Praise for
THE CLOVER HOUSE
“The Clover House is a gripping, tender story that spans continents and generations as it delves into the secrets of a Greek American family altered by a long-ago tragedy in World War II. Told with quiet power and authenticity, it’s a reader’s treat.”
—Kate Alcott, New York Times bestselling author of The Dressmaker
“Layered and complex, The Clover House is a provocative examination of family secrets and the things we inherit, a powerful search for self that feels both unique and universal. Henriette Lazaridis Power immerses the reader in a world of tradition and resilience, creating characters who linger long beyond their final pages. One of the best books I’ve read in a long time.”
—Brunonia Barry, New York Times and international bestselling author of The Lace Reader and The Map of True Places
“A rare treat: an elegantly written debut about a family mystery set during wartime, the slipperiness of memory, and the challenges of forgiveness. Plus, we get to go to Greece! What more could you want from a novel? Read it, read it!”
—Jenna Blum, New York Times bestselling author of Those Who Save Us
“Sharply observed and evocative, The Clover House is a riveting story about desire, the cost of silence, and the power of a hidden secret from the past to change everything about the present. Henriette Lazaridis Power blends the stark, at times brutal, truths of war-torn Greece with the heady rush of Carnival into a brilliantly realized story about the consequence of an illicit love, the histories we come from, and the dreams that draw us back. This debut is a gem.”
—Dawn Tripp, author of national bestseller Game of Secrets
“Henriette Lazaridis Power takes a collection of inherited objects and weaves an intricate story of a family’s hidden past, and a Greek American daughter’s key to her own tangled identity. I was thoroughly transported to WWII Greece, and could envision the ancestral farm as vividly as my own childhood backyard.”
—Nichole Bernier, author of The Unfinished Work of Elizabeth D.
“Readers will feel the eloquently written quandary of Henriette Lazaridis Power’s vivid and troubled protagonist, a woman with one foot in Greece and the other in America; a woman who, like so many immigrants and first-generation Americans, struggles to be at home in two countries.”
—Randy Susan Meyers, author of The Murderer’s Daughters
“The Clover House is a tremendously readable story of how family secrets reverberate, how war forces impossible choices, and how a very modern woman faces old longings for her mother’s love and a true home. This is a smart and lovely novel.”
—Holly Lecraw, author of The Swimming Pool
The Clover House is a work of fiction. Names, characters, places, and incidents are the products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
2013 A Ballantine Book eBook Edition
Copyright © 2013 by Henriette Lazaridis Power
Random House reading group guide copyright © 2013 by Random House
All rights reserved.
Published in the United States by Ballantine Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
BALLANTINE and colophon are registered trademarks of Random House, Inc.
RANDOM HOUSE READER’S CIRCLE & design is a registered trademark of Random House, Inc.
Title page art from an original photograph by Caetano Lacerda
eISBN: 978-0-345-53894-9
www.randomhousereaderscircle.com
Cover design: Catherine Casalino
Cover images: © Stephen Mulcahey/arcangel (man with butterfly in jar), © Peter Kindersley/Doring Kindersley (red clover)
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Contents
Cover
Title Page
Copyright
Epigraph
1. Callie
2. Callie
3. Callie
4. Clio
5. Callie
6. Callie
7. Callie
8. Clio
9. Callie
10. Clio
11. Callie
12. Callie
13. Clio
14. Callie
15. Callie
16. Clio
17. Callie
18. Clio
19. Callie
20. Clio
21. Callie
22. Callie
23. Callie
Dedication
Acknowledgments
A Reader’s Guide
About the Author
We shed as we pick up, like travellers who must carry everything in their arms, and what we let fall will be picked up by those behind. The procession is very long and life is very short. We die on the march. But there is nothing outside the march so nothing can be lost to it.
—TOM STOPPARD, Arcadia
1
Callie
February 2000
On those rare occasions when she couldn’t control the world around her, my mother placed the blame squarely on America, the country she had reluctantly immigrated to from Greece in 1959. My father would retort that there were flaws in Greece too, but she ignored him because he was American.
They met in 1955, when my father was based in Athens with the American mission in Greece, building roads and repairing bridges on the Marshall Plan. For four years, they lived a glamorous life of parties and dances in a city that was working hard to shed the effects of the Second World War and the civil war that followed it. Once they were married and it was time to choose a country, my father won the argument, flying ahead of my mother to purchase what would be their only home. When she joined him in the hair-sprayed suburbs of parochial Boston, knowing no one and understanding little of American life, my mother’s reaction was quick and certain. To keep what she considered this unsightly world at bay, she took the brown paper from the moving boxes and covered every window of the single-story house.
She sat inside, fuming at my father and at what she knew lay on the other side of the paper. She glared at the shadows of the neighborhood children as they ran from their yards into hers and out again. They lingered before the covered windows, wondering what was hidden inside, and she watched this shadow theater, thinking of the Karagiozis puppet shows she had watched as a child.
