Emily, Aloneby Stewart O'Nan
From the author of Last Night at the Lobster, a moving vision of love and family.
A sequel to the bestselling, much-beloved Wish You Were Here, Stewart O'Nan's intimate new novel follows Emily Maxwell, a widow whose grown children have long moved away. She dreams of vists by her grandchildren while mourning the turnover of her quiet/i>/b>/i>… See more details below
From the author of Last Night at the Lobster, a moving vision of love and family.
A sequel to the bestselling, much-beloved Wish You Were Here, Stewart O'Nan's intimate new novel follows Emily Maxwell, a widow whose grown children have long moved away. She dreams of vists by her grandchildren while mourning the turnover of her quiet Pittsburgh neighborhood, but when her sole companion and sister-in-law Arlene faints at their favorite breakfast buffet, Emily's days change. As she grapples with her new independence, she discovers a hidden strength and realizes that life always offers new possibilities. Like most older women, Emily is a familiar yet invisible figure, one rarely portrayed so honestly. Her mingled feelings-of pride and regret, joy and sorrow- are gracefully rendered in wholly unexpected ways. Once again making the ordinary and overlooked not merely visible but vital to understanding our own lives, Emily, Alone confirms O'Nan as an American master.
Another quietly poignant character study from O'Nan (Songs for the Missing, 2008, etc.), this one tracing the daily routines and pensive inner life of an elderly widow.
Emily Maxwell, newly bereaved in Wish You Were Here (2002), is now more or less accustomed to life without her beloved husband Henry. His death and the more recent loss of her best friend Louise are still painful, but she's adjusted. She has her aging dog Rufus for company; she's a regular churchgoer; she reads and listens to classical music; every Tuesday she drives with her sister-in-law Arlene from their separate homes in Pittsburgh to the suburban Eat 'n Park's two-for-one breakfast buffet. Arlene's collapse at the restaurant dramatically closes the first chapter, but otherwise O'Nan's low-key narrative bears out Emily's uneasy sense that "she was at an age where all was stillness and waiting." Holiday visits from her children underscore fraught family relations. Daughter Margaret, a recovering alcoholic in shaky economic circumstances, has always annoyed Emily with her messy feelings and disorganized ways. Son Kenneth is dutiful but reserved; Emily and his wife Lisa dislike each other. Her four grandchildren are in college or beginning careers; "it was hard to follow their lives from a distance." Emily is well aware that she too distanced herself from her family when she married the more privileged Henry, and her unsentimental musings over past and present relationships form the novel's emotional core as nine months unfold from November 2007 to the following July. O'Nan gently depicts Emily—inclined to be as critical of herself as of those who don't meet her exacting, old-fashioned standards—trying to judge less and accept more. She doesn't change so much as let go, learning that an existence diminished by age and loss is nonetheless precious for the pleasures that remain: gardening in the spring, going through childhood mementoes, simply knowing that she has lived, loved and endured.
Rueful and autumnal, but very moving.
The Washington Post
The New York Times
The elderly widow, soldiering on alone after her husband's death, long after her children have grown and moved away, may not be the stuff of high drama, but it contains a mother lode (so to speak) of rich material. And why not? Who better to delve into issues of mortality and values than those nearing the end who, ironically, have plenty of time on their hands for deep reflection? These women maintain rich inner lives even as their worlds contract.
Often, as in Clyde Edgerton's hilarious Walking Across Egypt (1987) -- a personal favorite -- plots turn on an unexpected connection between a dowager and a troubled youngster. But in Stewart O'Nan's Emily, Alone, a welcome follow-up to his 2002 novel, Wish You Were Here, the emphasis, as the title suggests, is Emily, toute seule, determined to uphold standards and maintain discipline even as her world erodes.
O'Nan's novels, including The Good Wife, which also convincingly captures a woman's perspective, and Last Night At the Lobster, often focus on blue-collar America. Emily, born in 1931 and rescued from the sticks by her marriage to Pittsburgh engineer Henry Maxwell, is financially well-off enough to help out her struggling middle-aged children. Wish You Were Here first introduced her a year after Henry's death, grappling with family issues -- her daughter Margaret's alcoholism and broken marriage and her son Kenneth's fractured dreams -- during a gathering at the Maxwells' beloved cottage on Lake Chautauqua in western New York before finalizing its sale.
