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Love Triangle: If You Leave Me

11 Monday Jul 2022

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Review: If You Leave Me, by Crystal Hana Kim
Morrow, 2018. 418 pp. $27

When Communist-aided forces in northern Korea invade the south, sixteen-year-old Haemi, her mother, and young brother, Hyunki, who’s tubercular, flee for their lives on foot. A year later, in 1951, the refugee family lives a precarious existence in Busan, a seaport nestled in the tip of the Korean Peninsula. Haemi goes to school and is bright enough to stay with it, if she wants.

But education is makeshift, and in a country invaded and a war that seems destined to remain a fruitless stalemate, even educated women have little scope. Besides, who can imagine a rosy, far-off future when tomorrow, and the next day, hunger will wrack your body and spirit the same way it does today?

The Busan-Seoul road, a supply lifeline–but mostly for the military (courtesy U.S. Army and http://www.kmike.com/Appleman/Chapter13.htm#9 via Wikimedia Commons; public domain)

As a form of escape, Haemi sneaks out at night to drink moonshine with Kyunghwan, a handsome, slightly older boy she’s known all her life. These risky outings, which she has to balance with her responsibilities for Hyunki’s care — the boy’s cough is alarming — provide another danger. Physically attracted to Kyunghwan, Haemi believes he shares her feelings and wants him to declare himself.

But he won’t, and when her mother pushes her to accept a marriage proposal from Jisoo, Kyunghwan’s cousin, because he has more money and better prospects, the girl agrees. The boys go off to war, and Haemi waits for her life to begin, though as a nurse’s assistant at a military hospital, she glimpses a path that she wishes she could follow.

An old story, a love triangle, and for at least the first half of If You Leave Me, Kim makes her narrative seem like a fresh take. It’s not just Haemi’s existence that’s precarious — it’s Korea’s — and the presence of the American “liberators” cuts in several directions. I like this part of the novel the best, in which Korean aspirations for freedom and prosperity, represented by the characters’ dreams, run up against poverty, desperation, and brutal circumstance. How these people carve out niches for themselves, or try to, makes compelling reading. Throughout, those who have money can skate through; those who don’t may well be beating their heads against a concrete wall.

Kim’s prose, sparse, carefully observed, and devoted to moment-to-moment gesture and feeling, fits the story like a glove. Consider this passage early on, when Jisoo becomes Haemi’s suitor, and the girl’s living situation moves him:

On my earlier visits, I’d never been allowed beyond the front door.… The sitting room was spare, more miserable than I’d expected. The hanji paper had been ripped off the walls and windows, revealing bare clay and open frames. But I appreciated their effort to make it a home. A bowl of dried flowers decorated a small desk. Straw floor cushions were piled neatly in a corner. The open windows brought in a soft breeze. I smiled. “A real home. You’re lucky.”

Unfortunately, If You Leave Me loses momentum a few years after the war, when Haemi and Jisoo have children, while Kyunghwan has searched about for a successful career. Part of my impatience comes from how I see the characters, whose appeal wears thin after a while. Haemi, frustrated by her role as wife and mother, wants more and dreams of Kyunghwan, even though she knows it’s not a man she needs but a larger life. Her bitterness and mercurial moods upset everyone, and you want her to act. But this is midcentury Korea, so she’s trapped.

Jisoo, marked by his wartime experiences, can’t listen to her (or anyone else) and expects obedience. That’s an important cultural and political comment, and perhaps why Kim wrote her novel, but a theme isn’t a story, and I want to see other sides to him, to have this conflict go somewhere. As for Kyunghwan, he can’t befriend anyone for real, pleasant as he can be sometimes, so he too remains at a distance. Will he or won’t he visit his old friends? And if he does, what will happen? The answers are fairly predictable, yet still constrained by societal rules.

