Am re-reading it and somehow can't enjoy it as much as before because EACH TIME Rose Sellars pops out the only thing I can think of is how manipulative calculative perfectly machiavellian woman she is. Each response, each gesture, each mimic is calculated to control Martin without him realizing it. The thing is, how could I not realize it before? I was blathering about love which I suppose is true from Martin's side. But now it feels to me that the way Wharton presents the interaction between Martin and Rose is purposely done to shove this fact to reader. I mean, there's so many descriptions of Rose's smallest responses which I don't think was descripted for other casts. I need to check this again. I suppose it's actually quite normal. I am now not who I was. We saw and give attention to different thing. The old me saw and symphatize with long distance love affair. The present me, thanks to a painful conversation sometime ago, saw the mechanism of manipulation that supposed to be the only way relationship can go on. Which brought me to another thought. A comparison between the Wheater and Sellar-Boyne relationship. The Wheater gives impression of worldly sophistication, their world is the world of entanglement, palace hotel, art, money. But they themselves are children, children, children. The way they tried to control each other and failed miserably at is children's way. All in the open, shouted out from the top of the roof. During this time Rose Sellars weaved her web around Martin, circling him with such a delicate yarn. The Wheaters are simple. Rose Sellars is the queen of sophistication.-----------------------------------------------------------------------I kept on wishing for a happy end even until the last page. Of course it didn't happen. I know deep inside I would like it less if Wharton gave it a happy end. We need more truthful ending than happy end especially now where nobody seems to have the courage to end a story bitterly. Would it affects the sell, I wonder. This is why I like watching Japanese movies where they're not afraid to kill the main character. Or old Indonesian movie where the last scene show the long parted couple to be reunited, the man was coming with a ship and the woman waiting for him at the harbour. They both saw each other and as they were running to meet the director let a container fell on the man, the credit started. I can still remember my gasp of disbelief until now. Anyone can remember what this film title is?Anyway, Wharton did a truly wonderful job with the children. They are not the idealized and sainted children that sometimes show up on books. They fight with each other, they can show loyalties to their siblings but also show egoistical childishness. I love how Judith is sometime a woman but also a child and how it baffles Martin, especially as he proposed to her.This book is not only about the Wheater children, though. It's more about Martin and his understanding of love. How someone could love an image of someone that he creates for himself, how this love might not survive the confrontation with the real person. It also showed that even if your dream is the only thing made you persevere with your present condition, sometimes what you already have is what suits you the most.I definitely will read more of Wharton's book. The question only which.