Reseña de Publisher's Weekly
In Eugenides's perceptive new novel set in the early 1980s, the three sides of a love triangle-Brown University undergraduates Madeleine, Leonard, and Mitchell-come of age in a complicated and heady environment of semiotics, religious mysticism, sexual freedom, and economic recession. After graduation, the three are forced to confront their relationships, secrets, and desires as they attempt to find their way in the real world. David Pittu brilliantly narrates this audio version of Eugenides's complex novel, whether he's rattling off quotes from Jacques Derrida and Roland Barthes or creating unique voices for the book's many characters. Among the standouts are his renditions of the slow and reflective Mitchell and Thurston, the star of the semiotics seminar who speaks in a falsely laconic and disinterested fashion to impress his classmates and professor. And while Pittu's rendition of Madeline is too soft and flat, he never runs out of voices for this large, global cast. The result is one of the best audiobooks of the year. A Farrar, Straus and Giroux hardcover. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved.
Reseña de Booklist
*Starred Review* In Eugenides' first novel since the Pulitzer Prize-winning Middlesex (2002), English major and devotee of classic literature Madeleine Hanna is a senior at Reagan-era Brown University. Only when curiosity gets the best of her does she belly up to Semiotics 211, a bastion of postmodern liberalism, and meet handsome, brilliant, mysterious Leonard Bankhead. Completing a triangle is Madeleine's friend Mitchell, a clear-eyed religious-studies student who believes himself her true intended. Eugenides' drama unfolds over the next year or so. His characteristically deliberate, researched realization of place and personality serve him well, and he strikes perfectly tuned chords by referring to works ranging from Barthes' Lovers' Discourse to Bemelmans' Madeline books for children. The remarkably a propos title refers to the subject of Madeleine's honors thesis, which is the Western novel's doing and undoing, in that, upon the demise, circa 1900, of the marriage plot, the novel didn't mean much anymore, according to Madeleine's professor and, perhaps, Eugenides. With this tightly, immaculately self-contained tale set upon pillars at once imposing and of dollhouse scale, namely, academia ( College wasn't like the real world, Madeleine notes) and the emotions of the youngest of twentysomethings, Eugenides realizes the novel whose dismantling his characters examine.. HIGH-DEMAND BACKSTORY: The publisher will be cashing in on the popularity of Middlesex, especially with public library users, by targeting much of their publicity campaign in that direction.--Bostrom, Annie Copyright 2010 Booklist
Reseña de New York Review of Books
THERE was no predicting where Jeffrey Eugenides would go after his first two novels, so different were they in tone and form. "The Virgin Suicides" - humid, dreamlike, entranced - comes off as a single thought "Middlesex" a chatty multigenerational saga that winds its way from Turkey to Michigan to San Francisco to Berlin, sweeping together the burning of Smyrna, the rise and fall of Detroit, the immigrant experience, the Nation of Islam, the sins of Nixon and, of course, the lore and genetics of intersexuality, has as many moving parts as a Rube Goldberg machine. "The Virgin Suicides," edged with antic wit and edging toward the surreal, glances in Nabokovian contempt at the petty preoccupations of "rangers and realists." "Middlesex," for all the novelty of its hermaphroditic protagonist, is straight-up realism, start to finish. The books are far apart in quality, too. The language of "The Virgin Suicides" is taut and watchful from the first line, its mood a subtle synthesis of mystery and carnality. Like a myth, the novel imposes its own logic. In telling the story of five teenage sisters who kill themselves under the rapt gaze of the neighborhood boys, Eugenides showed a willingness to push to extremes, and the skill to bring it off once he got there. The book reminds me of Marilynne Robinson's "Housekeeping," another flaying first novel, both of them imagistically obsessive, spiritually uncompromising stories of water, light, death and girls. You almost can't believe the same person is responsible for "Middlesex." Clanking prose, clunky exposition, transparent devices, telegraphed moves - the novel is "Midnight's Children" without the magic, the intellect or the grand historical occasion, a hash of narrative contrivances with very little on its mind. In making these judgments, of course - the novel was a huge best seller and a Pulitzer Prize winner, to boot - I am joining a minority of perhaps no more than one. But I found the whole thing utterly unpersuasive. Take away its trendy theme and dollops of ethnic schmaltz (it could have been called "My Big Fat Greek Novel"), and "Middlesex" scarcely contains a single real character or genuine emotion. "The Marriage Plot" is yet a new departure - daylight realism, like "Middlesex," but far more intimate in tone and scale. Instead of three generations, it presents us with three characters, college students leaving Brown in 1982, the year before Eugenides did: Madeleine Hanna, a beautiful, uncertain WASP; Leonard Bankhead, her sometime boyfriend, brilliant, brooding, charismatic, poor; and Mitchell Grammaticus, authorial surrogate, a Greek from Grosse Pointe, Mich., who yearns in alternation for Madeleine and God. The novel starts the day the three graduate, returns to college to give us the back story, then follows their first year out. Mitchell heads to Europe and India, seeking sanctity; the others keep house on Cape Cod, where Leonard works in a genetics lab and Madeleine applies to graduate school. There is a marriage, and a kind of anti-proposal, and Madeleine studies the Victorian novelists (she calls her senior thesis "I Thought You'd Never Ask: Some Thoughts on the Marriage Plot"), but the novel isn't really concerned with matrimony or the stories we tell about it, and the title, the opening glance at Madeleine's library and the intermittent talk of books come across as attempts to impose an exogenous meaning. The novel isn't really about love either, except secondarily. It's about what Eugenides's books are always about, no matter how they differ: the drama of coming of age. Eugenides is much more patient here, and much closer to his material, than he was in "Middlesex." "The Marriage Plot" is dedicated to "the roomies," and it possesses the texture and pain of lived experience. Eugenides has always been best on young love. "The Virgin Suicides" renders the magnificent terror of first sex as vividly as does García Márquez; the one episode where "Middlesex" comes to life recounts the protagonist's affair with his teenage crush. So it is here, but the novel