Finally, as the characters settle into their prescribed roles, the narrative presents a lot of back-and-forth, especially marital quarrels, that feels repetitive, both in action and theme. The almost constant argumentation seldom gets beyond You’re selfish; no, you’re selfish. That’s too bad, because the historical background, unfamiliar to me and probably to most Americans, furnishes an excellent atmosphere for what Kim wishes to say, and if she pushed the envelope a little, maybe the characters would have taken a leap.

If You Leave Me is her first novel. I hope the author’s future efforts develop her readily apparent gifts.

Disclaimer: I obtained my reading copy of this book from the public library.

Ménage à Trois: Love Is Blind

14 Monday Jan 2019

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Review: Love Is Blind, by William Boyd
Knopf, 2018. 369 pp. $27

Brodie Moncur is one of those fictional characters you wish you knew in real life. A Scotsman entering his twenties in the nineteenth century’s final decade, Brodie has spent six years tuning pianos for an Edinburgh concern, Channon and Co. He knows all there is to know about his craft but much less of the world than he would like, so when his boss chooses him to manage a showroom in Paris, Brodie jumps at the chance. With his bag of tools and the knowledge in his head, he can go anywhere. But to make his break, he must stand up to his narcissistic, tyrannical father, who keeps the army of Brodie’s siblings in thrall—Brodie’s the first to leave and by no means the youngest. Nobody, least of all Brodie himself, expects him ever to return; as Boyd often does, he shows that anticipated emotional transition through the natural world:

Brodie had been fishing this small river since he could remember — Callum [his brother] also. They knew every bend and pool, every potential crossing point, every placid, midge-hovered eddy. It had a calming effect on him… memories skittered through his mind, came and went like butterflies or sun dapples beneath breeze-shifted branches; he saw himself as a little boy with his first rod, remembered the charge and thrill of his first catch. Maybe this small river and its wilderness should be ‘home’ to him, he thought, not the manse or the village. He should carefully store the memories of this day and recall it whenever he felt lonely or homesick.

But, as the title suggests, this novel isn’t just a coming-of-age story. A creative thinker, in Paris Brodie devises a scheme whereby a celebrated pianist will use a Channon exclusively and thus publicize the brand. The idea works, but with consequences that will change Brodie’s life; John Kilbarron, “the Irish Liszt,” signs on, sweeping Brodie into his mercurial, if fading, orbit. One moon encircling planet Kilbarron is Russian soprano Lika Blum, his mistress, for whom Brodie falls, hard. Another moon is the pianist’s boorish, mistrustful brother, Malachi, who worships John and acts as his business manager. To no surprise, life gets very complicated. It also travels to different places, and one of the pleasures of this novel is how Boyd describes them all.

Some tools of the trade: rubber mutes and a tuning hammer (courtesy Onascout via Wikimedia Commons)

Brodie’s character appeals, in part, because he takes his many losses without an ounce of self-pity, while enjoying happiness to the fullest. He draws people to him wherever he goes, and his love for and understanding of pianos makes his work a fascinating art. The scenes in which he repairs or tunes these magnificent instruments make wonderful reading, a behind-the-scenes glimpse of a virtuoso’s necessary assistant that no one ever meets.

Brodie trusts people easily, perhaps too much so — strange, given his corrupt, vicious father — and suffers for it. His ingenuity bears fruit, but others seem destined to appropriate it. Accordingly, bad things do happen to him; one theme of Love Is Blind is how quickly happiness and contentment can dissolve. Still, those reversals have to do with others’ weakness, not his, so at times, I wonder whether he’s a little too good to be true. His sole major flaw seems to be vengefulness, but you have to push him very hard before he unleashes it, testament to his patience.

The more obvious weak link is Malachi, whose antagonism has no apparent root except a self -sacrificial brother worship, which Boyd explains but never explores. As an antagonist, Malachi is satisfyingly tireless, but after a while, he becomes more of a device than a person. I wish Lika came into closer focus as well, for she seems a passionate, seductive, willing beauty, perhaps too convenient for Brodie by half. He’s the star of the show, and what you think about that fact or the man himself will decide whether Love Is Blind is for you.

