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1 Remote Warehouse Literature- A to Z

The Good Life: A Novel

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The Good Life: A Novel Cover

 

 

Excerpt

Summer used to be as endless as the ocean when she was a girl and her family rented the gray shingled cottage on Nantucket. Now, she found it hard to believe she was already back in Manhattan and the kids were in school and she was already racing home, late again, feeling guilty that she'd lingered over a drink with Casey Reynes. The kids had been home for hours after their first day in first grade, and she had yet to hear about it.

Women blamed themselves; men blamed anything but.

This was Corrine's interpretation of the guilt nipping at her high heels as she cantered up Hudson Street from the subway, passing the hand-lettered sign in the window of their Chinese takeout: FRESHLY GROUNDED COFFEE. Guilt about leaving the kids for so long, about not helping Russell with dinner, about attempting to restart her long-dormant professional life. Oh, to be grounded herself.

Seven-fifteen by her watch. Still attuned to the languorous rhythm of the summer?they'd just closed up the house in Sagaponack four days ago?she'd barely had time to kiss the kids good-bye this morning and now the guests would be arriving at any minute, Russell frenzied with cooking and child care.

Bad mother, bad wife, bad hostess. Bad.

When she had yearned to be a mother, imagining what it would be like to be a parent, it had been easy to conjure the joy . . . the scenes of tenderness, the Pieta moments. What you don't picture are the guilt and the fear that take up residence at the front of your brain, like evil twins you didn't bargain for. Fear because you're always worried about what might go wrong, especially if your kids were born, as hers were, three months early. You can never forget the sight of them those first few days, intubated under glass, veined eggshell skulls and pink writhing limbs?the image stays with you even as they grow, reminding you of just how fragile these creatures are, how flimsy your own defenses. And guilt because you can never possibly do enough. There's never enough time. No matter how much love and attention you lavish on them, you're always afraid that it will never be enough.

Corrine had become a connoisseur of guilt; not for her the stabbing thrust of regret for an ill-conceived act?but, rather, the dull and steady throb of chronic guilt, even as she'd done her best to rearrange her life around her kids, quitting her job to take care of them and, over the past two years, working highly flexible hours on a screenplay and on a project that was the obverse of a busman's holiday?a start-up venture called Momtomtom.com, which had been on the verge of a big launch this past spring, when the Internet bubble started to deflate and the venture capital dried up. This afternoon, she'd spent four hours making a presentation to a possible backer, hustling for seed money for the Web site. As these prospects dimmed, she'd been trying to set up meetings on the screenplay, an adaptation of Graham Greene's The Heart of the Matter. And here were the theoretical bookends of her existence, the maternal and the romantic?the latter submerged and almost extinct. In fact, that had been her secret intention in writing this script: to try to rekindle the romance and fan it back to life.

Corrine hadn't wanted to be one of those mothers who paid someone else to raise her kids; for the first five years, to the astonishment of her friends and former colleagues, she'd stayed at home. Manhattan was an existential town, in which identity was a function of professional accomplishment; only the very young and the very rich were permitted to be idle. The latter, like her friend Casey Reynes, had their charities and their personal assistants and inevitably managed to convey the impression that all this constituted an exhausting grind. Russell had initially supported her maternal ideal, though, as the years went by and their peers bought vacation homes in the Hamptons, he couldn't consistently disguise his resentment over their straitened finances, or his sense that his stay-at-home wife had become translucent, if not invisible, within the walls of their loft?a nanny without salary.

Writing a screenplay was, in their circle, code for being unemployed; finishing the first draft failed to produce the sense of accomplishment she'd expected. A screenplay, after all, was a kind of theoretical object, a recipe rather than the meal itself. And thus far she hadn't had much luck in assembling the ingredients. So when the kids entered preschool last year, she had tried to turn her obsession with child rearing into a profession?formalizing the body of knowledge she'd acquired as a full-time city mother into a viable on-line resource. If that plan didn't work out, she would have to return to the job marketplace, as much for her own self-esteem as to defray the $34,000 tuition fees for the kids.

A homeless man was encamped in the shadow of construction scaffolding across the street from her building?a rarer sight than it would have been ten years ago. A young, dirt-caked slacker with a ragged goatee, a bull terrier on a leash, and a paper coffee cup at his feet. As Corrine hurried past, he said, "Hey, beautiful. I need a blow job. I need a place in the Hamptons. I need a movie role."

She paused, registering the humor?and her husband would have loved this, storing it away with all the other anecdotes he used to illustrate his wife's hilarious singularity?but instead of laughing, she was thinking about needs. What we need in order to make life bearable.