is also great on the patter and pretentiousness of college intellectuals ("The bookshelves held the usual Kafka, the obligatory Borges, the point-scoring Musil"); on the sweet banter of courtship; on the kind of doormat nice-boy role that Mitchell submits to playing in Madeleine's life; and especially on what happens after you graduate, when the whole scaffolding of classes and the college social scene you've been training your personality around is suddenly taken away, and you have to grope for a new way to be in the world. The novel is equally good - sympathetic, modulated, deft - on Mitchell's struggle with his spirituality, Leonard's with the mental illness that asserts itself from early on, and Madeleine and Leonard's with each other. The story is wry, engaging and beautifully constructed. And yet it finally sells its characters short Mitchell's religious exploration, for all the attention it receives, all the intellectual sweat and practical commitment he invests in it and all its apparently genuine grounding in his soul, is ultimately dismissed as a sublimation of his desire for Madeleine. The novel's point of view alternates among the three main characters, but Leonard gets only a single time at bat, and the novel finally, and rather brutally, shunts him off the diamond altogether. As for Madeleine, she is given nearly half the novel, including its longest, opening section - not surprisingly, considering her creator's fascination with female experience - yet she somehow recedes behind the screen of Leonard's needs. Her character is almost wholly reactive; even the ways she resolves her relationships with Leonard and Mitchell are reactive. To put it in Hollywood terms, she doesn't have a "journey" as the others do. You could see this as the point - it's how young women often are - but the novel doesn't seem to be aware of what it's doing. In fact, Madeleine is the one character who does discover her vocation and, even more ironically, it's to be a feminist scholar of the Victorian novel. Yet despite the topic's supposed thematic centrality, we hear very little about this development. (Among other things, we never do find out what those "thoughts on the marriage plot" are.) "They didn't once ask if she had a boyfriend," Madeleine happily thinks about a couple of fellow aspirants who befriend her at an academic conference - yet it is all the novel asks. THERE seems to be another reason that the story makes so little of Madeleine's professional future. "The Virgin Suicides" depicts a group of girls who refuse to enter the flawed adult world, to live out what the narrators call "the melancholic remainder of our lives." In "Middlesex," which is, among other things, an allegory about the transformations of puberty, the protagonist's adulthood is essentially a blank. By the end of "The Marriage Plot," neither Leonard nor Mitchell has any evident direction into grown-up life, and Madeleine's is treated almost as if it didn't exist. Among the major male writers of Eugenides's generation - he was born in 1960, the year after Jonathan Franzen and two years before David Foster Wallace - becoming an adult is possible to imagine happening, at best, at excruciating cost, and often not at all. Which makes them pretty representative. For more on Brown University in the '80s, see "I Was an Under-Age Semiotician," by Steven Johnson, on Page 35. 'The bookshelves held the usual Kafka, the obligatory Borges, the point-scoring Musil.' William Deresiewicz, an essayist and critic, is the author of "A Jane Austen Education."
Guardian Review
The Marriage Plot by Jeffrey Eugenides (Fourth Estate, pounds 8.99) In tilting the focus towards the wholesome and ordinary, Eugenides seems to have restricted his access to his own considerable powers. This story, a postmodern take on 19th-century romance, is built around three characters who meet at Brown University in 1981: Madeleine, Mitchell and Leonard. Framing and shaping it is a sustained inquiry into the great themes of love and marriage, as the novel squares up to the classics of marital fiction, notably Emma and The Portrait of a Lady. It's a likeably quixotic challenge, but what makes those books great isn't just that marriage back then was a much higher-stakes game than it is now, but that their heroines are explored at such astounding depth, and articulated with such wit and precision, that just about anything that happens to them is rivetingly consequential. Madeleine's tale makes a quick and sprightly read, but it's not - to borrow a word from the world of its literary predecessors - especially "edifying". And it certainly doesn't play to the idiosyncratic strengths of its gifted author. - James Lasdun In tilting the focus towards the wholesome and ordinary, [Jeffrey Eugenides] seems to have restricted his access to his own considerable powers. This story, a postmodern take on 19th-century romance, is built around three characters who meet at Brown University in 1981: Madeleine, Mitchell and Leonard. - James Lasdun.
Kirkus Review
A stunning novelerudite, compassionate and penetrating in its analysis of love relationships.Eugenides focuses primarily on three characters, who all graduate from Brown in 1982. One of the pieces of this triangle is Madeleine Hanna, who finds herself somewhat embarrassed to have emerged from a "normal" household in New Jersey (though we later find out the normality of her upbringing is only relative). She becomes enamored with Leonard, a brilliant but moody student, in their Semiotics course, one of the texts being, ironically, Roland Barthes'A Lover's Discourse, which Madeleine finds disturbingly problematic in helping her figure out her own love relationship. We discover that Leonard had been diagnosed with bipolar disorder during his first year at Brown, and his struggle with mood swings throughout the novel is both titanic and tender. The third major player is Mitchell, a Religious Studies major who is also attracted to Madeleine but whose reticence she finds both disturbing and incomprehensible. On graduation day, Leonard has a breakdown and is hospitalized in a mental-health ward, and Madeleine shows her commitment by skipping the festivities and seeking him out. After graduation, Leonard and Madeleine live together when Leonard gets an internship at a biology lab on Cape Cod, and the spring after graduation they marry, when Leonard is able to get his mood swings under temporary control. Meanwhile Mitchell, who takes his major seriously, travels to India seeking a pathand briefly finds one when he volunteers to work with the dying in Calcutta. But Mitchell's road to self-discovery eventually returns him to the Statesand opens another opportunity for love that complicates Madeleine's life.Dazzling workEugenides continues to show that he is one of the finest of contemporary novelists.]] Copyright Kirkus Reviews, used with permission.