Emily, Alone takes place six years later. Nearing 80, Emily is still going strong both mentally and physically. She still misses the man who "knew the 18-year-old lifeguard she used to be, and the fashionable grad student, the coltish young mother." She continues to live alone in her meticulously kept Pittsburgh house with her portly, gassy, extremely aged spaniel, Rufus, who according to my calculations, must be nearing a record-breaking 20.
The emptiness in Emily's life is compounded by the distance of her family and the recent death of her best friend. Her closest remaining companion is her never-married sister-in-law Arlene, a retired schoolteacher who, despite her alarming driving, is the designated chauffeur on their outings to art and flower shows, club dinners, and, increasingly, funerals. When Arlene suffers a small stroke during their weekly pilgrimage to the Eat 'n Park's two-for-one breakfast buffet, it's a wake-up call to Emily, galvanizing her to crank up Henry's outsized Chevrolet. To her surprise, driving makes her feel "part of something larger again." Her children are shocked when she purchases her first car ever -- a Subaru wagon -- after careful research on Henry's old computer.
Not much happens in Emily, Alone -- which is not to say, of course, that the novel isn't full of interest. Like Evan S. Connell's indelible Mrs. Bridge, Emily, Alone deftly (and more lovingly) captures the texture of the thoughts and days of a comfortable American woman who has outlived her primary role as a wife and mother -- how a crossword puzzle is rationed to last all week and small chores such as distributing tissue boxes around the house or writing thank you notes assume enlarged importance. Emily is all too aware of her static situation, most keenly feeling "her own inertia, her life no longer an urgent or necessary business" during "that gray time of day just before the school buses rolled."
The strength to endure such an attenuated life proves hardest during the long Pittsburgh winter, through which Emily sustains herself with anticipation of gardening and the promise of holiday visits from Kenneth and Margaret and her four grandchildren, which are at once disturbingly disruptive to her solitary routines yet also all too brief. The highlight of her year, eagerly awaited for months, remains her annual summer visit to Lake Chautauqua with her whole family gathered, now reduced to a single week.
O'Nan beautifully evokes a woman who "prized, above all, self-reliance" yet recognizes that she's "outgrown most of her earthly desires," with the pointed exception of wishing she could see more of her children and grandchildren. Emily is an endearing character, fussy yet unusually self-aware and sanguine about her own mortality. She struggles to hold her criticism in check, not just of others -- including Mr. Impatient/ Mr. Fatty/ a.k.a. Rufus -- but of herself. The result is a warmhearted, clear-eyed portrait of a woman in her dotage who understands that life is both awfully long and woefully short, much of it passed in waiting and regret, but never, heaven forbid, about just the past, since "every day was another chance."
- Viking Adult
- Publication date:
- Product dimensions:
- 6.20(w) x 9.18(h) x 0.98(d)
- Age Range:
- 18 Years
Read an Excerpt
Praise for Emily, Alone
“O’Nan’s best novel yet . . . It’s heartbreaking stuff—I will confess that I found myself sobbing at certain, often unexpected, points . . . and yet the novel’s brilliance lies just as much in O’Nan’s innate comic timing, which often stems from Emily’s self-imposed isolation from, and disgust with, the modern world. . . . If O’Nan’s earlier novels were influenced by Poe, the specter of Henry James hovers delicately above Emily’s Grafton Street home, insinuating itself into O’Nan’s spiraling, exact sentences and the beautiful, subtle symbolism that permeates the novel.”
—The New York Times Book Review
“Emily is as authentic a character as any who ever walked the pages of a novel. She could be our grandmother, our mother, our next-door neighbor, our aunt. Our self . . . In a portrait filled with joy and rue, O’Nan does not wield a wide brush across a vast canvas but, rather, offers an exquisite miniature. Just as Emily prefers Van Gogh’s depiction of a branch of an almond tree over the more spectacular Sunflowers, so, too, do we readers appreciate an ordinary life made, by its quiet rendering, extraordinary. No matter her—and our—unavoidable end, Emily . . . teaches us that small moments not only count but also endure.”