Despite these drawbacks, though, I like this novel, and I think Brodie’s story makes for beautiful, poignant reading.

Disclaimer: I obtained my reading copy of this book from the public library.

As the Losses Mount: Everyone Brave Is Forgiven

29 Monday Aug 2016

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Review: Everyone Brave Is Forgiven, by Chris Cleave
Simon & Schuster, 2016. 424 pp. $27

This novel is hardly the first about a love triangle in wartime, but if it’s not the best of the genre in recent memory, it’s pretty damn close.

Mary North, a young woman at odds with her stuffy London family, hastens home from a Swiss finishing school in September 1939, just after Britain declares war. She wants to “do something,” so she badgers the War Office, assuming that her services must be required, maybe as a secret agent. After all, her father’s an MP, perhaps destined for a cabinet post, so why not? Nobody really knows what the war will be like, but eighteen-year-old Mary is very sure that for her, it will involve duty, freedom, and a ripping lark. In other words, Mary has the makings of an absolutely insufferable, overprivileged twit–and yet she’s quite the opposite.

 

Bomb damage in Valletta, Malta, May 1942 (Courtesy Wikimedia Commons).

Bomb damage in Valletta, Malta, May 1942 (Courtesy Wikimedia Commons).

Two traits save her, in my eyes. First, she’s delightfully subversive, willing to challenge commonly held beliefs in herself and others, and does so with wit and style. Second, she tries to live by her discoveries, working around the rules whenever necessary–a free spirit who becomes increasingly aware how much her ability to be one derives from her wealth and social position.

Mary finds a job as a teacher, where her readiness to see things from the children’s point of view makes her an asset. For instance, the day they’re to be evacuated from London (a war measure), her charges exchange their name tags the moment she turns her back. Being who she is, she pretends that their new names are the correct ones, which amuses them no end. “It turned out that the only difference between children and adults was that children were prepared to put twice the energy into the project of not being sad.” But Mary’s superiors think she’s unfit to teach–too much levity and sympathy, flouting the rules–so they fire her.

Are we downhearted? Only for a moment. Mary lobbies Tom Shaw, an administrator who grants her the use of an abandoned school, where she plans to teach those children shunted back from the countryside, spurned because of their skin color, emotional disabilities, or neediness. Mary throws herself into rescuing these kids and, shortly afterward, into Tom’s arms as well.

Meanwhile, however, Tom’s good friend Alistair, an officer who barely survived the Battle of France and was evacuated from Dunkirk, has come home to London on leave. (Notice the recurring theme of evacuation and rescue, and who deserves it, or doesn’t.) By happenstance, the day Alistair ships out again, Mary brings him his duffel bag at the train station. Cleave, in the simple, elegant prose that makes this novel shine, describes the feeling between them:

She laughed then, brightly and without complication, and he laughed too, and for a moment the war with its lachrymose smoke was blown away on a bright, clean wind. Alistair marveled that she could do such a thing with the tiniest inflection of her mouth and the lightest look in her eye: even exhausted, in yesterday’s dress with her hair disheveled, she could make the distance between them disappear.

Consequently, it’s no secret that while enduring the terrible, grinding, years-long siege of Malta, Alistair thinks of Mary and his friend Tom in different, not always selfless, ways. What eventually happens is anything but predictable, even if it seems so at first, because Cleave is master of my favorite literary device, the “no; and furthermore.” Just when you think things are settled, they’re not–they get even worse–and no one’s off the hook. Some readers may object to the unflinching nature of the narrative, which deals out plenty of pain and leaves quite a few prejudices intact. But I urge you to read Everyone Brave Is Forgiven, precisely because these characters earn every drop of joy they get. Along the way, Cleave treats you to terrific dialogue, much of it darkly funny, and pitch-perfect descriptions of new love, intense desperation, and loss. The characterizations feel true in every respect, save one (I don’t believe that Mary’s only eighteen at the novel’s beginning, and she doesn’t act like the virgin she’s supposed to be).