Library Journal Review
"The way of true love never works out, except at the end of an English novel." So says Trollope in Barchester Towers, one of those English novels where "the marriage plot" thrived until it was swept aside by 20th-century reality. Now Roland Barthes's contention that "the lover's discourse is today of an extreme solitude" better sums up the situation. Or so English literature-besotted Madeleine, 1980s Brown graduating senior, comes to discover. Giving in to the zeitgeist, Madeleine takes a course on semiotics and meets Leonard, who's brilliant, charismatic, and unstable. They've broken up, which makes moody spiritual seeker Mitchell Grammaticus happy, since he pines for Madeleine. But on graduation day, Madeleine discovers that Leonard is in the hospital-in fact, he is a manic depressive with an on-again, off-again relationship with his medications-and leaps to his side. So begins the story of their love (but does it work out?), as Mitchell heads to Europe and beyond for his own epiphanies. VERDICT Your standard love triangle? Absolutely not. This extraordinary, liquidly written evocation of love's mad rush and inevitable failures will feed your mind as you rapidly turn the pages. Highly recommended. [See Prepub Alert, 4/11/11.]-Barbara Hoffert, Library Journal (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Extractos
To start with, look at all the books. There were her Edith Wharton novels, arranged not by title but date of publication; there was the complete Modern Library set of Henry James, a gift from her father on her twenty-first birthday; there were the dog-eared paperbacks assigned in her college courses, a lot of Dickens, a smidgen of Trollope, along with good helpings of Austen, George Eliot, and the redoubtable Brontë sisters. There were a whole lot of black-and-white New Directions paperbacks, mostly poetry by people like H.D. or Denise Levertov. There were the Colette novels she read on the sly. There was the first edition of Couples , belonging to her mother, which Madeleine had surreptitiously dipped into back in sixth grade and which she was using now to provide textual support in her English honors thesis on the marriage plot. There was, in short, this mid-size but still portable library representing pretty much everything Madeleine had read in college, a collection of texts, seemingly chosen at random, whose focus slowly narrowed, like a personality test, a sophisticated one you couldn't trick by anticipating the implications of its questions and finally got so lost in that your only recourse was to answer the simple truth. And then you waited for the result, hoping for "Artistic," or "Passionate," thinking you could live with "Sensitive," secretly fearing "Narcissistic" and "Domestic," but finally being presented with an outcome that cut both ways and made you feel different depending on the day, the hour, or the guy you happened to be dating: "Incurably Romantic." These were the books in the room where Madeleine lay, with a pillow over her head, on the morning of her college graduation. She'd read each and every one, often multiple times, frequently underlining passages, but that was no help to her now. Madeleine was trying to ignore the room and everything in it. She was hoping to drift back down into the oblivion where she'd been safely couched for the last three hours. Any higher level of wakefulness would force her to come to grips with certain disagreeable facts: for instance, the amount and variety of the alcohol she'd imbibed last night, and the fact that she'd gone to sleep with her contacts in. Thinking about such specifics would, in turn, call to mind the reasons she'd drunk so much in the first place, which she definitely didn't want to do. And so Madeleine adjusted her pillow, blocking out the early morning light, and tried to fall back to sleep. But it was useless. Because right then, at the other end of her apartment, the doorbell began to ring. Early June, Providence, Rhode Island, the sun up for almost two hours already, lighting up the pale bay and the smokestacks of the Narragansett Electric factory, rising like the sun on the Brown University seal emblazoned on all the pennants and banners draped up over campus, a sun with a sagacious face, representing knowledge. But this sun--the one over Providence-- was doing the metaphorical sun one better, because the founders of the university, in their Baptist pessimism, had chosen to depict the light of knowledge enshrouded by clouds, indicating that ignorance had not yet been dispelled from the human realm, whereas the actual sun was just now fighting its way through cloud cover, sending down splintered beams of light and giving hope to the squadrons of parents, who'd been soaked and frozen all weekend, that the unseasonable weather might not ruin the day's festivities. All over College Hill, in the geometric gardens of the Georgian mansions, the magnolia-scented front yards of Victorians, along brick sidewalks running past black iron fences like those in a Charles Addams cartoon or a Lovecraft story; outside the art studios at the Rhode Island School of Design, where one painting major, having stayed up all night to work, was blaring Patti Smith; shining off the instruments (tuba and trumpet, respectively) of the two members of the Brown marching band who had arrived early at the meeting point and were nervously looking around, wondering where everyone else was; brightening the cobblestone side streets that led downhill to the polluted river, the sun was shining on every brass doorknob, insect wing, and blade of grass. And, in concert with the suddenly flooding light, like a starting gun for all the activity, the doorbell in Madeleine's fourth- floor apartment began, clamorously, insistently, to ring. The pulse reached her less as a sound than as a sensation, an electric shock shooting up her spine. In one motion Madeleine tore the pillow off her head and sat up in bed. She knew who was ringing the buzzer. It was her parents. She'd agreed to meet Alton and Phyllida for breakfast at 7:30. She'd made this plan with them two months ago, in April, and now here they were, at the appointed time, in their eager, dependable way. That Alton and Phyllida had driven up from New Jersey to see her graduate, that