—Mameve Medwed, The Boston Globe
“It takes a deft hand to do justice to the ordinary . . . but, if the mundane matters to you, then Stewart O’Nan is your man. . . . O’Nan’s glory as a writer is that he conveys the full force of the quotidian without playing it for slapstick or dressing it up as Profound. . . . Emily, Alone [is] moody, lightly comic, and absolutely captivating. . . . With economy, wit, and grace, O’Nan ushers us into the shrinking world of a pleasantly flawed, rather ordinary old woman and keeps us readers transfixed by the everyday miracles of monotony.”
—Maureen Corrigan, Fresh Air
“To say that nothing happens in this [Emily, Alone] is like saying that there’s nothing going on in that glorious room in Amsterdam’s Rijksmuseum where Rembrandt’s numerous portraits of his mother hang. . . . [O’Nan] is a seamless craftsman who specializes in the lives of ordinary people. In Emily Maxwell, O’Nan has created a sturdy everywoman, occasionally blemished by pettiness and disdain for common idiocy, but always striving for a moral equilibrium.”
—San Francisco Chronicle
“As riveting as a fast-paced thriller, albeit one that delves into the life and psyche of an elderly woman.”
—The Miami Herald
“Stewart O’Nan’s books are not about poverty, life’s crises, gross injustice, or family drama; in fact, there’s very little drama in his works. He has become a spokesperson—in modern fiction—for the regular person, the working person, and now, the elderly. . . . This is a writer who illuminates moments like that one, moments you never even noticed. . . . O’Nan’s thoroughness is like a skill from another time—a quieter time, when it was easier to listen.”
—Los Angeles Times
“O’Nan’s storytelling is as patient and meticulous as his heroine. He illuminates the everyday with splendid precision. Readers who appreciate psychological nuance and fictional filigree will delight in Emily, Alone.”
—Stephen Amidon, The Globe and Mail (Toronto)
“Emily stretches for a kind of rediscovery. Throughout she is lovable and heartbreaking and real. When this novel ends, in a moment of great hope and vigor, you’ll find yourself missing her terribly.”
—Entertainment Weekly (Grade A)
“O’Nan gives each small experience an emotional heft, and he’s supremely skilled at revealing Emily’s emotional investment in every small change in her life. . . . [A] plainspoken but brassy, somber but straight-talking [tone] infuses this entire nervy, elegant book.”
—Minneapolis Star Tribune
“[O’Nan] is an author who would drive all around town to avoid running over a single cheap thrill. He subverts our desire for commotion and searches instead for drama in the quotidian motions of survivors. . . . [Emily, Alone] quietly shuffles in where few authors have dared to go. And it’s so humane and so finely executed that I hope it finds those sensitive readers who will appreciate it.”
—Ron Charles in The Washington Post
“Emily, Alone demonstrates that though the distance between an incredibly boring book and a fascinating one may seem small, it is actually miles wide. It takes a madly inventive writer to make a novel about an old woman’s daily existence as absorbing as this one is.”
“Stewart O’Nan is a master of introspection.”
—The Denver Post
“O’Nan’s book, with great poignancy and humor, offers a rare glimpse into the life of a woman whose life is nearing an end. . . . [Emily is] an irresistible character—funny, flawed, and thoroughly unsentimental about her inevitable fate. . . . In different hands, this might have been a morose book, but it’s actually delightful. O’Nan’s ability to deliver such a flawless portrait of a woman thirty years his senior speaks to his gifts as a writer.”
—The Dallas Morning News
“Emily, Alone, by Stewart O’Nan, is a book of quiet yet stunning beauty; steady and trim from the outside, like its protagonist, and, just like her, stirring inside with deep longings, intense observations, and a strong attachment to living.”
—The Huffington Post
“O’Nan has the rare ability to make the ordinary seem unordinary in a way that is reminiscent of Updike.”
—The Daily Beast
“Reading Emily, Alone made me think of Charles Dickens. This is somewhat incongruous, because Stewart O’Nan’s novels are not crafted out of the complicated, multilayered plots that we associate with Dickens. But O’Nan does share a laserlike observational talent with the Victorian master—one that can shock the reader into a sense that the story is lifted out of one’s own family or even oneself. . . . O’Nan is a true virtuoso. . . . [Emily] is quietly heroic.”
