Tag Archives: miserable marriages

Three Floors Up: Eshkol Nevo

Three Floors Up from Israeli author Eshkol Nevo takes a look at the lives of three residents of a Tel Aviv apartment building. The novel is split into three sections, each told by a first person narrator. While it may seem that the commonality here is proximity, gradually it becomes clear that all three narrators live on the fault lines of a fractured family. Each of the three characters are drawn, unwillingly, into moral dilemmas that will change their lives.

Three floors up

Arnon, a retired officer tells his tale to a writer, an old friend from the army. Arnon is married to lawyer Ayelet. There’s the sense that Arnon’s professional life hasn’t quite worked out as he planned, and he often recalls his time as a soldier. Tension exists and simmers in the marriage between Arnon and Ayelet. They have two daughters, Ofri and Yaeli. There are already indications that there were personality clashes between Ofri and her mother before Yaeli’s birth, but Yaeli’s ill health seals the divide in the family. Ayelet favours Yaeli, or at least Arnon sees it that way. Before long, the family unit is subtly divided into two, with Arnon and Ofri on one side and Ayelet and Yaeli on another.

Arnon and Ayelet are in the habit of leaving Ofri with their elderly neighbours, Ruth and Herman. Arnon has indications that perhaps this isn’t the greatest idea, but he goes ahead anyway, and when a crisis occurs, the fault lines in his family explode.

In every fight, there’s a moment when you say something you shouldn’t and there’s no turning back. Know what I mean? So that’s what happened. And what did I actually say to her? “If it was Yaeli, you wouldn’t be so calm.”

It isn’t a state secret, right? Just one of those little kinks that families have. Even in the bible, in the story of Jacob and Esau, it’s obvious that Jacob was his mother’s favorite and Esau was his father’s. The point is that it’s natural for a parent to prefer one child over the other. Even love him more. What isn’t natural-it turns out-is saying it out loud. Those little kinks are supposed to be transparent, invisible. But I just couldn’t control myself. She was sitting there in her prim lawyer’s outfit with her hair pulled back, talking to me in that patronizing way, like she was civilized and I was a savage. So I had to put her in her place. Every once in a while, you have to put them in their place.

The second narrative takes the form of a letter from housewife, Hani to her friend in America, Netta. Hani is known as “the widow” by her neighbours due to her husband’s continual absences. Hani, at home alone with the children, remarks to Netta that she married her husband thinking he would be a good father, but even when he’s home, he doesn’t get involved in family life.

Hani’s letter recalls the events that took place when her estranged brother-in-law showed up at her apartment. As a major embezzler, he’s on the run from the police, his former clients and even loan sharks.

The third narrative is told by a retired judge, Devora, whose husband, also a judge, died the year before. Devora’s tale is told by her to her dead husband, and she relates how she became involved in local demonstrations.

Of the three sections, Arnon’s is the strongest, possibly because we’re not quite sure how much is reality and how much is guilt. Plus an undercurrent of suppressed violence flows under his words, and this makes his side of things more complex (and epic as it turns out.)  Hani’s letter to Netta is also slippery, and the actions of her brother-in-law are highly suspect. Devora’s tale also presents a moral dilemma as she recalls a decision she and her husband made regarding their son.

The skill here is in the narrative, and the way each creates an intimacy with the reader, so that we become the listener to these confessions involving the most private moments. But even beyond that, as each story evolves, we ask ourselves what we would have done? What choices would we have made?

review copy

translated by Sondra Silverston

Marina Sofia also read and reviewed Three Floors Up

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The Last Mrs. Parrish: Liv Constantine

The Last Mrs. Parrish, a tale of betrayal, adultery and revenge is the debut novel from sisters Lynne and Valerie Constantine (pen name = Liv Constantine).  This page-turner is already being compared to Gone Girl which probably guarantees sales, but it is an unfortunate comparison for this reader as Gone Girl pissed me off more than anything else.

That said, expect The Last Mrs Parrish to make it to either a TV series or film. And who would I cast for the lead stars … well more of that later.

the last mrs parrish

Approximately the first half of the novel is told from the view of Amber Patterson, a young women who moves to the affluent area of Bishop’s Harbor, Connecticut with the sole goal of seducing a billionaire international real estate magnate in his 40s, Jackson Parrish. Amber, and that’s a fake name by the way, has done her research. She knows all about the Parrish family, how much they are worth, what they own and what their interests are. It doesn’t matter to Amber that Jackson is married with two children. In fact, Amber uses Jackson’s wife, Daphne, a woman who runs a charity foundation for Cystic Fibrosis, to worm her way into the lives of the Parrish family. Soon Amber is Daphne’s friend, and she pretends to like Daphne’s two little girls in order to get invited to family events.