Suddenly coming to her senses, the panhandler gaping at her.

"I need romance," said Corrine, dropping a dollar in the wishing well of his cup. "Whatever happened to the romance?"

She burst into her apartment, aching for her children, who over the course of the interminable afternoon might have died, dashed their heads against the edge of the coffee table she kept vowing to replace, been kidnapped, or forgotten her entirely. Corrine would have been less surprised at any of these scenarios than she was to see Hilary on the sofa, playing with the kids.

"Mom, guess what. You won't believe! Aunt Hilary's here."

Her daughter, Storey, loved to deliver news and make announcements.

It's true?she wouldn't believe. Last Corrine knew, her little sister had been in L.A. She'd tried calling as recently as last week, only to be told the number had been disconnected. And now here she was in TriBeCa, reclining on Corrine's couch with Jeremy in her lap. No matter that Corrine had seen her dozens of times in the intervening years: Hilary was preserved, in Corrine's mind, semifrozen at the age of fifteen, the last year they'd shared a domicile, so that it was always a surprise to see her as a woman, and a pretty convincing one at that. Only a few evanescent lines at the corners of her eyes hinted that she'd passed thirty a few years before.

The first thing Corrine did, pure reflex, was to scoop Jeremy up into her arms and hug him, but instead of clutching her, he squirmed.

"Hey, sis." Hilary rose from the couch, stretching lithe and catlike in her leopard top. As if to preserve Corrine's illusion of her youthfulness, she still moved and dressed like a teenager, and had the body to carry it off. "Thought I'd surprise you."

"I'm . . . I am." Corrine belatedly hugged her sister with the arm not holding Jeremy?a sister sandwich, with her son?their son??in the middle. Surprised, yes, Corrine thought . . . although at some point unpredictability becomes a pattern. "You look . . . great," Corrine said.

"Thanks."

"Aunt Hilary's been in Paris," Storey said.

"Paris?"

Jeremy squirmed out of Corrine's grasp and dropped onto the ottoman.

"Well, actually I came from London today, but I've been in Paris for the past two weeks."

"She met Madeleine," Storey said, holding up her favorite book. "Can you believe it, Mom? Aunt Hilary knows her. Why didn't you tell us she knows Madeline?"

"I had no idea," Corrine said, casting a reproving glance at her sister. "Although, actually, now that I think about it, I'm not surprised at all. Your aunt Hilary knows just about everybody in the whole world."

"The whole world?"

"Your mom's just making a little joke."

It was true?you couldn't watch a movie or open a magazine without Hilary dropping intimate remarks about the two-dimensional icons therein. Why shouldn't she know Madeline?

"Aunt Hilary saw her at the Eiffel Tower with Miss Clavel and the other little girls."

"What's so great about Madeline?" Jeremy asked. "She's just a little girl."

Just like Hilary to tell Storey she was acquainted with a fictional character, fiction being her great specialty. Corrine didn't want Storey getting mocked for relating this triumph at school. She was feeling ambivalent enough about the Fluffies?the fairylike creatures that she had conjured up for the kids when they were three, who had their own biographies and their own little house in the kids' bedroom. They'd been through this once before when Hilary claimed to be great friends with Barbie?to whom she bore more than a passing resemblance.

"Corrine," Hilary said, "why are you looking at me that way?"

"What way?" Storey demanded. "What way is she looking at you? Mom, what does she mean?"

Jeremy was bouncing up and down on the sofa.

"Have you got a place to stay?"

Product Details

ISBN:
9780375411403
Author:
McInerney, Jay
Publisher:
Knopf
Author:
McInerney, Jay
Subject:
Literary
Subject:
Married people
Subject:
Loss (psychology)
Copyright:
Edition Number:
1st
Publication Date:
January 31, 2006
Binding:
Hardback
Grade Level:
General/trade
Language:
English
Pages:
368
Dimensions:
9.42x6.60x1.33 in. 1.56 lbs.

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Fiction and Poetry » Literature » A to Z

