On a thundery evening in London four apparently unrelated incidents occur. Travelling down on an escalator, Clovis sees a sensless figure sprawled on the upward escalator. From indecision, embarrassment or cowardice, he does nothing, but the encounter will has its conse-quences. After a violent quarrel, and a last bitter pizza with her former ...Read MoreOn a thundery evening in London four apparently unrelated incidents occur. Travelling down on an escalator, Clovis sees a sensless figure sprawled on the upward escalator. From indecision, embarrassment or cowardice, he does nothing, but the encounter will has its conse-quences. After a violent quarrel, and a last bitter pizza with her former lover, Inez, wandering down Charing Cross Road, sees the face of a woman she once knew on the book jacket and decides to search for her. Out in the suburbs, Alfred, waiting to take his place at art school, knocks on the door of Walnut Tree Cottage and, when a woman answers whom he believes to be the widow of a famous artist, asks to draw her. Soon afterwards, he is fleeing naked into the rain. And in Tivoli Street, when the storm breaks in earnest, Nancy and Rod are forced to take shelter next door with the Lees, whose home improvements they have hitherto despised. As the story unfolds, in London and New York, the links between these diverse chatacters are revealed. Some connections are fragile and destined to be broken, others prove indissoluble.Read Less
1559212292. Stated first edition. Advanced Bound Galley. Paperback. Crossed out old bookseller's price on upper corner of first page, otherwise tight, clean, paper crisp, unmarked, as new and never read. ISBN 1559212292 modern first; ARC; advance reading copy; proof.
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Publishers Weekly, 1999-05-10 Few writers are as adept as Mackay (The Orchard on Fire ) in summing up temperament, appearance and motivation in the space of one spare, stunning sentence. Here her gimlet eye focuses on a dozen London characters whose relationship to Lyris Crane, the eponymous artist's widow, brings them into juxtaposition. In addition to mourning the recent death of her husband, John, Lyris fears the loss of her own creativity as a painter. She suffers through a posthumous show of John's last works in an acid-etched scene in which establishment figures of the British art world and untalented and opportunistic wannabes mingle and try to impress each other. Lyris's great-nephew Nathan Pursley, a louche, ignorant and nervy fellow who styles himself a conceptual artist, is part of a circle of self-indulgent, obnoxious, vulgar young artists whom Mackay skewers with rapier wit. Other characters come from a range of Britain's social classes. Although most of them exhibit a credible mix of foibles, pretensions and misplaced love, one or two verge on caricature. Besides Lyris, the only likable characters are a working-class couple whose kindness to Lyris reflects true gentility of spirit, and a bookstore owner adrift in indecision. The plot affords a panoramic view of the lives of these representative Londoners during the stifling August that preceded the death of Princess Di. As her characters experience the insecurities of youth, the crises of the middle years and the regrets of old age, Mackay explores the issues of artistic creativity, moral values and friendship. She writes in language as quick and lethal as a snake's tongue; the best scene is a dinner party where everybody behaves badly and the dialogue is hilarious. No startling life passages occur here, just a not-so-gentle sliding from one stage to another. The sadness at the narrative's core is beautifully controlled; the wit is buoyant. (July)
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