what they were here to celebrate today wasn't only her achievement but their own as parents, had nothing wrong or unexpected about it. The problem was that Madeleine, for the first time in her life, wanted no part of it. She wasn't proud of herself. She was in no mood to celebrate. She'd lost faith in the significance of the day and what the day represented. She considered not answering. But she knew that if she didn't answer, one of her roommates would, and then she'd have to explain where she'd disappeared to last night, and with whom. Therefore, Madeleine slid out of the bed and reluctantly stood up. This seemed to go well for a moment, standing up. Her head felt curiously light, as if hollowed out. But then the blood, draining from her skull like sand from an hourglass, hit a bottleneck, and the back of her head exploded in pain. In the midst of this barrage, like the furious core from which it emanated, the buzzer erupted again. She came out of her bedroom and stumbled in bare feet to the intercom in the hall, slapping the speak button to silence the buzzer. "Hello?" "What's the matter? Didn't you hear the bell?" It was Alton's voice, as deep and commanding as ever, despite the fact that it was issuing from a tiny speaker. "Sorry," Madeleine said. "I was in the shower." "Likely story. Will you let us in, please?" Madeleine didn't want to. She needed to wash up first. "I'm coming down," she said. This time, she held down the SPEAK button too long, cutting off Alton's response. She pressed it again and said, "Daddy?" but while she was speaking, Alton must have been speaking, too, because when she pressed LISTEN all that came through was static. Madeleine took this pause in communications to lean her forehead against the door frame. The wood felt nice and cool. The thought struck her that, if she could keep her face pressed against the soothing wood, she might be able to cure her headache, and if she could keep her forehead pressed against the door frame for the rest of the day, while somehow still being able to leave the apartment, she might make it through breakfast with her parents, march in the commencement procession, get a diploma, and graduate. She lifted her face and pressed SPEAK again. "Daddy?" But it was Phyllida's voice that answered. "Maddy? What's the matter? Let us in." "My roommates are still asleep. I'm coming down. Don't ring the bell anymore." "We want to see your apartment!" "Not now. I'm coming down. Don't ring." She took her hand from the buttons and stood back, glaring at the intercom as if daring it to make a sound. When it didn't, she started back down the hall. She was halfway to the bathroom when her roommate Abby emerged, blocking the way. She yawned, running a hand through her big hair, and then, noticing Madeleine, smiled knowingly. "So," Abby said, "where did you sneak off to last night?" "My parents are here," Madeleine said. "I have to go to breakfast." "Come on. Tell me." "There's nothing to tell. I'm late." "How come you're wearing the same clothes, then?" Instead of replying, Madeleine looked down at herself. Ten hours earlier, when she'd borrowed the black Betsey Johnson dress from Olivia, Madeleine had thought it looked good on her. But now the dress felt hot and sticky, the fat leather belt looked like an S&M restraint, and there was a stain near the hem that she didn't want to identify. Abby, meanwhile, had knocked on Olivia's door and entered. "So much for Maddy's broken heart," she said. "Wake up! You've got to see this." The path to the bathroom was clear. Madeleine's need for a shower was extreme, almost medical. At a minimum, she had to brush her teeth. But Olivia's voice was audible now. Soon Madeleine would have two roommates interrogating her. Her parents were liable to start ringing again any minute. As quietly as possible, she inched back down the hall. She stepped into a pair of loafers left by the front door, crushing the heels flat as she caught her balance, and escaped into the outer corridor. The elevator was waiting at the end of the floral runner. Waiting, Madeleine realized, because she'd failed to close the sliding gate when she'd staggered out of the thing a few hours earlier. Now she shut the gate securely and pressed the button for the lobby, and with a jolt the antique contraption began to descend through the building's interior gloom. Madeleine's building, a Neo-Romanesque castle called the Narragansett that wrapped around the plunging corner of Benefit Street and Church Street, had been built at the turn of the century. Among its surviving period details--the stained-glass skylight, the brass wall sconces, the marble lobby--was the elevator. Made of curving metal bars like a giant birdcage, the elevator miraculously still functioned, but it moved slowly, and as the car dropped, Madeleine took the opportunity to make herself more presentable. She ran her hands through her hair, fingercombing it. She polished her front teeth with her index finger. She rubbed mascara crumbs from her eyes and moistened her lips with her tongue. Finally, passing the balustrade on the second floor, she checked her reflection in the small mirror attached to the rear panel. One of the nice things about being twenty-two, or about being Madeleine Hanna, was that three weeks of romantic anguish, followed by a night of epic drinking, didn't do much visible damage. Except for puffiness around her eyes, Madeleine looked like the same pretty, dark-haired person as usual. The symmetries of her face--the straight nose, the Katharine Hepburn-ish cheekbones and jawline--were almost mathematical in their precision. Only the slight furrow in her brow gave evidence of the slightly anxious person that Madeleine felt herself, intrinsically, to be. She could see her parents waiting below. They were trapped between the lobby door and the door to the street, Alton in a seersucker jacket, Phyllida in a navy suit and matching gold- buckled purse. For a second, Madeleine had an impulse to stop the elevator and leave her parents stuck in the foyer amid all the college-town clutter--the posters for New Wave bands with names like Wretched Misery or the Clits, the pornographic Egon Schiele drawings by the RISD kid on the second floor, all the clamorous Xeroxes whose subtext conveyed the