—William Kist in The Cleveland Plain Dealer
“Mr. O’Nan skillfully and sensitively re-creates Emily’s world, from the city streets she nervously navigates in the car to her fears of illness and death.”
“Old age treads the thin line between melancholy and mirth in Stewart O’Nan’s marvelous new novel, Emily, Alone.”
“There’s a calm, enveloping tone to the story that belies its unflinching exploration of a woman’s chronically discontented heart. . . . Its chief pleasure comes from unraveling this little old lady’s mess tangle of emotions.”
“Stewart O’Nan may simply be genetically incapable of writing a bad book. His characters are written with precision, intelligence, and verisimilitude; they’re so luminously alive that a reader can accurately guess about what they’re eating for dinner or what brand toothpaste they use. . . . The fact that Stewart O’Nan can take an ‘invisible woman’—someone we nod to pleasantly and hope she won’t engage us in conversation too long—and explore her interior and exterior life is testimony to his skill. Mr. O’Nan writes about every woman . . . and shows that there is no life that can be defined as ordinary.”
—Mostly Fiction Book Reviews (online)
“[Emily, Alone] is an elegant examination of aging, family, and identity with a fine balance of the surprising and the expected. It is at once optimistic and totally realistic, and every page is a joy to read. As a sequel or stand-alone title, Emily, Alone is an understated yet powerful character study from one of America’s outstanding storytellers.”
“[By reading Emily, Alone] it is possible that the reader could reach a deeper understanding of the stage of life or the ways that we visit the sins of our parents on our children or of the folly of holding on to outdated patterns of living. When it comes to showing us to ourselves, Stewart O’Nan is a master.”
—New York Journal of Books
“A warmhearted, clear-eyed portrait of a woman in her dotage who understands that life is both awfully long and woefully short, much of it passed in waiting and regret, but never, heaven forbid, about just the past, since ‘every day was another chance.’”
—Barnes and Noble Review
“This exquisite novel plumbs an interior landscape rarely explored in literature . . . It’s testament to O’Nan’s talent than Emily, Alone is a page-turner suffused with vibrancy, humor, even hope.”
“Utterly devastating, poignant, so subtle. It is unpardonable that O’Nan is not a household name.”
—Edward Champion via Twitter
“Emily Maxwell, in Stewart O’Nan’s terrif Emily, Alone, joins India Bridge & Olive Kitteridge as women characters whom you won’t soon forget.”
—Nancy Pearl via Twitter
“[A] bracingly unsentimental, ruefully humorous, and unsparingly candid novel about the emotional and physical travails of old age. . . . The closely observed Emily is a sort of contemporary Mrs. Bridge, and O’Nan’s depiction of her attempts to sustain optimism and energy during the late stage of her life achieves a rare resonance.”
—Publishers Weekly (starred review)
“O’Nan again proves himself to be the king of detail. What people eat, how they eat it, what they think and say in the midst of eating it—this novel represents an almost minute mapping of the lay of the domestic land as O’Nan the sociological cartographer views it.”
—Booklist (starred review)
“With sympathy and compassion, O’Nan spotlights the plight of aging baby boomers, further enriching our understanding of the human condition.”
“Another quietly poignant character study from O’Nan . . . Rueful and autumnal, but very moving.”
Stewart O’Nan is the author of fourteen novels, including The Odds; Emily, Alone; and Last Night at the Lobster, as well as several works of nonfiction, including, with Stephen King, the bestselling Faithful. He was born and raised in Pittsburgh, where he lives with his family.