Amber has her work cut out for her. Pencil-thin Daphne is gorgeous, educated, elegant, and an overall nice person, and what’s more, Jackson Parrish appears to adore his wife. But Amber conducts a ferocious, single-minded, obsessive campaign to hunt and bag Jackson. At first she dresses plainly but gradually moves to tarty as she gets closer to Jackson.

The strength of the novel lies is Amber’s tart, vindictive self-justified POV:

Amber leaned forward and did her best to look interested while she calculated the total worth of the diamonds on Daphne’s ears, the tennis bracelet on her wrist, and the huge diamond on her tanned and perfectly manicured finger. She must have had at least a hundred grand walking around on her size-four body, and all she could do was whine about her sad childhood. Amber suppressed a yawn and gave Daphne a tight smile.

And then there’s her malicious, brooding resentment of the two little girls

Once she was Mrs Parrish, those two brats were on borrowed time. They could go to community college as far as she was concerned. 

It can be tough to create sympathy for characters who are so wealthy they are removed from the cares most readers share, but the authors initially create Daphne as viewed by a conscienceless predator. Even though we don’t get to see Daphne’s first person narration until the second half of the novel, Amber’s vicious intentions are so vile (she wears Daphne’s perfume and takes her underwear,) you can’t help but see Daphne as an Everywoman walking right towards her own destruction. When the novel switches to Daphne, the novel loses some of its power which just goes to prove that ‘nice’ people are far less interesting than nasty ones. We all love someone we can hate, and the character of Amber keeps the reader turning those pages. While I regretted the loss of the novel’s momentum as Daphne took the helm, I was committed to the bitter, bitter end of this one.

Angelina Jolie as Daphne Patterson. Alexander Skarsgård as Jackson Parrish. Can’t decide who should play Amber–arguably the most difficult role. (But I’m still thinking about it.)

Review copy

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The Puzzleheaded Girl: Christina Stead

“Once I wrote to an asylum to take me in.”

The Puzzleheaded Girl from Christina Stead is a collection of four novellas, all of which explore that tangled, complicated relationships between men and women. Stead seems to aks if one gender will ever understand the other, and the resounding answer is  …. NO. The first novella in the collection, The Puzzle-Headed Girl is the story of a man, Debrett, an idealist who employs a young woman named Honor Lawrence as a filing clerk. He offers the young woman a job out of pity as she obviously needs money and is poorly dressed. Over a number of years, Honor drifts in and out of Debrett’s life, always with some strange story, sometimes cadging meals or money. Debrett, “a married bachelor,” thinks she has “principles” and admires her, even as he scripts her life with wrappings of romanticism, but as she repeatedly inserts herself into his life, it becomes clear that Honor is unbalanced. Debrett rather dimly asks himself,“Was she just a child; or a free soul?”

For its tone and pacing, The Puzzle-Headed Girl reminded me of A Little Tea, A Little Chat although of course the subject matter is entirely different.  In both books, Christina Stead shows the separate worlds of men and women. Particularly enjoyable is the idea that a lower-level of craziness can pass for quirks or principles in the young (or wealthy).

The puzzleheaded Girl

The Dianas is the tale of Lydia a rather giddy young woman who’s unleashed in Paris. We first see her in a hotel juggling dates with various men and contemplating marrying a Frenchman. While she says she can’t make up her mind which man to go out with that evening, she spies Russell, “someone she recognized, a middle-aged American with a half-bald sandy head and fat sandy face, an upstate professor of psychology,” a friend of her mother’s. Lydia decides to torture and humiliate Russell. It’s fairly easy to see Russell as Lydia’s victim. Perhaps Lydia is giving Russell a taste of his own medicine, or perhaps she’s just practicing on someone she can easily outclass.

The third novella, The Rightangled Creek, is quite different from the rest of the stories: it’s the tale of a ramshackle cottage which is inhabited by a number of couples over the course of a few years. When the story opens, Sam Parsons returns to America and visits Laban and Ruth Davies, a couple he met in Paris. Laban is a writer and a raging alcoholic and the idea of stashing him in the cottage out in the middle of nowhere is essentially to ensure that he will stay dry.

They had been lodging in artists’ colony but spotted this farm and rented it for $12  a month. Laban is writing a book, “a history of European culture,” drinking three or four pots of coffee a day while Ruth grows their food. They invite Sam and his wife Clare to join them. The Davies’ plan is for Laban’s book to sell which will enable them to buy the farm and send their son, Frankie to Princeton.

Ruth is mother, wife, caretaker, nurse,  housekeeper, jailer and general drudge to her husband Laban, and while she realizes his weakness when it comes to alcohol, she will go to any lengths, sacrifice everything, for this man.

