A wry dissection of domestic despair and affluent ennui and a topical introduction to Mortimer's body of literary work.
In a commuter town outside of London, Ruth Whiting leads a lonesome and tedious existence.
With her sons returned to boarding school after the holidays, her daughter, Angela, to Cambridge, and her oblivious, bloviating husband absented to London during the workweek, Ruth, whether in fact or function, is almost always alone. When she socializes, it is, briefly and superficially, with equally bored bourgeois neighbors, other wives who, "like little icebergs, each keeps a bright and shining face above water; below the surface, submerged in fathoms of leisure, each keeps her own isolated personality....Their friendships, appearing frank and sunny, are febrile and short-lived, turning quickly to malice." And so, purposeless, neglected until someone needs something from her, unable to make or sustain meaningful connections even within her own family, revisiting past regrets that now make up the fundamental architecture of her life, Ruth finds her sense of self and security destabilizing. No longer trusted to remain independent, she is further isolated, attended by the family physician, who has bafflingly prescribed a trip alone to Antibes, wardened by the patronizing, priggish Miss de Beer. But when Angela comes to her for help with an unwanted pregnancy, retreading a younger Ruth's own missteps, a chance at real closeness may finally have arrived. The profound gap between what goes unsaid—which is often volumes—and what the characters say—typically the most minimal, noncommittal response available—drives Mortimer's bone-dry humor, illuminating the Whitings' vulnerable humanity and further alienation as they fumble for intimacy with one another and those in their orbit. Originally published in 1958, a full decade before abortion was legalized in the U.K., the book is as salient a study of the disparate views and persistent inequities around reproductive health care for present-day U.S. readers as it is illuminating of midcentury English attitudes and conditions.
A wry dissection of domestic despair and affluent ennui and a topical introduction to Mortimer's body of literary work.Pub Date: May 17, 2022
ISBN: 978-1-946022-26-4
Page Count: 264
Publisher: McNally Editions
Review Posted Online: June 21, 2022
Kirkus Reviews Issue: July 15, 2022
Uneven but fitfully amusing.
Betrayed by her husband, a severely depressed young woman gets drawn into the over-the-top festivities at a lavish wedding.
Phoebe Stone, who teaches English literature at a St. Louis college, is plotting her own demise. Her husband, Matt, has left her for another woman, and Phoebe is taking it hard. Indeed, she's determined just where and how she will end it all: at an oceanfront hotel in Newport, where she will lie on a king-sized canopy bed and take a bottle of her cat’s painkillers. At the hotel, Phoebe meets bride-to-be Lila, a headstrong rich girl presiding over her own extravagant six-day wedding celebration. Lila thought she had booked every room in the hotel, and learning of Phoebe's suicidal intentions, she forbids this stray guest from disrupting the nuptials: “No. You definitely can’t kill yourself. This is my wedding week.” After the punchy opening, a grim flashback to the meltdown of Phoebe's marriage temporarily darkens the mood, but things pick up when spoiled Lila interrupts Phoebe's preparations and sweeps her up in the wedding juggernaut. The slide from earnest drama to broad farce is somewhat jarring, but from this point on, Espach crafts an enjoyable—if overstuffed—comedy of manners. When the original maid of honor drops out, Phoebe is persuaded, against her better judgment, to take her place. There’s some fun to be had here: The wedding party—including groom-to-be Gary, a widower, and his 11-year-old daughter—takes surfing lessons; the women in the group have a session with a Sex Woman. But it all goes on too long, and the humor can seem forced, reaching a low point when someone has sex with the vintage wedding car (you don’t want to know the details). Later, when two characters have a meet-cute in a hot tub, readers will guess exactly how the marriage plot resolves.
Uneven but fitfully amusing.Pub Date: July 30, 2024
ISBN: 9781250899576
Page Count: 384
Publisher: Henry Holt
Review Posted Online: Sept. 13, 2024
BOOK REVIEW
BOOK REVIEW
SEEN & HEARD
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.
A falsely accused Black man goes into hiding in this masterful novella by Wright (1908-1960), finally published in full.
Written in 1941 and '42, between Wright’s classics Native Son and Black Boy, this short novel concerns Fred Daniels, a modest laborer who’s arrested by police officers and bullied into signing a false confession that he killed the residents of a house near where he was working. In a brief unsupervised moment, he escapes through a manhole and goes into hiding in a sewer. A series of allegorical, surrealistic set pieces ensues as Fred explores the nether reaches of a church, a real estate firm, and a jewelry store. Each stop is an opportunity for Wright to explore themes of hope, greed, and exploitation; the real estate firm, Wright notes, “collected hundreds of thousands of dollars in rent from poor colored folks.” But Fred’s deepening existential crisis and growing distance from society keep the scenes from feeling like potted commentaries. As he wallpapers his underground warren with cash, mocking and invalidating the currency, he registers a surrealistic but engrossing protest against divisive social norms. The novel, rejected by Wright’s publisher, has only appeared as a substantially truncated short story until now, without the opening setup and with a different ending. Wright's take on racial injustice seems to have unsettled his publisher: A note reveals that an editor found reading about Fred’s treatment by the police “unbearable.” That may explain why Wright, in an essay included here, says its focus on race is “rather muted,” emphasizing broader existential themes. Regardless, as an afterword by Wright’s grandson Malcolm attests, the story now serves as an allegory both of Wright (he moved to France, an “exile beyond the reach of Jim Crow and American bigotry”) and American life. Today, it resonates deeply as a story about race and the struggle to envision a different, better world.
A welcome literary resurrection that deserves a place alongside Wright’s best-known work.Pub Date: April 20, 2021
ISBN: 978-1-59853-676-8
Page Count: 240
Publisher: Library of America
Review Posted Online: March 16, 2021
Kirkus Reviews Issue: April 1, 2021
BOOK TO SCREEN
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