ALSO BY STEWART O’NAN
Songs for the Missing
Last Night at the Lobster
The Good Wife
The Night Country
Wish You Were Here
A Prayer for the Dying
A World Away
The Speed Queen
The Names of the Dead
In the Walled City
Faithful (with Stephen King)
The Circus Fire
The Vietnam Reader (editor)
On Writers and Writing, by John Gardner (editor)
Table of Contents
Praise for Emily, Alone
About the Author
MYSTERIES OF THE BRAIN
THE VIEW FROM THE FIFTH FLOOR
CLOSE TO NORMAL
THE BELLE OF THE BALL
THE DAY OF REST
THE BUSIEST DAY OF THE YEAR
PRESS FOR ASSISTANCE
THE HOSTESS WITH THE MOSTEST
UNDER THE WEATHER
A BAD HABIT
EXPRESSIONS OF SYMPATHY
THE FLOWER SHOW
THE PROBLEM WITH GOOD FRIDAY
THE GROWN-UP TABLE
POWER OF ATTORNEY
THE CRUELEST MONTH
THE VIRTUAL TOUR
THE LESSER OF TWO EVILS
THE MYSTERY OF MARCIA COLE
BETTER OR WORSE?
THE START OF THE SEASON
HARD TO KILL
OLD HOME DAYS
EXIT, STAGE LEFT
For my mother,
who took me to the bookmobile
Could it be, even for elderly people, that this was life—startling, unexpected, unknown?
Tuesdays, Emily Maxwell put what precious little remained of her life in God’s and her sister-in-law Arlene’s shaky hands and they drove together to Edgewood for Eat ’n Park’s two-for-one breakfast buffet. The Sunday Post-Gazette, among its myriad other pleasures, had coupons. The rest of the week she might have nothing but melba toast and tea for breakfast, maybe peel herself a clementine for some vitamin C, but the deal was too good to pass up, and served as a built-in excuse to get out of the house. Dr. Sayid was always saying she needed to eat more.
It wasn’t far—a few miles through East Liberty and Point Breeze and Regent Square on broad streets they knew like old friends—but the trip was a test of Emily’s nerves. Arlene’s eyes weren’t the best, and her attention to the outside world was directly affected by whatever conversation they were engaged in. When she concentrated on a thought, she drove more slowly, making them the object of honking, and once, recently, from a middle-aged woman who looked surprisingly like Emily’s daughter Margaret, the finger.
“Obviously I must have done something,” Arlene had said.
“Obviously,” Emily agreed, though she could have cited a whole list. It did no good to criticize Arlene after the fact, no matter how constructively. The best you could do was hold on and not gasp at the close calls.
In the beginning they’d taken turns, but, honestly, as atrocious as Arlene was, Emily trusted herself even less. Henry had always done the driving in the family. It was a point of pride with him. When he was dying, he insisted on driving to the hospital for his chemo himself. It was only on the way home, with Henry sick and silent beside her, bent over a plastic bowl in his lap, that Emily piloted his massive Olds down the corkscrewing ramps of the medical center’s parking garage, terrified she’d scrape the sides against the scarred concrete walls. For several years she used the old boat to do her solitary errands, never venturing outside of the triangle described by the bank, the library and the Giant Eagle, but after a run-in with a fire hydrant, followed quickly by another with a Duquesne Light truck, she admitted—bitterly, since it went against her innate thriftiness—that maybe taking taxis was the better part of valor. Now the Olds sat out back in the garage with her rusty golf clubs as if decommissioned, the windshield dusty, the tires soft. She wasn’t a fan of the bus, and Arlene had made a standing offer of her Taurus, itself a boxy if less grand antique. The joke among their circle was that she’d become Emily’s chauffeur, though, as that circle shrank, fewer and fewer people knew their history, to the point where, having the same last name, they were sometimes introduced by the well-meaning young, at a University Club function or after one of Donald Wilkins’s wonderful organ recitals at Calvary, as sisters, a notion Arlene though not Emily found wildly amusing.
Today, as always, Arlene was late. It was gray and raining, typical November weather for Pittsburgh, and Emily stood at the living room’s bay window, leaning over the low radiator and holding the sheer curtain aside. The storm window was spotted and dirty. A few weekends ago, her nextdoor neighbor Jim Cole had generously hung them, but he’d failed to clean them properly, and now there was nothing to be done until the spring. She would spend a morning tending to them herself, the way her mother had taught her, with vinegar and water, wiping them streak-free with newsprint, but that was months off.