message that the wholesome, patriotic values of her parents' generation were now on the ash heap of history, replaced by a nihilistic, post-punk sensibility that Madeleine herself didn't understand but was perfectly happy to scandalize her parents by pretending that she did--before the elevator stopped in the lobby and she slid open the gate and stepped out to meet them. Alton was first through the door. "Here she is!" he said avidly. "The college graduate!" In his net-charging way, he surged forward to seize her in a hug. Madeleine stiffened, worried that she smelled of alcohol or, worse, of sex. "I don't know why you wouldn't let us see your apartment," Phyllida said, coming up next. "I was looking forward to meeting Abby and Olivia. We'd love to treat them to dinner later." "We're not staying for dinner," Alton reminded her. "Well, we might. That depends on Maddy's schedule." "No, that's not the plan. The plan is to see Maddy for breakfast and then leave after the ceremony." "Your father and his plans," Phyllida said to Madeleine. "Are you wearing that dress to the ceremony?" "I don't know," Madeleine said. "I can't get used to these shoulder pads all the young women are wearing. They're so mannish." "It's Olivia's." "You look pretty whacked out, Mad," Alton said. "Big party last night?" "Not really." "Don't you have anything of your own to wear?" Phyllida said. "I'll have my robe on, Mummy," Madeleine said, and, to forestall further inspection, headed past them through the foyer. Outside, the sun had lost its battle with the clouds and vanished. The weather looked not much better than it had all weekend. Campus Dance, on Friday night, had been more or less rained out. The Baccalaureate service on Sunday had proceeded under a steady drizzle. Now, on Monday, the rain had stopped, but the temperature felt closer to St. Patrick's than to Memorial Day. As she waited for her parents to join her on the sidewalk, it occurred to Madeleine that she hadn't had sex, not really. This was some consolation. "Your sister sends her regrets," Phyllida said, coming out. "She has to take Richard the Lionhearted for an ultrasound today." Richard the Lionhearted was Madeleine's nine-week-old nephew. Everyone else called him Richard. "What's the matter with him?" Madeleine asked. "One of his kidneys is petite, apparently. The doctors want to keep an eye on it. If you ask me, all these ultrasounds do is find things to worry about." "Speaking of ultrasounds," Alton said, "I need to get one on my knee." Phyllida paid no attention. "Anyway, Allie's devastated not to see you graduate. As is Blake. But they're hoping you and your new beau might visit them this summer, on your way to the Cape." You had to stay alert around Phyllida. Here she was, ostensibly talking about Richard the Lionhearted's petite kidney, and already she'd managed to move the subject to Madeleine's new boyfriend, Leonard (whom Phyllida and Alton hadn't met), and to Cape Cod (where Madeleine had announced plans to cohabitate with him). On a normal day, when her brain was working, Madeleine would have been able to keep one step ahead of Phyllida, but this morning the best she could manage was to let the words float past her. Fortunately, Alton changed the subject. "So, where do you recommend for breakfast?" Madeleine turned and looked vaguely down Benefit Street. "There's a place this way." She started shuffling along the sidewalk. Walking--moving--seemed like a good idea. She led them past a line of quaint, nicely maintained houses bearing historical placards, and a big apartment building with a gable roof. Providence was a corrupt town, crime-ridden and mob-controlled, but up on College Hill this was hard to see. The sketchy downtown and dying or dead textile mills lay below, in the grim distance. Here the narrow streets, many of them cobblestone, climbed past mansions or snaked around Puritan graveyards full of headstones as narrow as heaven's door, streets with names like Prospect, Benevolent, Hope, and Meeting, all of them feeding into the arboreous campus at the top. The sheer physical elevation suggested an intellectual one. "Aren't these slate sidewalks lovely," Phyllida said as she followed along. "We used to have slate sidewalks on our street. They're much more attractive. But then the borough replaced them with concrete." "Assessed us for the bill, too," Alton said. He was limping slightly, bringing up the rear. The right leg of his charcoal trousers was swelled from the knee brace he wore on and off the tennis court. Alton had been club champion in his age group for twelve years running, one of those older guys with a sweatband ringing a balding crown, a choppy forehand, and absolute murder in his eyes. Madeleine had been trying to beat Alton her entire life without success. This was even more infuriating because she was better than he was, at this point. But whenever she took a set from Alton he started intimidating her, acting mean, disputing calls, and her game fell apart. Madeleine was worried that there was something paradigmatic in this, that she was destined to go through life being cowed by less capable men. As a result, Madeleine's tennis matches against Alton had assumed such outsize personal significance for her that she got tight whenever she played him, with predictable results. And Alton still gloated when he won, still got all rosy and jiggly, as if he'd bested her by sheer talent. At the corner of Benefit and Waterman, they crossed behind the white steeple of First Baptist Church. In preparation for the ceremony, loudspeakers had been set up on the lawn. A man wearing a bow tie, a dean-of-students-looking person, was tensely smoking a cigarette and inspecting a raft of balloons tied to the churchyard fence. By now Phyllida had caught up to Madeleine, taking her arm to negotiate the uneven slate, which was pushed up by the roots of gnarled plane trees that lined the curb. As a little girl, Madeleine had thought her mother pretty, but that was a long time ago. Phyllida's face had gotten heavier over the years; her cheeks were beginning to sag like those of a camel. The conservative clothes she wore--the clothes of a philanthropist or lady ambassador--had a tendency to conceal her figure. Phyllida's hair was where her power resided. It