I’ve heard some people call this book same-old, same-old, or too sentimental. Don’t believe them. Everyone Brave Is Forgiven is a wrenching novel, one of the finest I’ve read this year.

Disclaimer: I received my reading copy of this book from the public library.

A Famous Life in the South Pacific: Euphoria

28 Monday Sep 2015

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Margaret Mead in 1948 (Courtesy Smithsonian Institution Archives).

Margaret Mead in 1948 (Courtesy Smithsonian Institution Archives).

Review: Euphoria, by Lily King
Grove/Atlantic, 2014. 257 pp. $25

Suppose that three anthropologists, a husband-and-wife team and another man, cross paths in New Guinea in 1931. The husband, a magnetic, vicious boor, is jealous of his wife’s fame and has myriad ways of expressing it. His animosity grows sharper as he senses the other man attracting her with two qualities he sorely lacks, simple kindness and the ability to play with ideas. But they’re scientists, so their love triangle seethes with conflicting views about human nature, reflecting what they observe about the indigenous peoples they’re studying and how they themselves behave, so that scientific theory becomes practice. And throughout this chillingly tense, enthralling novel, it’s fair to ask what civilization means and whether Westerners have a monopoly on it the way we tell ourselves we do.

King has closely based Nell Stone, the woman of the triangle, on Margaret Mead, and the men, on two of her husbands. But don’t think for a second that their actual history predicts King’s narrative or the themes involved. Yes, she portrays Mead’s exploration of tribal sexual mores and the lives of children, findings controversial then and now, which have, incidentally, influenced American theories of child-rearing. (It was no coincidence that she chose Benjamin Spock to be her daughter’s pediatrician.) But scientific history aside, it’s the relationship between Nell and her husband, Schuyler Fenwick (known as Fen), and how Andrew Bankson comes between them, that give Euphoria its remarkable breadth.

Take, for instance, the differences between Nell and Fen:

Fen didn’t want to study the natives; he wanted to be a native. His attraction to anthropology was not to puzzle out the story of humanity. . . . It was to live without shoes and eat from his hands and fart in public. He had a quick mind, a photographic memory, and a gift for both poetry and theory–he had wooed her with these qualities day and night for six weeks on the boat from Singapore to Marseille–but they didn’t seem to give him much pleasure. His interest lay in experiencing, in doing.

For her part, what drives Nell to suffer the hardships of field work is to gather stories about other people and return home to tell them. She hopes to find a loving audience, much as she had wished her parents would pay attention to her when she was little. More important, though, she believes “that somewhere on earth there was a better way to live, and that she would find it.”

The struggle between them, with Bankson as mediator, sounding board, and, eventually, equal participant and catalyst, plays out in so many facets of life that Euphoria held me spellbound, in awe of King’s breadth of vision. To name only a few themes, the narrative reveals the anthropologists’ conflict while hashing out the nature of science, culture, feminism, violence, sex, power, exploitation, greed, selfishness, and what it means to understand someone else.

And to give you just a hint about the depth of this story, euphoria refers to how gratifying that understanding feels. But, like all euphoria, it’s brief, whether as friend, lover, or scientist. As Nell tells her journal, she loves the start of any new field posting, when she must rely on visual, nonverbal cues to communicate, to which she must pay close attention, or she’ll miss the meaning. Once she gets past that point, though, it’s less exciting and possibly misleading, for in her focus on verbal conversation, what’s really happening may slide by, unnoticed. Words, she remarks, are so often unreliable.

The field work provides a vivid, ever-changing background, in which there’s no such thing as a casual interaction. That’s another of this novel’s pleasures, the window on how anthropologists go about gathering information (or did in the 1930s). As a former Peace Corps volunteer, I’ve always liked good cross-cultural stories. Euphoria is that, and a lot more.

