
I'd never even heard of this book until it was selected for October bookclub. The book is an interesting mix of fiction and history. The protagonist, Cora Carlisle, is an invented portrayal of some actual chaperone who accompanied the real life Louise Brooks, silent film star of the 1920s, from Witchita, Kansas, to New York City. And while you might be saying, "I don't know who Louise Brooks is," you probably have seen an image of her somewhere. She is an iconic figure of the jazz age. Did you watch So You Think You Can Dance this past season? You know Amelia? She was trying to copy Louise and her blunt bob with bangs, pale skin, and doe eyes.
Laura Moriarty highlights the tension between generations of women by pairing Cora with Louise for five weeks one summer. Cora is twenty years older than Louise, wears a corset and skirts that come to her ankle and is in constant bewilderment, awe and worry over Louise's disregard for societal rules. She is of the generation that believes that a young woman traveling to New York on her own needs a chaperone to guard both the reputation and actual virtue of the vulnerable weaker sex. Louise could care less and resents Cora, who is neither a relation nor a friend, and openly mocks Cora when reminded about the rules that have never applied to her. She freely talks to strange men. Her clothes don't cover much and, worse, she seems to enjoy all the scandalous attention. I thought the idea of unveiling the evolution of womens' rights, including the right to vote, birth control and having careers of their own, was interesting but Moriarty lost points, in my view, with her execution.
In order to develop her characters, she rightfully weaves in a lot of backstory to both Cora and Louise's views on life. Through Cora, she tells the history of the orphan trains and how sad, dangerous and incredible it was. Through Cora's friends and family, she also brings up the taboo gay lifestyle, the Klu Klux Klan, the use of Lysol as a feminine hygiene product/birth control (for real) and sex as a means of intimacy and not solely procreation. Through Louise's actual history, she includes the heavy topics of alcoholism and drug abuse, pedophilia, promiscuity and mental illness.
If it all sounds like too much, you're absolutely right. These were/are important issues. Most were, I'm sure, relevant to women of all ages in the 1920s. But, Moriarty's ambition to deal with all of them in one novel didn't work for me. To make it all plausible, she had to make both her main characters live on the polar ends of the cultural spectrum. I thought the story would have played in a more interesting fashion had Cora not been quite so naive or unhappy. Likewise, although I know Louise had a real history that shouldn't be changed, I felt the question of which lifestyle was more dangerous to women could have been better addressed had she fictionalized a young and ambitious flapper instead. That way, the side to root for wouldn't have been nearly so obvious, as it rarely is in real life.
In spite of the overwhelming amount of propaganda to trudge through, I still thought The Chaperone was a well-written novel and worthy of a book club choice until the last hundred or so pages. The book should have been about those five weeks Cora and Louise spent together in New York. Had the author ended her story with the train ride back to Witchita, I would have applauded the way she left Cora's feminist awakening uncertain. But, she just couldn't leave well enough alone. Because Louise Brook's history continued, Moriarity decided Cora Carlisle's parallel history needed to be included. She whizzed through years...decades at a time until both were old and gray. The abrupt change in both style and pacing was disconcerting. It ruined the whole book for me. I thought including what was, in essence, a hundred page epilogue was the wrong choice. We still managed to have a lively discussion on the range of women's included but we pretty much all agreed that the book ended poorly.