was expensively set into a smooth dome, like a band shell for the presentation of that long-running act, her face. For as long as Madeleine could remember, Phyllida had never been at a loss for words or shy about a point of etiquette. Among her friends Madeleine liked to make fun of her mother's formality, but she often found herself comparing other people's manners unfavorably with Phyllida's. And right now Phyllida was looking at Madeleine with the proper expression for this moment: thrilled by the pomp and ceremony, eager to put intelligent questions to any of Madeleine's professors she happened to meet, or to trade pleasantries with fellow parents of graduating seniors. In short, she was available to everyone and everything and in step with the social and academic pageantry, all of which exacerbated Madeleine's feeling of being out of step, for this day and the rest of her life. She plunged on, however, across Waterman Street, and up the steps of Carr House, seeking refuge and coffee. The café had just opened. The guy behind the counter, who was wearing Elvis Costello glasses, was rinsing out the espresso machine. At a table against the wall, a girl with stiff pink hair was smoking a clove cigarette and reading Invisible Cities . "Tainted Love" played from the stereo on top of the refrigerator. Phyllida, holding her handbag protectively against her chest, had paused to peruse the student art on the walls: six paintings of small, skindiseased dogs wearing bleach-bottle collars. "Isn't this fun?" she said tolerantly. "La Bohème," Alton said. Madeleine installed her parents at a table near the bay window, as far away from the pink- haired girl as possible, and went up to the counter. The guy took his time coming over. She ordered three coffees--a large for her--and bagels. While the bagels were being toasted, she brought the coffees over to her parents. Alton, who couldn't sit at the breakfast table without reading, had taken a discarded Village Voice from a nearby table and was perusing it. Phyllida was staring overtly at the girl with pink hair. "Do you think that's comfortable?" she inquired in a low voice. Madeleine turned to see that the girl's ragged black jeans were held together by a few hundred safety pins. "I don't know, Mummy. Why don't you go ask her?" "I'm afraid of getting poked." "According to this article," Alton said, reading the Voice , "homosexuality didn't exist until the nineteenth century. It was invented. In Germany." The coffee was hot, and lifesavingly good. Sipping it, Madeleine began to feel slightly less awful. After a few minutes, she went up to get the bagels. They were a little burned, but she didn't want to wait for new ones, and so brought them back to the table. After examining his with a sour expression, Alton began scraping it punitively with a plastic knife. Phyllida asked, "So, are we going to meet Leonard today?" "I'm not sure," Madeleine said. "Anything you want us to know about?" "No." "Are you two still planning to live together this summer?" By this time Madeleine had taken a bite of her bagel. And since the answer to her mother's question was complicated--strictly speaking, Madeleine and Leonard weren't planning on living together, because they'd broken up three weeks ago; despite this fact, however, Madeleine hadn't given up hope of a reconciliation, and seeing as she'd spent so much effort getting her parents used to the idea of her living with a guy, and didn't want to jeopardize that by admitting that the plan was off--she was relieved to be able to point at her full mouth, which prevented her from replying. "Well, you're an adult now," Phyllida said. "You can do what you like. Though, for the record, I have to say that I don't approve." "You've already gone on record about that," Alton broke in. "Because it's still a bad idea!" Phyllida cried. "I don't mean the propriety of it. I'm talking about the practical problems. If you move in with Leonard--or any young man -- and he's the one with the job, then you begin at a disadvantage. What happens if you two don't get along? Where are you then? You won't have any place to live. Or anything to do." That her mother was correct in her analysis, that the predicament Phyllida warned Madeleine about was exactly the predicament she was already in, didn't motivate Madeleine to register agreement. "You quit your job when you met me," Alton said to Phyllida. "That's why I know what I'm talking about." "Can we change the subject?" Madeleine said at last, having swallowed her food. "Of course we can, sweetheart. That's the last I'll say about it. If your plans change, you can always come home. Your father and I would love to have you." "Not me," Alton said. "I don't want her. Moving back home is always a bad idea. Stay away." "Don't worry," Madeleine said. "I will." "The choice is yours," Phyllida said. "But if you do come home, you could have the loft. That way you can come and go as you like." To her surprise, Madeleine found herself contemplating this proposal. Why not tell her parents everything, curl up in the backseat of the car, and let them take her home? She could move into her old bedroom, with the sleigh bed and the Madeline wallpaper. She could become a spinster, like Emily Dickinson, writing poems full of dashes and brilliance, and never gaining weight. Phyllida brought her out of this reverie. "Maddy?" she said. "Isn't that your friend Mitchell?" Madeleine wheeled in her seat. "Where?" "I think that's Mitchell. Across the street." In the churchyard, sitting Indian- style in the freshly mown grass, Madeleine's "friend" Mitchell Grammaticus was indeed there. His lips were moving, as if he was talking to himself. "Why don't you invite him to join us?" Phyllida said. "Now?" "Why not? I'd love to see Mitchell." "He's probably waiting for his parents," Madeleine said. Phyllida waved, despite the fact that Mitchell was too far away to notice. "What's he doing sitting on the ground?" Alton asked. The three Hannas stared across the street at Mitchell in his half-lotus. "Well, if you're not going to ask him, I will," Phyllida finally said. "O.K.," Madeleine said. "Fine. I'll go ask him." The day was getting warmer, but not by much. Black clouds were massing in the distance as Madeleine came down the steps of Carr House