“We save money here, I do everything,” she said in her warm round voice in which there was a strident note.

Over the course of the novella, some past incidents reveal how insane Ruth’s relationship is with Laban.

The fourth novella, Girl From the Beach, is the story of a man named George, a womaniser who blames all of the women in his life for his actions. Again his rants led me back to the character of Robert Grant in A Little Tea, A Little Chat. Robert Grant and George are two slightly different versions of the same man. George has a number of ex-wives, a “swarm of little-girl gadflies.” And it’s not easy to nail down how many ex-wives there are but he admits to “three in this country.”

“I wanted to get married. I fell in love with each; and each one,” he said, getting red and shouting, “did not love me; or only as children love. Marriage was an outing. Papa would buy the candy and the ride on the loop-the-loops. I can pay. Don’t worry about my health.”

And:

American girls are bloodthirsty. Their honour is in sucking a man dry; then they throw out the corpse. Why, I have known women here who destroy a man’s happiness and faith in himself, ruin his career, divorce him, turn his children against him, blacken his name to all his friends, suck him dry, and then marry him again to show they own him.

And, of course when George rants about the venal nature of women, he’s trying to persuade another victim to take a trip down the aisle. George eventually meets another woman, Linda who seems to be a prototype of Lydia in The Dianas.

Putting all four novellas together and examining them as a whole, I was struck by the significance of a few things. 1) Paris appears in all four novellas. Stead uses Paris rather as Forster used Italy: people go wild there. Take the saying “what happens in Vegas, stays in Vegas,” and in Stead’s novels it becomes “what happens in Paris, stays in Paris.”

Oh, Paris is an obsession; I feel it like paprika. And then the men fluttering round, so aimless and asking you to decide. 

Male-female relationships dominant here, and it isn’t pretty. One character in The Puzzleheaded Girl brags about his spouse: “My wife’s as good as two hired men”–shades of the much abused Ruth in The Rightangled Creek. I was also struck by the reoccurring character of  Robert (A Little Tea, A Little Chat) George (Girl From the Beach) and even, if we stretch it, Laban (The Rightangled Creek)–men who want the women in their lives to be all aspects of the feminine ideal while they are … well …dickheads.

Review copy

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The Woman Who Walked Into Doors: Roddy Doyle

The protagonist of Roddy Doyle’s 1996 novel, The Woman Who Walked Into Doors is 39-year-old Dublin mother of four, Paula Spencer. When the novel opens, a Guard arrives at Paula’s door. This is not an unusual event as the police frequently come knocking at the door looking for Charlo, a man with a criminal past, but this time is different…

From that moment, Paula recalls her story of life with Charlo, how they met, their torrid courtship, her father’s strong disapproval, and the highlight of Paula and Charlo’s life together: the wedding. From here, things go downhill, and reader, I’m going to insert a spoiler here, the novel includes some flashback details of domestic abuse.

The woman who walked into doors

The novel goes back and forth from the present to the past as Paula recalls her marriage. In the present, Paula, an alcoholic (and we gradually learn how that happened) is a cleaner. She cleans a bank in the early evenings, and during the day, she cleans the houses of women her age who are considerably better off.

I like seeing into other people’s houses. Funny, I hardly ever feel jealous. And I should, because some of the houses are incredible. Huge. Some of the stuff in them, I wouldn’t want most of it myself but it must have cost a fortune. Dark furniture, flat-screened tellies, CD players with tiny little speakers. I love music. There’s one house I do on Mondays, in Clontarf; they’ve a great collection of CDS, all the seventies stuff. I got her to show me how to use the CD player. There was no problem. I like her, the owner. Miriam. We’re the same age. We both went to the same dances when we were kids. I don’t remember her. She married a doctor. I married Charlo. 

Paula’s story is intimate: she talks to us of her adolescence, burgeoning sexuality (you were either a “slut or a tight bitch,”)  her harmless married fantasy life (at one point, she had a crush on a bus conductor), her relationships with her family,  Charlo’s intimidating family, and her children. All through these memories, Charlo appears, almost as though he enters and exits the door, looking for his meals, his clean, ironed clothes and someone to absorb his violence. Author Roddy Doyle convincingly shows Paula’s reluctance to admit how bad her marriage became, how she lost an entire decade somehow.

Paula tells her story with vibrancy, tenacity, and intense humanity. There’s also the sense that it’s an underground voice, swelling from behind closed doors, and emergency room visits that hide the true nature of her injuries. She meets other women shepherded in to the ER by their supposedly caring, concerned husbands. Yes the number of ‘clumsy’ women at the emergency room are legion. No one asks awkward questions, no one looks directly into the eyes of the victims, but everyone goes along with the stories that these women have fallen down the stairs or, as the title states, ‘walked into doors.’