Disclaimer: I obtained my reading copy of this book from the public library.

Texas Three-Step: The Promise

25 Monday May 2015

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Review: The Promise, by Ann Weisgarber
Skyhorse, 2014. $25

The Promise is one of the best novels I’ve read in years, a brave, exacting, often painful work, the type that takes a premise elegant in its simplicity and explores its depths.

Catherine Wainwright was brought up to appreciate and expect the finer things, including the music by which she makes her meager living. However, in this year of 1900, an independent woman’s place is precarious, to say the least, and Catherine has made a costly blunder. An affair with her cousin’s husband has made her hometown of Dayton, Ohio, too hot for her to live in. Polite society cuts her dead, parents cancel their children’s piano lessons with her, and her nascent concert career vanishes. Owing back rent she can’t pay and cut off from the man she loves, she realizes marriage is the only answer.

Map of Galveston, Texas, 1885, Augustus Koch (Courtesy Wikimedia Commons, public domain in the US).

Map of Galveston, Texas, 1885, Augustus Koch (Courtesy Wikimedia Commons, public domain in the US).

Accordingly, she resumes her correspondence with a Dayton man who has moved to Galveston, Texas, and become a dairy farmer. When they were at school together, Oscar Williams always liked her, and he intrigued her too, in his way. And as it happens, when Catherine writes Oscar again, he’s recently widowed and has a five-year-old boy to think of. After a few more letters pass back and forth, Oscar proposes marriage, and Catherine accepts–without telling him about her disastrous affair.

In Galveston, she finds a different level of heat from Dayton, and not just from the stifling, insect-ridden climate. She shares a bed with a man she doesn’t love, worries that his Dayton relatives will have told him about her, feels deeply hurt by her former lover’s treatment of her, and doesn’t know how to approach her stepson, Andre. Then there’s Nan Ogden, a young woman who keeps house for Oscar and looks after Andre. Nan resents the new Mrs. Williams and fancies Oscar for herself, but she doesn’t let herself think about it, which makes her character all the more fascinating. The two women narrate the novel in their very different voices. What they see (or don’t) in themselves or their adversary turns their already fraught triangle into high drama, even when the action concerns sweeping the floor or making coffee.

The Promise therefore delivers what I’ve come to believe is the key to good literary fiction. Like the musical Catherine communing with Beethoven, Weisgarber plays every note. She lingers over emotional transitions, finding many that lesser writers would miss or skim over, unpacking the compressed moments into their intriguing parts rather than summing them up in shorthand. Yet the narrative moves at a crackling pace, because the author knows storytelling and her characters’ inner lives.

This all begins with Catherine’s flaws. At the start, she’s self-absorbed, entitled, and superior, disbelieving that her comedown should happen to her. She’s terrified of her new surroundings and the scrutiny she’s under:

 

I felt Nan Ogden watching from the house as I fumbled with the latch on the barnyard gate. The soft soil in the yard was churned with hoof prints, and flies buzzed around a pile of dung. Water streamed from the chin of the cow that stood at the trough, her unblinking eyes taking note of my every move . . . . I’d never been so close to a cow, and her size was alarming. So, too, was her udder. It resembled a balloon but one that was lined with swollen blood vessels. I hurried past her.

 

Prompted by necessity and Oscar’s patient insistence, Catherine unbends enough to discover hidden sides to him, Andre, and herself. She also reflects on how she must appear to others. Consequently, she grows within a short time, as does Oscar in her view, which further deepens the novel.

My only quarrel is the manner in which, fairly early, she admits her mistakes to herself and realizes her illicit lover wasn’t the man she thought he was. Her shame feels completely real–I connected with her right away over that–but don’t see what prompted these revelations at that moment.

Otherwise, The Promise is absolutely splendid.

Disclaimer: I obtained my reading copy of this book from the public library.