and crossed the street into the churchyard. Someone inside the church was testing the loudspeakers, fussily repeating, "Sussex, Essex, and Kent. Sussex, Essex, and Kent." A banner draped over the church entrance read "Class of 1982." Beneath the banner, in the grass, was Mitchell. His lips were still moving silently, but when he noticed Madeleine approaching they abruptly stopped. Madeleine remained a few feet away. "My parents are here," she informed him. "It's graduation," Mitchell replied evenly. "Everyone's parents are here." "They want to say hello to you." At this Mitchell smiled faintly. "They probably don't realize you're not speaking to me." "No, they don't," Madeleine said. "And, anyway, I am. Now. Speaking to you." "Under duress or as a change of policy?" Madeleine shifted her weight, wrinkling her face unhappily. "Look. I'm really hungover. I barely slept last night. My parents have been here about ten minutes and they're already driving me crazy. So if you could just come over and say hello, that would be great." Mitchell's large emotional eyes blinked twice. He was wearing a vintage gabardine shirt, dark wool pants, and beat-up wingtips. Madeleine had never seen him in shorts or tennis shoes. "I'm sorry," he said. "About what happened." "Fine," Madeleine said, looking away. "It doesn't matter." "I was just being my usual vile self." "So was I." They were quiet a moment. Madeleine felt Mitchell's eyes on her, and she crossed her arms over her chest. What had happened was this: one night the previous December, in a state of anxiety about her romantic life, Madeleine had run into Mitchell on campus and brought him back to her apartment. She'd needed male attention and had flirted with him, without entirely admitting it to herself. In her bedroom, Mitchell had picked up a jar of deep-heating gel on her desk, asking what it was for. Madeleine had explained that people who were athletic sometimes got sore muscles. She understood that Mitchell might not have experienced this phenomenon, seeing as all he did was sit in the library, but he should take her word for it. At that point, Mitchell had come up behind her and wiped a gob of heating gel behind her ear. Madeleine jumped up, shouting at Mitchell, and wiped the gunk off with a T-shirt. Though she was within her rights to be angry, Madeleine also knew (even at the time) that she was using the incident as a pretext for getting Mitchell out of her bedroom and for covering up the fact that she'd been flirting with him in the first place. The worst part of the incident was how stricken Mitchell had looked, as if he'd been about to cry. He kept saying he was sorry, he was just joking around, but she ordered him to leave. In the following days, replaying the incident in her mind, Madeleine had felt worse and worse about it. She'd been on the verge of calling Mitchell to apologize when she'd received a letter from him, a highly detailed, cogently argued, psychologically astute, quietly hostile four- page letter, in which he called her a "cocktease" and claimed that her behavior that night had been "the erotic equivalent of bread and circus, with just the circus." The next time they'd run into each other, Madeleine had acted as if she didn't know him, and they hadn't spoken since. Now, in the churchyard of First Baptist, Mitchell looked up at her and said, "O.K. Let's go say hello to your parents." Phyllida was waving as they came up the steps. In the flirtatious voice she reserved for her favorite of Madeleine's friends, she called out, "I thought that was you on the ground. You looked like a swami!" "Congratulations, Mitchell!" Alton said, heartily shaking Mitchell's hand. "Big day today. One of the milestones. A new generation takes the reins." They invited Mitchell to sit down and asked him if he wanted anything to eat. Madeleine went back to the counter to get more coffee, glad to have Mitchell keeping her parents occupied. As she watched him, in his old man's clothes, engaging Alton and Phyllida in conversation, Madeleine thought to herself, as she'd thought many times before, that Mitchell was the kind of smart, sane, parent-pleasing boy she should fall in love with and marry. That she would never fall in love with Mitchell and marry him, precisely because of this eligibility, was yet another indication, in a morning teeming with them, of just how screwed up she was in matters of the heart. When she returned to the table, no one acknowledged her. "So, Mitchell," Phyllida was asking, "what are your plans after graduation?" "My father's been asking me the same question," Mitchell answered. "For some reason he thinks Religious Studies isn't a marketable degree." Madeleine smiled for the first time all day. "See? Mitchell doesn't have a job lined up, either." "Well, I sort of do," Mitchell said. "You do not," Madeleine challenged him. "I'm serious. I do." He explained that he and his roommate, Larry Pleshette, had come up with a plan to fight the recession. As liberal-arts degree holders matriculating into the job market at a time when unemployment was at 9.5 percent, they had decided, after much consideration, to leave the country and stay away as long as possible. At the end of the summer, after they'd saved up enough money, they were going to backpack through Europe. After they'd seen everything in Europe there was to see, they were going to fly to India and stay there as long as their money held out. The whole trip would take eight or nine months, maybe as long as a year. "You're going to India?" Madeleine said. "That's not a job." "We're going to be research assistants," Mitchell said. "For Prof. Hughes." "Prof. Hughes in the theater department?" "I saw a program about India recently," Phyllida said. "It was terribly depressing. The poverty!" "That's a plus for me, Mrs. Hanna," Mitchell said. "I thrive in squalor." Phyllida, who couldn't resist this sort of mischief, gave up her solemnity, rippling with amusement. "Then you're going to the right place!" "Maybe I'll take a trip, too," Madeleine said in a threatening tone. No one reacted. Instead Alton asked Mitchell, "What sort of immunizations do you need for India?" "Cholera and typhus. Gamma globulin's optional." Phyllida shook her head. "Your mother must be worried sick." "When I was in the