After a week, my father tore the paper down. He led her to the glass and forced her to look out at the jewel-green lawn and the fat buds on the dogwood tree.
“See,” he said, almost in tears. “It’s beautiful.”
She never agreed. In her mind, my mother never really left that papered-over room. And I spent my childhood trying to win an invitation to join her there in the Greece that she imagined and remembered.
I know this story about the papered windows because my father told it to me before he died, some ten years ago now. I don’t know what made him tell me. We didn’t see each other very often, so it must have been important to him that I know. Perhaps he knew that I’d be left with only my mother’s stories after he was gone. Perhaps he knew they wouldn’t be good for me without some sort of dilution.
For my entire childhood, until he gave up on the whole project and left, he watched me beg my mother for the stories I learned by heart—about the grand house in the city of Patras, where my mother and her sisters and brother did whatever they wanted under the benign gaze of their elegant parents; about the farm in the country, where the children climbed trees and ate fresh fruit all day. My mother was always happy to oblige my requests. She would bring out a jar of syrup-stewed oranges as she talked, spooning out the delicacy she had carried home from
our summer trip to Greece into a bowl we would eat from together. I didn’t like the stuff—the sweetness of the syrup barely covered the bitterness of the citrus—but I waited my turn with the spoon, happy to be sitting with my mother, nourished by her memories of a better time and place.
Sometimes I would press her to clarify a bit of history or to elaborate on a detail.
“What?” she would say, turning to me with a startled gaze. “What did you say?”
And I would pretend I hadn’t noticed that she’d forgotten all about me. She wasn’t really telling the stories to me; she was simply saying aloud in my presence what she was thinking about every minute of the day.
It’s a Saturday afternoon in Boston in late February when the phone rings and I recognize the city code for Patras. My mother moved back there, newly widowed, and since then we go long stretches without speaking on the phone. It’s better this way. Our most recent conversation several weeks ago ended with her complaining about the rudeness of her two sisters—women who have shown me nothing but love.
I let the call ring but perch on the couch and finally force myself to answer it. I’m surprised to hear the voice of my cousin, Aliki, on the other end.
“Calliope,” she says.
The short o sound in her Greek pronunciation knocks me into a life that seems to have been just the other side of a thin wall. Legally, I’m Calliope Notaris Brown. I am the latest in a line of Muses in my mother’s family, she being Clio, the daughter of Urania. But Callie Brown is my American camouflage. It makes it easier when I want to tell myself that the Greek part of me doesn’t exist—that I have no connection to anyone save the people and places I choose. Now one tiny vowel sound has brought it all back. And, with Aliki’s alto, the fear that she is calling to tell me my mother is dead.
“Aliki. What is it?” We haven’t been in touch in a long time, but I speak to her in Greek, as I have always done.
“It’s Uncle Nestor,” she says, the characteristic singsong of her voice taking a melancholy lilt. “He died.”
I feel relief that it’s not my mother, then sadness for Nestor, then shame over my relief. I can see Nestor standing before me five years ago, the last time I saw him, his crinkly black hair streaked with white. Beethoven is playing in the background. “Listen, Calliope. The tympani,” he whispers, his loose fist dotting the air in time with the music. I am sitting on his velvet-covered couch and we are drinking glasses of red wine.
“What happened?” Nestor would be around seventy now. But I’m sure only a crazy accident can have brought him down.
“It was a heart attack.”
“His heart?”
“They found heart disease the year before last.”
My face goes hot as I realize that I had no idea he was ill. I thought of him as the hale old bachelor who would hike Olympus in bad weather or ski across the French Alps during the holidays from his schoolteacher’s job.
“He didn’t want anyone to know,” she says.
“But he told you.”
“If you had been here, Calliope, it’s you he would have told. He was so proud of you.”
“Proud of me?” A little sob bubbles up.
“Paki,” she says, and I smile at this old nickname. Calliope to Calliopaki—Little Calliope—to Paki.
“I’m here. When is the funeral, Aliki?”
“That’s why I’m calling.”
It occurs to me now to wonder why my mother isn’t the one making this call. I imagine her for a second, dizzy with grief, eyes swollen, and unable to dial a number. But the thought shuts down. My mother doesn’t display unsightly emotions.
“The funeral’s Monday,” Aliki says. “I would have called you sooner, but I thought your mother already had.”
“What time?”
“In the morning.”
I think about all my childhood arrivals in the blazing sun of Athens afternoons.
“Aliki, I’ll check the schedules, but I don’t think I can be there in time. I wouldn’t be able to catch a flight until tomorrow.”
“Don’t worry about that. There’s another thing.”
“Is my mother all right?”
