Agonizing, attitudinizing, and just plain nattering from beginning to end, it is questionable whether anyone will put up with the quasi-modern, demure-decadent nonsense which goes on here about nothing at all. Kay, when first seen observing her parents in a delayed primal scene is rebuked by her brother Bart--he's been having an affair with their aunt; at sixteen, she's seduced by the plumber; at twenty, her parents die almost simultaneously and Bart is killed in Korea. Thus bereft, she marries a self-made orphan, Chester, whose money comes from the munitions which might have killed her brother and she cannot accept what Chester is doing. For years she tries to bring him to his senses--finally on a holiday in Venice she succeeds in so doing by shoving him in a canal. . . . With all its expensive accessories (cloisonne vases and sherry) and pseudopsychological referrals, this might well have been written in transit from some finishing school to the couch.