service," Alton said, "they shot us up with a million things. Didn't even tell us what the shots were for." "I think I'll move to Paris," Madeleine said in a louder voice. "Instead of getting a job." "Mitchell," Phyllida continued, "with your interest in religious studies, I'd think India would be a perfect fit. They've got everything. Hindus, Muslims, Sikhs, Zoroastrians, Jains, Buddhists. It's like Baskin and Robbins! I've always been fascinated by religion. Unlike my doubting-Thomas husband." Alton winked. "I doubt that doubting Thomas existed." "Do you know Paul Moore, Bishop Moore, at the Cathedral of Saint John the Divine?" Phyllida said, keeping Mitchell's attention. "He's a great friend. You might find it interesting to meet him. We'd be happy to introduce you. When we're in the city, I always go to services at the cathedral. Have you ever been there? Oh. Well. How can I describe it? It's simply-- well, simply divine !" Phyllida held a hand to her throat with the plea sure of this bon mot, while Mitchell obligingly, even convincingly, laughed. "Speaking of religious dignitaries," Alton cut in, "did I ever tell you about the time we met the Dalai Lama? It was at this fundraiser at the Waldorf. We were in the receiving line. Must have been three hundred people at least. Anyway, when we finally got up to the Dalai Lama, I asked him, 'Are you any relation to Dolly Parton?' " "I was mortified!" Phyllida cried. "Absolutely mortified." "Daddy," Madeleine said, "you're going to be late." "What?" "You should get going if you want to get a good spot." Alton looked at his watch. "We've still got an hour." "It gets really crowded," Madeleine emphasized. "You should go now." Alton and Phyllida looked at Mitchell, as if they trusted him to advise them. Under the table, Madeleine kicked him, and he alertly responded, "It does get pretty crowded." "Where's the best place to stand?" Alton asked, again addressing Mitchell. "By the Van Wickle Gates. At the top of College Street. That's where we'll come through." Alton stood up from the table. After shaking Mitchell's hand, he bent to kiss Madeleine on the cheek. "We'll see you later. Miss Baccalaureate, 1982." "Congratulations, Mitchell," Phyllida said. " So nice to see you. And remember, when you're on your Grand Tour, be sure to send your mother loads of letters. Otherwise, she'll be frantic." To Madeleine, she said, "You might change that dress before the march. It has a visible stain." With that, Alton and Phyllida, in their glaring parental actuality, all seersucker and handbag, cuff links and pearls, crossed the beige-and-brick space of Carr House and went out the door. As though to signal their departure, a new song came on: Joe Jackson's high-pitched voice swooping above a synthesized drumbeat. The guy behind the counter cranked up the volume. Madeleine laid her head on the table, her hair covering her face. "I'm never drinking again," she said. "Famous last words." "You have no idea what's been going on with me." "How could I? You haven't been speaking to me." Without lifting her cheek from the table, Madeleine said in a pitiful voice, "I'm homeless. I'm graduating from college and I'm a homeless person." "Yeah, sure." "I am!" Madeleine insisted. "First I was supposed to move to New York with Abby and Olivia. Then it looked like I was moving to the Cape, though, so I told them to get another roommate. And now I'm not moving to the Cape and I have nowhere to go. My mother wants me to move back home but I'd rather kill myself." "I'm moving back home for the summer," Mitchell said. "To Detroit. At least you're near New York." "I haven't heard back from grad school yet and it's June ," Madeleine continued. "I was supposed to find out over a month ago! I could call the admissions department, but I don't because I'm scared to find out that I've been rejected. As long as I don't know, I still have hope." There was a moment before Mitchell spoke again. "You can come to India with me," he said. Madeleine opened one eye to see, through a whorl in her hair, that Mitchell wasn't entirely joking. "It's not even about grad school," she said. Taking a deep breath, she confessed, "Leonard and I broke up." It felt deeply pleasurable to say this, to name her sadness, and so Madeleine was surprised by the coldness of Mitchell's reply. "Why are you telling me this?" he said. She lifted her head, brushing her hair out of her face. "I don't know. You wanted to know what was the matter." "I didn't, actually. I didn't even ask." "I thought you might care," Madeleine said. "Since you're my friend." "Right," Mitchell said, his voice suddenly sarcastic. "Our wonderful friendship! Our 'friendship' isn't a real friendship because it only works on your terms. You set the rules, Madeleine. If you decide you don't want to talk to me for three months, we don't talk. Then you decide you do want to talk to me because you need me to entertain your parents--and now we're talking again. We're friends when you want to be friends, and we're never more than friends because you don't want to be. And I have to go along with that." "I'm sorry," Madeleine said, feeling put-upon and blindsided. "I just don't like you that way." "Exactly!" Mitchell cried. "You're not attracted to me physically. O.K., fine. But who says I was ever attracted to you mentally ?" Madeleine reacted as if she'd been slapped. She was outraged, hurt, and defiant all at once. "You're such a"--she tried to think of the worst thing to say--"you're such a jerk !" She was hoping to remain imperious, but her chest was stinging, and, to her dismay, she burst into tears. Mitchell reached out to touch her arm, but Madeleine shook him off. Getting to her feet, trying not to look like someone angrily weeping, she went out the door and down the steps onto Waterman Street. Confronted by the festive churchyard, she turned downhill toward the river. She wanted to get away from campus. Her headache had returned, her temples were throbbing, and as she looked up at the storm clouds massing over downtown like more bad things to come, she asked herself why everyone was being so mean to her. Excerpted from The Marriage Plot by Jeffrey Eugenides All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
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