“She’s fine.” There’s a tight sound in her voice that I wish I understood. “But there’s the will. You kind of have to come to Patras for the will.” She goes on to explain, somewhat sheepishly, that Nestor has left his squat one-story house to her and her husband, Nikos, and all its contents, including a pile of boxes and books, to me. He’s also left me two million drachmas, at nearly six thousand dollars a fairly princely sum from someone who lived his life on a teacher’s salary. A princely sum for me too, given the state of my bank account.
“I guess you have to come and sign the form,” she says. “The Acceptance of Inheritance.”
“Aliki, I’d love to come,” I say, regretting the formulation. It’s a death in the family, not a vacation. “But I don’t think I can get away from work right now.” I hold a job raising money for a private school. I speak on the phone with old-money patriarchs whose names are only slightly more WASP-ish than mine. “I’m sure I can do it here. The consulate’s a five-minute walk away.”
“Are you sure you can’t come?” She sounds almost worried now.
“What’s up, Aliki? Is there something you’re not telling me?”
“I don’t want to say.” This isn’t the Aliki I remember. Older than me by three years, she was always defiant and self-assertive. I used to watch her for lessons on how to stand up to the grown-ups and later to the men who would catcall her wherever she went.
“Tell me.”
“Well, there’s a reason your mother didn’t call. I don’t think she wanted you to make it here in time, Paki. She’s acting all funny about Nestor leaving you his things.”
“Funny how?”
“Like she doesn’t want you to have them. Or to go through them. I think she figured if she waited long enough to tell you he had died, there’d be some legal way for her to keep his stuff for herself.”
The phone crackles; a car outside on Pinckney Street spins its wheels in the snow.
“Wow,” I say.
“So I think you should try to come, Paki.”
“Yeah,” I say, and it’s almost a whisper.
Nestor’s living room was lined with bookshelves that held plenty of books but mostly metal cases of film and reel-to-reel tape. All of Beethoven’s symphonies, recorded from the radio; Nestor’s ascents of dozens of mountains, captured on his 8 mm camera. As a child, a teenager, a college student, I loved when he showed me the films or played me the music. But what I think I loved best was when he would open his wooden cases of seashells or tell me about his glass vials of sand from beaches around the world—all of it labeled by place and date of collection. He would sit me down on the velvet couch and hand me a vial, asking me to imagine the beach in North Africa or Sardinia where he had filled it at surf’s edge. I promised him I would go to these places and have adventures of my own. But there I let him down, spending more time digging around in my head than in any foreign land, wearing down a path between hope and resignation. I am so sad that my last memory of him dates from as long as five years ago. I know I don’t deserve Nestor’s pride Aliki mentioned to console me.
“You’ll have to call your mother,” Aliki says.
My mother always carped on her brother’s unruly home and mocked his habit of collecting odd objects from his travels. What on earth could make her want to keep these things for herself now—and prevent me from having them?
“Aliki, can I stay with you?”
A second’s hesitation—she knows what my mother will say at such disrespect—and then she tells me she can’t wait to see me again.
After I promise to call her as soon as I have my travel details, we say goodbye and I stand in the high-ceilinged room for a moment, listening to the hiss of the phone. Outside, the wind is blowing hard off the river, and people are walking with their heads bowed against the cold that I can feel
seeping in through the windows.
Keys rattle behind me in the lock, and Jonah comes in, stomping his feet on the doormat and groaning.
“Cal, I think my nose is numb,” he says. I hear him set bags of groceries on the kitchen counter that lines the other end of the room.
“You all right, Cal?”
He has hung up his jacket and hat and slipped off his boots and is standing by the door, looking at me, his brown hair falling over his eyes. Cal: my four-syllable name of Homer’s Muse reduced to something that sounds like a cowboy or a baseball player. I like it.
“My cousin called,” I say, tossing the phone onto the couch. “My uncle died.”
“Which one?”
“I only have one. My mom’s younger brother.”
I met Jonah Sullivan over beer at The Sevens, and I moved in to his one-room apartment at the bottom of Beacon Hill almost two years ago. If he doesn’t know the details of my family, it’s my fault, not his.
“I’m sorry, Cal.” He comes and hugs me, squeezing my arms against my body. His face is cold.
“It’s okay.” I twist free and begin to unload the groceries. “Apparently he left me some stuff. I’m supposed to go to Greece and sign a form so I can take possession of the inheritance.”
“You going to?”
“I just told Aliki I would.”
“Why don’t you sound happy about that?”
“I’m sad about my uncle.”
“Not buying it. What’s the matter?”
“It’s complicated. You know that.”
“Cal,” he says, coming closer.
“Let’s not talk about it now, Jonah.” I attempt lightness. “Open some wine.”
“What are you afraid of?”
“Who says I’m afraid at all?”
“Cal, I know you. You have your chin sticking out, all tough-guy, but you’re clearly scared of something.”
He cups my chin and tugs my face toward him. I let him kiss me.
“Fine,” I say. “Because I want to go. But this is exactly why I don’t talk to my mother. If I go, I’ll be hoping everything will be great and she’s going to end up making me feel awful.”
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