A word on style. I read some reviews complaining about the author’s style. This was very readable, but without quotation marks if that bothers anyone. The sentences are sometimes very short as they mirror speech, and Paula is speaking to us here, so sometimes she corrects or expands her thoughts with one word. The domestic abuse is recalled with a surreal quality that echoes the rapidity and illogical circumstances of Charlo’s violent rages. So in other words, it’s not blow-by-blow but rather the violence is impressionistic.

Finally, a quote about the wedding day which was one of my favourite scenes in the novel.

The Spencers were in charge now. My crowd were huddled in a corner, sipping their drinks and waiting for going-home time. The Spencers had taken over. They even took the instruments off the band, got in behind the drums and started messing with the knobs on the amplifiers. The brothers. Liam, Thomas, Gregory, Harry, Benny and Charlo.

The wedding was over. I was married now, one of them. They were finished with my family. Not just the brothers. His mother and father, all his aunts and uncles and cousins. They took over the whole place. they kept on singing.

-I’m in lurve-huh-

I’m all shook up-

My crowd started leaving. They crept along the walls. there were cousins whispering behind me; a fight going on in the men’s toilets. Harry started bashing the guitar on the floor. The Virginians stood beside their gear and pretending it was a real gas. 

Of course, we all cheer for Paula, a likeable woman who feels very real and who’s survived adversity with the scars to prove it.

 

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Family Matters: Anthony Rolls (1933)

Regular readers of this blog know that I’ve read quite a few titles from British Library Crime Classics, published by Poisoned Pen Press. The delightful Family Matters from author Anthony Rolls (real name C. E Vulliamy 1886-1971) is one of the strongest titles in the series. Yes there’s a murder, but the structure and content of this highly entertaining tale is quite different from the usual. The introduction from Martin Edwards gives an overview of the career of Anthony Rolls, and mentions that he wrote his crime novels during two very specific times of his life. Sadly all of his other work (apart from Scarweather) is oop and used copies are either impossible to find or pricey.

Family Matters is a domestic crime novel and concerns the troubled household of the Kewdinghams who live at Number 6 Wellington Avenue in the town of Shufflecester. Robert Arthur Kewdingham, a man from a solid middle class background, married Bertha, the daughter of a Canadian Wesleyan minster and a French governess. The Kewdinghams, with a couple of exceptions, are not happy about the match (especially the French part), and don’t consider Bertha good enough. Robert and Bertha have one child, and also living at Number 6 is Robert’s crotchety elderly father who looks at his daughter-in-law with dislike and writes her nasty notes with very pointed quotations.

family matters

Following the economic collapse, Robert, an engineer, lost his job. The Kewdinghams have modest independent means, but there’s never enough money. Robert, now unemployed, has turned to his many hobbies: The Great Kewdingham Collection, cabinets and “precarious piles of cardboard boxes” litter the house.

Inside these receptacles there was an astounding medley of junk: bits of coral, broken pots, beetles and butterflies impaled on pieces of cork or stuck on cards, odd fossils, bones, brasses, dried flowers, birds’ eggs, little figures in soapstone and ivory, ushabtis from the tombs of Egypt, fragments of uncertain things, weird scraps of metal, badges, buttons, mouldy coins and innumerable varieties of suchlike trash.

These days we’d call Robert a hoarder, but poor Bertha must tolerate other ‘eccentricities;’ her husband’s political activities (he thinks Shufflecester is “full of Bolsheviks“), he’s a hypochondriac who medicates himself with bizarre potions, and he has a “vast library of occult books and magazines, which he was constantly reading.” Add this to his belief that he lived an earlier life as “the High Priest of Atlantis, Keeper of Wisdom.”

He was now in middle age, without a profession, impecunious, full of absurd notions, a wretched hypochondriac, irritable, silly and resourceless. 

Life at Number 6 is fraught with “incessant bickering,” and several outsiders, including the dapper little Doctor Bagge, and relative John Harrigall, feel bitterly sorry for the attractive Bertha who is trapped in an insufferable marriage to a selfish, egomaniac who has long passed the label of eccentric to mental case.

Friends of Robert, Mr and Mrs Chaddlewick also visit, and Mrs Chaddlewick with her cooing flattery and seemingly “amiable vacancy,” both encourages Robert’s foolishness and fosters domestic strife. It’s testament to Bertha’s tenacity and arguably her inflexibility  that she refuses to ‘manage’ Robert in the same way.  With criticism from Robert’s relatives and vicious notes from her father-in-law, it’s not surprising that Bertha should seek solace from the handsome John Harrigall. As Robert’s tirades escalate and become more violent, Bertha begins to consider murdering her husband.

