Terms of Endearment acts as a sequel to Moving On (1970) and All My Friends Are Going to Be Strangers (1972). The fourth installment in McMurtry's "urban tetralogy" is Evening Star (1992). The initial two books delve into the various ways men and women disappoint each other. Although McMurtry initially intended to pursue this theme further, this novel transitions to examine the dynamics of a parent-child relationship. It specifically focuses on the intricate bond between a mother and daughter, showcasing its failures, betrayals, and steadfast loyalty.

Terms of Endearment, at its core, delves into the intricacies of human relationships and the inevitable shortcomings they entail. The narrative unfolds a tapestry of both familial and romantic connections, each marked by an underlying sense of dissatisfaction. Desperate to fill the void of loneliness, the characters cling to these imperfect bonds despite their inadequacies.

At the heart of the story is Aurora Greenway, whose restless pursuit of love serves as a façade for her deep-seated fear of solitude. Her eventual choice to settle with General Scott, despite recognizing the compromises this entails, highlights her acceptance that her grandiose ideals will never be met by any single partner. Aurora's daughter, Emma, offers a contrasting yet similarly bleak perspective on love. Devoid of her mother's illusions, Emma finds herself trapped in a cyclical pattern of unfulfilling extramarital affairs, reflecting a joyless journey through her relationships.

The secondary characters further echo the novel's somber view of love. Rosie Dunlup's marriage stands as a testament to disastrous romantic choices, while Vernon Dalhart's enduring virginity underscores a perpetual sense of unfulfilled desire. Through these characters and their stories, Terms of Endearment presents a poignant depiction of the inevitable failures and compromises that define human relationships, leaving readers to ponder the profound complexities of intimacy and companionship.

The intricate dynamics of the mother-daughter relationship depicted in Terms of Endearment reveal a poignant narrative woven with criticism and unrealized affection. Aurora, with her relentless criticism and lack of sensitivity, has shaped Emma into a woman grappling with a diminished sense of self-worth. Emma, deprived of maternal warmth, finds solace in Rosie, who steps in as a nurturing surrogate from her earliest days. Aurora's preference for a different kind of daughter is evident through her admiration for Patsy, Emma’s friend, who embodies the grace and sophistication Aurora values. Yet, despite this admiration, the two women maintain a cautious distance marked by mutual suspicion.

The dysfunctional bond between Aurora and Emma casts a shadow over the succeeding generation, as Aurora takes on the role of guardian to her grandchildren following Emma's death. Among them, Teddy stands out with a sensitivity reminiscent of his mother, leaving one to wonder if his emotional needs will be adequately met without Emma's presence. However, in Emma’s youngest child, Melanie, there emerges a glimmer of hope. Her unpredictable charm and spirited nature mirror Aurora's own characteristics, suggesting the possibility of healing and a new beginning for the family.

In a rare moment of introspection, Aurora reflects on her deceased daughter by admitting, “She often made me feel I was faintly ridiculous. . . . Somehow she just had that effect. Perhaps that was why I remained so unremittingly critical of her.” This belated self-awareness highlights the tension that subtly underpinned their relationship, a realization that comes too late to mend the rift. Such moments of clarity are emblematic of the complex, often unresolved nature of familial bonds, leaving readers to ponder the intricate balance of love and reproach in the ties that bind mothers and daughters.