Outside, the trees and hedges along Grafton Street were bare and black, and the low sky made it feel like late afternoon instead of morning. The Millers’ was still for sale. Their leaves hadn’t been picked up yet, and lay smothering the yard, a dark, sodden mass. She wondered who would be looking to buy this time of year. The last she’d heard, Kay Miller was in an assisted living place over in Aspinwall, but that had been in August. Emily thought she should visit her, though in truth it was the last thing she wanted to do.
When she thought of fashionable, flighty Kay Miller in a place like the one in Aspinwall, she couldn’t help but picture Louise Pickering’s final hospital room. The oatmeal bareness, the mechanical bed, the plastic water pitcher with its bent straw on the rollaway table. Consciously, she knew those places could be very nice, just as homey as your own bedroom, or close to it, but the vision of Louise persisted, and the idea that she was at an age where all was stillness and waiting—not true, yet impossible to dismiss.
and post it to your social network
Most Helpful Customer Reviews
See all customer reviews >
If you like books with hard-driving forward motion, this one isn't for you. But if you find a lot of contemporary fiction thin and too clever by far, and long for a quiet, careful work of literature that resonates with tenderness toward humanity, you will probably enjoy Emily, Alone. Emily Maxwell is 80 and lives alone in Pittsburgh with her aging dog, Rufus, in the house she once shared with her late husband. She's thoughtful, reflective, very much a creature of habit; enjoys listening to classical music on the radio; and has given up driving due to fear. But a small, unexpected event causes Emily to broaden her horizons just a tiny bit, when that had seemed impossible. She's a fully-fledged, sympathetic character, and I loved this rich, slow-moving book. Reading it was like lingering in a warm bath.
This book was slow because it puts you squarely in the mind of a middle class aging woman. I was especially moved that a male author could capture this phase of motherhood with such insight and compassion. If your parents are 70+ this will give you insights and leave you uncomfortable but appreciative.
One of my favorite books ever. Why? Because he captures the every day life and family interactions of aging Emily and her family so sweetly, poignantly and realistically. My only disappointment was when the book ended. Still hoping for one more about Emily. She reminds me of my own mother and the insights into growing older are amazing. I recommend this book whenever possible.
How is it that O’Nan can center an entire book around normal, day-to-day activities and still make it thought-provoking, poignant and interesting to read? Seriously, the man amazes me. This is absolutely a “quiet” sort of book. There are no huge plot points to shake things up but there is humor, genuine angst and a fondness for these characters that is surprising as much as it is welcoming.
This is an easy-read and an uplifting novel about a time of life that's often ignored by many authors. The characters are appealing and realistic and I enjoyed the book. I've ordered more of Stewart Nan's novels on the basis of this one.
O'Nan is a master of showing how even everyday events help to define an individual. He creates in Emily a fascinating character.
on one hand.... this is a GREAT book. On the other hand, the ending left me wanting something...just don't know what.
This is a thoughtful story of a widow who is growing old and sometimes wonders about what makes life still worthwhile. There are reflections on her personal history and ways in which she feels she could have been a better person, but she comes to accept herself and others that she might not have fully appreciated.
I start to kick my legs
She knocks Lionkit out, then brings Lionkit back to Bloodclan.
Pads in and grabs Shinekit and Caramelkit by the scruff an pads briskly to 'blood kill' res 3.
Musthave been falsr info
Spiritkit heads back to her home with bramblekit and lionkit
This was a nice easy yet intelligent read. Since I was raised in the suburbs of Pittsburgh I enjoyed all of the author's place references throughout the book. I also am close to Emily's age, and could identify with some of her apprehensiveness which comes from growing older. I think the friendship between Arlene and Emily was well drawn, and the relationship between Emily and her daughter was believable and sad. I will pass this book on to one of my dear friends and I am sure she will enjoy it as much as I did.
Barnes & noble, pls give us a few pages from the first chapter
This is a very 'interior' novel, focused on the characters' responses to the world in which they live, rather than on action or plot. Here, we are primarily in the mind of Emily, the matriarch of the family explored in much greater depth through the same technique in 'Wish You Were Here.' Read together, the two books are a poignant meditation on both the pain and consolations of getting older.
There is no "sample" to read, only leading pages. Disappointing.