Family Matters is an unusual crime novel for its structure and its conclusion, but it’s also separated from the herd by its attitude towards women. The court at Shufflecester, for example, is “bleak and hideous,” and we are told that “it is only possible to find this degree of squalor, of neglect and of ugliness, in courts of law–places where the sane influence of women has not yet penetrated.” There’s also mention of sex with a hint dropped of “three hours in a disused gravel-pit.” Anthony Rolls seems to understand the lonely, treacherous path to murder trod by the otherwise respectable member of society:

The inception of the idea of murder is not immediately recognised. Such an idea enters the mind in disguise-a new arrival in a sinister mask, not willingly entertained and yet by no means to be expelled. Or, in more scientific terms, it is introduced by a sort of auto-hypnosis, the mere repetition of the thoughts or words not immediately connected with personal action. Between the highly civilised individual and the act of murder there are so many barriers, so nay conventions and teachings-or so many illusions. 

In the introduction, Martin Edwards argues that Rolls had good ideas but sometimes couldn’t sustain plots. That weakness is not evident here. With its caustic look at society, marriage and norms Family Matters is an impudent, lively novel,  a delight to read.

Someone .. please bring The Vicar’s Experiments back into print.

review copy.

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Caribou Island: David Vann

“If you wanted to be a fool and test the limits of how bad things could get, this was a good place for it.”

Dark, bleak, and with a pervasive sense of impending doom, these are words to describe David Vann’s book: Caribou Island, a tale of a miserable marriage pushed to the limits in Alaska. The book argues that Alaska draws certain types: adventurers, yes, but also failures–people who are looking to fulfill a dream. This is certainly the case with Gary, who was working on his doctorate,”becoming a medievalist” at Berkeley. He realized that he would never finish it, and that he wasn’t that good, so he decided to take a year off and travel to Alaska.  In tow was Irene, a girl he met and married, thinking that he could do better. She thought Gary was taking a year off, but in reality, he was “running away.” They never left Alaska. Fast forward thirty years

Alaska felt like the end of the world, a place of exile. Those who couldn’t fit anywhere else came here, and if they couldn’t cling at anything here, they just fell off the edge. These tiny towns in a great expanse, enclaves of despair. 

When the novel opens, it’s late summer. Gary and Irene are engaged in building a log cabin on Caribou Island. For Gary, with his history of failure and “impossible projects,” the cabin is his next white whale. The couple, whose two adult children, Mark and Rhoda reside elsewhere, live in a ramshackle house on the shore of Skilak Lake. Their house is “tucked back into the trees so the lake still could seem prehistoric, wild. But it wasn’t enough to be on the shore, they were moving out, now, to Caribou Island.”

caribou island

It’s not long before we realise how insane Gary’s plan is. Gary and Irene are in their mid 50s, and now he’s decided to build a log cabin with no running water, no indoor plumbing, perhaps a fireplace, on an island that is only accessible by water, and inaccessible once the lake has frozen. Gary has no plans for this log cabin and has no idea what he’s doing; he builds as he goes along. Nails don’t fit properly through the logs, and there are gaps between logs so that there will be no protection from the upcoming sub zero winter. The plan is doomed from the start, as Gary doesn’t begin until late in the season with storms already on the way. We follow Gary and Irene as they drag logs onto a boat to take to the island, and it’s in these scenes that author David Vann captures the subtle politics of a toxic marriage:

We have to get this load out to the island, he yelled back, and then he pulled another log, so Irene followed, though she knew she was being punished. Gary would never do this directly. He relied on the rain, the wind, the apparent necessity of the project. It would be a day of punishment. He would follow it, extend it for hours, drive them on, a grim determination, like fate. A form of pleasure for him.

Irene followed because once she had endured she could punish. Her turn would come. And this is what they had done to each other for decades now, irresistibly. 

The game of mutual punishment begins, and after a torturous day in the rain loading logs, with several mishaps along the way, Irene becomes ill. …

The plot shows man vs nature and also man vs man in a daily battle for survival. With man battling nature, the war is clear-cut, well-defined, but when humans battle each other–as they do in Gary and Irene’s case, the battle is more subtle with a series of barely visible hits scarring a marriage and psyches.

But Gary and Irene are not the only battling couple here. Their daughter, Rhoda, lives with Jim, a dentist. She’s 30 and he’s in his 40s turning to flab. It’s a relationship in which both parties have compromised. Rhoda loves Jim’s home with its fantastic views, and she takes care of him, planning an upscale wedding in Hawaii while ignoring Jim’s disconnectedness and lack of enthusiasm for the plan.  With her former boyfriend, “the payoff had been a small trailer home with a few free halibut steaks. Whereas with Jim she had unlimited canned peaches and all the Krusteaz pancake mix anyone could ever want.”

