"And who among us would deny Jane Austen her happy endings or insist that Cary Grant and Irene Dunne should get back together at the end of The Awful Truth? There are tragedies and there are comedies, aren't there? And they are often more the same than different, rather like men and women, if you ask me. A comedy depends on stopping the story at exactly the right moment."
Mia Fredrickson, the wry, vituperative, tragic comic, poet narrator of The Summer Without Men, has been forced to reexamine her own life. One day, out of the blue, after thirty years of marriage, Mia's husband, a renowned neuroscientist, asks her for a "pause." This abrupt request sends her reeling and lands her in a psychiatric ward. The June following Mia's release from the hospital, she returns to the prairie town of her childhood, where her mother lives in an old people's home. Alone in a rented house, she rages and fumes and bemoans her sorry fate. Slowly, however, she is drawn into the lives of those around her--her mother and her close friends,"the Five Swans," and her young neighbor with two small children and a loud angry husband--and the adolescent girls in her poetry workshop whose scheming and petty cruelty carry a threat all their own.
From the internationally bestselling author of What I Loved comes a provocative, witty, and revelatory novel about women and girls, love and marriage, and the age-old question of sameness and difference between the sexes..
A theatrically manic poet turns heartbreak into an intellectual endeavor in Hustvedt's intellectually spry latest (after The Sorrows of an American). Fresh out of the hospital at age 55 following a breakdown brought on by her husband's departure for a young colleague referred to as "The Pause," award-winning poet and Columbia professor Mia Fredricksen flees Brooklyn to spend the summer in her Minnesota hometown. There she is in the company of her mother and four other feisty old ladies, the young mother next door, and the seven hormone-addled pubescent girls enrolled in her poetry class at the local arts guild. Mia sorts out her agony as only a scorned woman with a Ph.D. in comparative literature can-by pouring it through a sieve of poets, philosophers, and critical theorists. At times these references eclipse the presence of the narrator herself, but even this absence becomes the basis for philosophical rumination, as Mia corresponds online with the anonymous-and at times abusive-Mr. Nobody. Though initially trapped in a claustrophobic cerebral solitude, Mia opens up, and, in so doing, lets in some much needed air to a constricted narrative, so that instead of being another novel of a woman on the brink, this becomes an adroit take on love, men and women, and girls and women. (May) (c) Copyright PWxyz, LLC. All rights reserved.
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April 25, 2011
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