The Good Life: A Novel Used Hardcover
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Product details 368 pages Alfred A. Knopf - English 9780375411403 Reviews:
"Publishers Weekly Review" by , "Jay McInerney's new novel seems from the outside to be composed of the most disheartening elements: The Good Life is about a group of privileged New Yorkers who are led to reassess their lives — and become in many ways better people — in the wake of the 9/11 attacks. The plot premise seems so pat and topical that the reader is likely to take fright. But there is mercifully no need. It is a tribute to McInerney's many talents that he can wrest from his schematic structure a novel that is both tender and entertaining.As often in McInerney's world, we find ourselves among a wealthy and ambitious elite, whom the novelist seems both intensely drawn to and repelled by. The focus is on two New York couples: Russell (publishing) and Corinne (screen writing), Luke (ex-banker) and Sasha (charity). McInerney brings an amusingly bitchy eye to bear on their lifestyles (for example, a character's double-height living room is described as appearing "to be holding its breath, as if awaiting a crew from Architectural Digest"). He keeps track of their snobbery and their social one-upmanship with all the attention to detail of a seasoned society columnist. New York resembles a latter-day version of imperial Rome in its last years, a once-noble civilization now shorn of its moral compass. In McInerney's New York, all citizens appear to take drugs, show off at charity balls, palm their children off on badly paid nannies and have sex with people other than their spouses. No one seems altruistic, high-minded, innocent — or plain nice. Then the planes strike the towers and two of the characters, Corinne and Luke, start to reappraise their faltering marriages. It becomes clear that the focus of McInerney's concern is not terrorism or politics but love: how relationships can disintegrate through children and routine, the tension between love and sex and what can keep a union alive. This is a novel about shallowness and what might replace it. For all of McInerney's surface cynicism, he's a writer — like Martin Amis perhaps — with whom, beneath the surface, there is a surprisingly simple, some might say naïve, ideal of goodness at work. Whenever this most cynical of writers has to reveal his allegiances, rather than his hatreds, they turn out to be remarkably homespun. The conclusion of the novel is undramatic. The characters may be searching for the Good Life, but their quest doesn't end up with the discovery of a holy grail. McInerney is describing a relentlessly secular world, where there are no easy sources of redemption. The characters end up finding meaning in those two stalwarts of the bourgeois worldview: romantic love and the love of children. This story is a simple one, but McInerney delivers it with grace and wit. He does what a good novelist should: he takes an abstract idea and gives it life. (Jan.) Alain de Botton is the author of On Love, Status Anxiety, and How Proust Can Change Your Life, among other books. Alain de Botton, Publishers Weekly (Copyright Reed Business Information, Inc.)
"Review A Day" by , "The Good Life is lit by McInerney's satirical sparks: he enjoys catching the inanities of the over-moneyed....In some passages, however, his lightness of touch deserts him, and the weight seems to come less from the grim losses of 9/11 than from the burdens of a society he can't quite rise above....If one strain in American writing in the 1980s was that of the 'KMart realists' (such as Bobbie Ann Mason and Ann Beattie), the 'Brat pack' writers, McInerney and his coeval Bret Easton Ellis, seem to have forged, by contrast, a Dolce & Gabbana realism: this novel's pages are heavy with wads of undigested contemporaneity in the form of brand names, Hamptons locations, celebrity chefs, chic restaurants — social references that will resonate among a select readership and remain, for others, flat on the page." (read the entire Times Literary Supplement review)
"Review" by , "McInerney probes the human response to tragedy, and the complexity of human desire, with both precision and empathy....There have been a number of 9/11 novels lately....This one is essential."
"Review" by , "Honestly, it seems McInerney doesn't know what to do with this material....Perhaps the tragedy feels so sacrosanct, so enormous, that he has chosen not to apply the skills that are closest to his true talent, and what's left is this odd, stilted, earnestly tremulous book."
"Review" by , "The results read like a shotgun marriage between social anthropology and soap opera. The title suggests a number of questions...that the author fails to resolve."
"Review" by , "[McInerney's] New York takes on a life of its own, becoming as much a character as any of the two-legged kind....Inveterate Gothamites will especially appreciate this love story between kindred spirits and between city dwellers and their wounded mecca."
"Review" by , "McInerney spurns sanctimony as he beholds tragedies large and small....The Good Life is a tinselly but thoughtful elegy for a gilded age smashed to dust."
"Review" by , "[A] bizarre mix of the genuinely moving and the trashily facile, the psychologically astute and the ridiculously clichéd; part of it aspires to create an F. Scott Fitzgerald-esque romance, and part sags to the level of a Judith Krantz tale about the rich and overprivileged..."
"Review" by , "Of all the repellent interpretations of 9/11, Jay McInerney builds his new novel, The Good Life...around one of the slimiest: Sept. 11 as soul-cleansing for privileged New Yorkers. (Grade: C-)"
"Review" by , "McInerney perfectly captures the sensation of getting hit in the solar plexis and living through it....The Good Life has more substance than McInerney's usual stories of sex and sin among New York City yuppies..."
"Synopsis" by , Rich with characters and events both comic and harrowing, this novel reveals a time and place, and the lives impacted by the events that occurred on 9/11 in New York--people battered by memory, regret, and unimaginable shock and yet determined to discover what the good life truly is.
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