As a reader I can’t say that I enjoyed the book; it’s too bleak and depressing for that, but the book is very well written, haunting and capable of creating visceral reactions in this reader. Through Irene’s illness, we get a sense of the remoteness of this community, and how getting an MRI involves a major excursion. Irene’s illness shows the fragility of the human condition, and yet Gary flies in defiance of this. I was committed to watch this train wreck of a marriage to its bitter end.

The book includes descriptions of fish gutting, and I skipped these. I read this along with Emma. Emma’s review is here.

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Anything is Possible: Elizabeth Strout

“Life had simply not been what she thought it would be.”

I recently watched Olive Kitteridge, and I liked the sour, yet sturdy character of Olive Kitteridge so much, I decided it was about time I tried some of the author’s work. That brings me to Anything is Possible which isn’t a novel as much as a series of interconnected stories, mostly set in Amgash, Illinois. While there’s no one single theme to these nine stories/chapters, family secrets, life’s disappointments, certainties and doubts are highlighted as we flow into, and out of, these characters’ lives.

The first story, The Sign, is told by Tommy Guptill, a former dairy farmer turned school janitor, who in his 80s, reminisces about the child Lucy Barton. Lucy is now a famous author living in New York, and her memoir is on sale in town. The memory of Lucy, who Tommy suspected was abused, causes him to drive out to the isolated Barton homestead and visit her damaged brother. This visit in turn leads Tommy to question an event that uprooted his life.

anything is possible

Other stories concern an overweight, widowed high school guidance councilor who has a meeting with Lucy Barton’s niece, and the councilor’s sister, who’s so afraid of ending up living in a trailer, alone, that she buries her head in the sand concerning her husband. In another story, a married man frequently meets with a prostitute, and fittingly, in “Sister,” Lucy returns home to visit and reconnects with her siblings.  Of the collection, “Dottie’s Bed and Breakfast” stood out for its portrayal of the marriage of Dr and Mrs Small, so miserable and pathological that Dottie feels “comforted about her divorce.

What Dottie had not understood until the Smalls came to stay was that there were different experiences she attended to in this business that made her feel either connected to or used by people. 

I disliked the first story, The Sign as for its cliches, and while I warmed to some of the characters, (Patty, Dottie) for the most part these are a miserable lot. A thread of deep melancholy runs through these stories, and while we all have to live with our mistakes, these lives of quiet desperation made me wonder about the suicide rate among these characters, but no, then again, they seem to carry on, shouldering the burden of disappointment, mistakes, and secrets.

I haven’t read Lucy Barton, and although other reviews state that it’s not necessary to read Lucy Barton before reading Anything is Possible,  it might have helped to be given some background to these characters. I seem to be in the minority opinion here and glowing reviews dominate, but in spite of my disappointment, I still intend to read Olive Kitteridge. 

Review copy

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A Dubious Legacy: Mary Wesley

As readers we get ‘impressions’ of writers and books–sometimes this comes from browsing or reading reviews, and sometimes vague impressions are created just from looking at covers. Occasionally, those impressions are challenged and then, for one reason or another, readers take the plunge and try a novel written by an author we’ve bypassed for years. And that brings me to Mary Wesley … an author I decided was too romancey, too ‘nice,’ too upper-crusty for me, and I’m happy to say that after reading A Dubious Legacy I was wrong about Mary Wesley.

A dubious legacy

The novel, which spans almost 50 years, opens during WWII with Henry Tillotson bringing his new bride, Margaret, back to his country estate, Cotteshaw.  We don’t know anything about their courtship, but we can tell almost immediately that this marriage is a horrible mistake. Henry picks up his bride from the station with a horse and trap. She hates horses, and with no small display of umbrage, bad temper, and yes, pure bitchiness, takes the taxi.

Shortly, Henry returns to the war and Margaret, who is perfectly healthy, takes to her bed. Choosing invalidism out of spite, she refuses, except on rare disastrous occasions, to leave the bedroom.

Margaret’s talent is finding the weak spot and inserting the stiletto. 

Fast forward to the 50s and Henry invites two young men, James and Matthew to a country weekend along with the girls they intend to propose to: Barbara and Antonia. Both matches have an element of convenience. The young women want to escape dreary homes and enjoy material comfort, and for their part, James and Matthew have their own secrets.

A large part of the novel involves a dinner party Henry arranges and its disastrous outcome. The rest of the novel is the fallout from that event.

