altruistic hero to do any good. The seven Wheater children, born of different parents, are shunted about from one parent to another, constantly living in hotels. Martin Boyne encounters them on a visit to Europe and becomes interested in their fates. He even thinks about adopting them, though Rose, his fiancee, is not thrilled by that idea. When Boyne falls head-over-heels for Judith, the oldest of the Wheater children, he breaks off his engagement. Half in love with Judith, half still wanting to "rescue" them all, he sails away, unable actually to do anything else. In a depressing ending, he comes back three years later and finds all the children have been separated and the youngest has died. He sees Judith at a dance, but hasn't the courage to speak to her. Judith is one of Wharton's most interesting characters. Innocent, unassuming, and lacking experience, she is yet fresh and bold, and it's easy to see why Boyne falls for her. Where her satire could have been sharp, even scathing, Wharton has elected to use a more whimsical pen in portraying the Wheaters and their offspring. Her writing is crisp, though, especially the dialogue. The book was very popular when first published in 1928.

This tale of neglected, compelling children has several themes that, given the nature of the times, added an extra layer of tension to the reading. Martin Boyne, single, lonely and not particularly talented, discovers on an ocean voyage a bunch of biological and step brothers and sisters now all under the 'protection' of a reunited couple. The Wheatleys, wealthy, self-absorbed and decadent, offer little by way of security and hope. Boyne in his early 40's, soon takes on the role of family advocate and unwittingly falls in love with the eldest girl, Judith, not yet 16.There are deliciously unsuitable characters all trying, for all the wrong reasons to break up the struggling brood and equally as compelling nurses and nannies dedicated to their union and preservation. The cast includes a debauched Duke, a devout student of the modern psychoanalytic and freest theories for kids, a lion tamer and Hollywood actresses married to titles. The settings are European gems and the glamour oozes with emptiness.The tale involves losses- inevitable in stories of kids and growing up and tends to drag on a bit. It is fascinating though, to wonder and wander with Wharton as she holds forth on her own beliefs about manners, modernity and the timeless dilemmas of 'bringing up babies.'Atypical and undecided, but worthy.

Some of Edith Wharton's better known works have been translated to the silver screen in recent years. Her lush descriptions and poignant, mannered conversations make for great screenplays. This book has those Wharton hallmarks, but it's doubtful that you'll see this story at a multiplex near you anytime soon.The reason? I believe the Hollywood powers-that-be might find this novel hits a bit too close to home. Wharton has written many books about New York society at the turn of the century, but none so scathing as this. Her characters represent the celebrities of her age; what's fascinating is to see that things haven't changed all that much. You'll never read the latest Tom Cruise - Nicole Kidman - Russell Crowe - Meg Ryan spread in People magazine in exactly the same way again after this book.At the same time, it has all the things that Wharton does better than anyone else - the restrained (barely) passions, the intimate moments, the inner turmoil, the beautiful settings. Nobody else finds such depths among the shallows.

Is it possible to love and hate a book simultaneously? That is, after all, the resounding impression left by Edith Wharton's, THE CHILDREN, whose prose I appreciated even as the conclusion of the story left me deeply annoyed.I have to struggle to read for pleasure anymore, so when I actually set aside a few hours for the attempt, as I did with THE CHILDREN, I rather hope it to be a good experience. And, in many respects, it was. THE CHILDREN is beautifully written, as is typically the case for Wharton (even in her sub-par endeavors, such as TWILIGHT SLEEP or GLIMPSES OF THE MOON, which I loved but didn't think was one of her best efforts). Much has been made of her talent for writing so there's no need to go on here. Suffice to say, she's brilliant. And THE CHILDREN is an excellent example of that fact, with a story that is far less renowned than THE HOUSE OF MIRTH or THE AGE OF INNOCENCE. However, the ending just killed me. I had my hopes up so ungodly high that perhaps, just perhaps, Wharton was going to give us a "happy" ending...I should have known better. I read this book on a plane flight from the American Mid West and was rapturously engrossed throughout (thank God for sleeping seatmates) but when I reached the end I just about threw the book across the plane in frustration. I know, I know, shame on me for thinking Edith Wharton would deliver a tidy conclusion (GLIMPSES OF THE MOON aside), but still, I was ever so hopeful...my mistake. At least with THE HOUSE OF MIRTH you could read "tragedy" in the subtext from the very beginning so you could be summarily braced when it arrived. But the surprising lightness to her style in THE CHILDREN left me unprepared.Nonetheless, if you like Wharton and are familiar with her manner, then by all means, check out THE CHILDREN. It's an engaging story, truly, about a middle-aged man whose life is enriched by his capricious association with a wild, eccentric family led, in no small part, by the amazing eldest daughter, with whom he falls in love as he tries to help her to hold together her various step brothers and sisters as their parents go through yet another messy divorce. So, by all means, give it a go...just be prepared for the Wharton Effect that comes with the conclusion.

I thought this book was one of Wharton's best work. Its very realistic. There is a little bit of comedey mixed in too.