Diane K. reviewed on + 236 more book reviews
From Publisher's Weekly:
Set in 1972, Ansay's debut novel revolves around Ellen Grier's struggle for liberation-liberation from her marriage to James, from her virtual enslavement to her sanctimonious, cruel in-laws and from what she see as the stultifying demands of her religion, Roman Catholicism. Financial difficulties have forced James and Ellen, along with their two children, to move back to the small Wisconsin town where they grew up and where they now share an acrimonious and joyless life with James's parents. Virtually every character is victimized by a private misery that causes pain and alienation and that in turn victimizes others. Ansay, who teaches creative writing at Vanderbilt, is adept at delineating these worlds of suffering, and her language can be both apt and beautiful. But she offers too many descriptions of the nightmares and waking bad dreams that seem to afflict all of her characters, and the reader begins to share the sense of being caught in a bad dream. As the story concentrates more on Ellen's search for identity-a familiar tale presented here in a familiar way-this sense of nightmare is intensified by an impression of deja vu. Though uneven, the novel offers glimpses of Ansay's potential to deliver a more coherent book next time.
Set in 1972, Ansay's debut novel revolves around Ellen Grier's struggle for liberation-liberation from her marriage to James, from her virtual enslavement to her sanctimonious, cruel in-laws and from what she see as the stultifying demands of her religion, Roman Catholicism. Financial difficulties have forced James and Ellen, along with their two children, to move back to the small Wisconsin town where they grew up and where they now share an acrimonious and joyless life with James's parents. Virtually every character is victimized by a private misery that causes pain and alienation and that in turn victimizes others. Ansay, who teaches creative writing at Vanderbilt, is adept at delineating these worlds of suffering, and her language can be both apt and beautiful. But she offers too many descriptions of the nightmares and waking bad dreams that seem to afflict all of her characters, and the reader begins to share the sense of being caught in a bad dream. As the story concentrates more on Ellen's search for identity-a familiar tale presented here in a familiar way-this sense of nightmare is intensified by an impression of deja vu. Though uneven, the novel offers glimpses of Ansay's potential to deliver a more coherent book next time.
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