I liked A Dubious Legacy but didn’t love it.  The beginning, with the ‘two Jonathans’ was a little rough, but the novel smoothed out after that. At one point I thought I’d enjoy this as much, let’s say, as the novels of Margaret Forster, but while the lives of the characters are interesting, there’s really no deeper message here except perhaps the way one horrible person, with their nastiness, can hold others hostage.

I liked the nastiness/ pettiness of some the characters and the way Wesley isn’t afraid to show the dark thoughts of Henry, the titular hero. I still can’t decide if Margaret, who tells the most terrible lies about Henry (he’s impotent, he tried to rape her, he has sex with the horses), was mad or malicious (after the incident with the Cockatoo, I lean towards the former). I was a bit annoyed by everyone’s attempts to get Margaret OUT of her bedroom, as historically it’s proven that bad things happen when she mingles. Frankly they would have been better off leaving her in her “brothel” designed bedroom. Perhaps the sensible thing to do would have been to lock the door and throw away the key.

Finally, the novel’s light humour really adds to what could have been a depressing scenario. At one point, Henry contemplates divorce and seeks legal advice:

Counsel, when consulted, had suggested  that since adultery and desertion were in the eyes of the law the only cause for divorce, he should sue his wife for the restitution of conjugal rights. “That will get things moving.”

Appalled by the suggestion, he had exclaimed, “That’s the last thing I want!”

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Undue Influence: Anita Brookner

Fresh on the heels of Anita Brookner’s Dolly, I turned to Undue Influence, the story of a young, single woman who becomes embroiled in a peculiar marriage. Claire Pitts’s mother has recently died when Claire meets an attractive married man who comes into the bookshop where she works. He’s looking for a copy of Jenny Triebel, and Claire, remembering where a copy is located in the shop, offers to drop it by. She doesn’t waste any time, and on the way home from work, she stops by his house only to discover that he’s married…but what a strange marriage it is. His wife, Cynthia Gibson, an attractive woman, is an invalid. She never leaves her room and has the care of a daily nurse. It’s her heart, apparently, but in spite of the fact that Cynthia is bedbound, she controls everyone in her orbit–starting with her husband Martin and soon Claire is swept up in the Gibson’s self-focused world.

“She’s lovely,” I said, quite sincerely. That air of a full-blown rose just going to seed was one I could appreciate. It went with ample forms, still visible beneath the elaborate negligées, anxious eyes, and a mouth that implied that no quarter would be given. She looked like what she was: a hardened coquette.

undue-influence

Claire has a habit, and we know this very early in the novel, of writing scripts for the lives of the people she’s met. This is an imaginative way of filling in the blanks. Claire does this with her employers–two elderly spinsters: Hester and Muriel Collier, the Gibsons, a neighbour she barely knows and even her own mother. While this speculation is mostly harmless, Claire assigns emotion and difficulty to people where it is perhaps absent, or at the very least different. She tells us within the first few pages of the book that her speculations can be wrong:

People are mysterious, I know that. And they do reveal mysterious connections. But sometimes one is merely anxious to alter the script. It was not the first time I had been guilty of a misapprehension.

Claire is intrigued by the Gibsons, and perhaps some of that interest is sparked by her own father’s long illness and by the sacrifices, as she sees it, made by her mother as she nursed her husband for about a decade. And of course, Claire’s interest in Martin Gibson is warped by attraction–she imagines Martin and Cynthia’s courtship, and their marriage ruled by the “tyranny” of the ill. Over time she builds an entire narrative of the Gibsons’ relationship, and it’s easy to see why; the Gibsons live in their own world, and other people are the entertainment.

This was their secret, I decided; they had both decreed, with some justification, that they were tragic figures, whose pleas must be heard at a higher court. They were not simply solipsists, they were soliloquists, drawn together in a fateful bond which demanded witnesses There was no room, there was no place, for outsiders, for third parties. my role was to register their predicament, in which they were so far gone that nobody but themselves could understand it. 

As in  Dolly, this is the story of a young woman whose parents are dead, but whereas in Dolly, the main character Jane is alone, but not lonely, Claire is definitely feeling the need for attachment. Claire is employed by the Collier sisters to memorialize their beloved father’s work, but as Claire pieces together the long-dead St John Collier’s work, she realises that this is the mediocre work of an unhappy man. Hester and Muriel Collier were devoted to their father, and their own long lives are sterile as a result of that devotion. Claire understands that sickness and devotion can create a sort of serfdom, and she has a horror of being trapped in a relationship in which her partner becomes ill. There are undercurrents buried in the sentences here of Claire’s sexual flings which seem to occur while she is on holiday–adventures which occur separately, and far from, her regular life.

Martin isn’t a particularly attractive figure, but Claire’s fascination seems to reside in his devotion to his wife, but there’s also something darker here; Claire identifies with Martin’s subjugation to the sick bed, and that makes her vulnerable. Brookner seems to argue that we can never really understand other people no matter how hard we work at building scripts of their lives.

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His Only Son: Leopoldo Alas

Miserable marriages exist both in real life and in fiction, but with fictional miserable marriages, readers have the opportunity to chuckle at the domestic enslavement of others. The author, Leopoldo Alas (1852-1901) in this case, presents just the right blend of unhappiness and characters who either asked for it or who juggle their marital discord with some sort of coping mechanism.

his-only-son

Emma Valcárcel, we are told, is a “spoiled only child,” who at age 15 kidnaps her father’s handsome, poor, and stupid clerk, Bonifacio Reyes, and strong arms him into an elopement. Emma ends up in a convent, and Bonifacio, in Mexico, tries “earning his living as the rather inept editor of a newspaper, whose main purpose was to insult others.”  In time, Emma, a wealthy heiress, and with her Uncle Juan Nepomuceno as her guardian, marries a sickly older man, and is a widow within a year. Emma, who rules the Valcárcel family like some sort of benevolent despot, arranges for Bonifacio to be given a job that will bring him back into her orbit. The plan works and they are married.

It’s not a happy marriage, and Emma turns to her family for adoration (most of her male relatives are infatuated with her–but her fortune may have something to do with that). Bonifacio, finding a flute that belonged to Emma’s father, learns how to play. Since Bonifacio is a handsome man, Emma delights in dressing him up in expensive clothes, and showing him off on social occasions, but he never has any money of his own.

Following a miscarriage, Emma’s health and temperament, are in decline, and Bonifacio, who tries to pursue a separate life through the more bohemian crew at the local opera house, becomes a nursemaid/slave to Emma’s petulant demands for massages given with various lotions. She “despised her husband more with each day that passed, considering him useful only as a handsome physical presence,” and “telling Bonifacio off became her one consolation.”

His willingness to submit to all the intimate tasks of the bedroom, to his patient’s many complicated whims, to the sad, tender voluptuousness of convalescence, seemed to Bonifacio viewed from outside, not the natural aptitude of some saintly, fussy hermaphrodite but the romantic excesses of a Quixotic love applied to the minutiae of married life.

Juggling Emma’s tyrannical demands for domestic servitude, Bonafacio begins an affair with a third rate opera singer Serafina, even as he is slowly bled for money by her other lover, Mochi, the opera company impressario and lead tenor. Since Bonafacio has no money of his own, he turns to Emma’s uncle for a loan.

The book’s introduction, written by translator Margaret Jull Costa, mentions that one of the criticisms of Leopoldo Alas’s best known work, La Regenta, is that  “Alas had stolen the plot of Madame Bovary.” That being the case, then of course, it becomes significant that the dominant female character of His Only Son is named Emma. While Madame Bovary’s doom was driven by debt, Emma Valcárcel also has problems with money management.

Her one talent was for spending money. Kindly Juan Nepomuceno, formerly Emma’s legal guardian and now her administrator, would happily have shooed away all the flies–in the form of her relatives–who buzzed around the rather shrunken honeycomb of her inheritance, but this simply wasn’t practicable because his niece had grown so fond of all the members of the Valcárcel family, past, present, and future, that she demanded they be treated with the utmost generosity.

Emma knows that her uncle is ripping off her estate, but she doesn’t care. She glories in it. While Emma Bovary had romantic ideals that led to her destruction, Emma Valcárcel romanticizes the portraits of her deceased ancestors.

No wonder His Only Son was banned. The novel portrays a hypocritical society rife with adultery and corruption. After Emma’s father’s death, it was discovered that he left behind “a whole tribe of bastard children,” and that “the lawyer’s chastity had not been quite as perfect as everyone thought; his real virtue had consisted largely in prudence and stealth.”  

Even though this tale of adultery and money-grubbing has all the earmarks of tragedy, Alas turns his scenes into domestic farce. While adultery has drastic results in Madame Bovary, here adultery acts as an aphrodisiac in Bonifacio’s marriage. The women in His Only Son are very strong characters with the men weak and led by the nose, but it’s still the men who somehow or another have the power.

The excellent introduction explores the subversive nature of His Only Son, and the way the novel exemplifies the “clash between romanticism and realism.” It’s in this clash between the two schools of thought–Romanticism and Realism, that most of the novel’s humour is to be found. This New York Review Books edition also includes the novella Dona Berta.

Review copy

Translated by Margaret Jull Costa

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