Happenstance

Overview

These two unique novels tell the stories of Jack and Brenda Bowman during a rare weekend apart in their many years of marriage. Jack is at home coping with domestic crises and two uncouth adolescents, while immobilized by self-doubt and questioning his worth as a historian. Brenda, travelling alone for the first time, is in a strange city grappling with an array of emotions and toying with the idea of an affair. Intimate and insightful yet never sentimental, Happenstance is a profound portrait of a marriage and ...

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Overview

These two unique novels tell the stories of Jack and Brenda Bowman during a rare weekend apart in their many years of marriage. Jack is at home coping with domestic crises and two uncouth adolescents, while immobilized by self-doubt and questioning his worth as a historian. Brenda, travelling alone for the first time, is in a strange city grappling with an array of emotions and toying with the idea of an affair. Intimate and insightful yet never sentimental, Happenstance is a profound portrait of a marriage and the differences between the sexes that bring life — and a sense of isolation — into even the most loving of relationships.

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Editorial Reviews

Kirkus Reviews
Canadian Shields, whose The Stone Diaries (see below), is being released simultaneously with this short pair of midlife- crisis novels, has become prolific and good enough to earn comparison with Margaret Atwood. Here, the story of a marriage is told in two back-to-back novels, one from the husband's view, the other from the wife's. Jack and Brenda Bowman, 40-somethings who live in the Chicago suburbs, have braided lives, but, in her narrative, Brenda leaves Jack and her two kids to attend a convention for a week with her handmade quilts. The Brenda of old used to be "smiling and matter- of-fact," but now she has "a restless anger and a sense of undelivered messages." Things go wrong fast—dizziness, for starters—and after an affair with an engineer and some sitcom, she returns home and feels, for a moment, "the Brenda of old," "a self that is curiously, childishly brave." Meanwhile, Jack, a historian who believes that "men spend whole lifetimes preparing answers to certain questions that will never be asked of them," deals with the kids, helps old friend Bernie (whose wife leaves him), visits a friend who attempted suicide, and finds that "the void left by his shattered faith had inexplicably grown." Picking up Brenda, he feels "a sudden buckling of his heart, for already he was sealing this moment in the clean preserving gel of history." The idea is a bit gimmicky, but the stories play out well. They're not the equal of The Stone Diaries; still, the husband and wife, baptized by brief separation, meet, literally, in the middle of the book, and that sensation—of matching the physical object of the book to the story—is worth the price of admission.
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Product Details

  • ISBN-13: 9780140179514
  • Publisher: Penguin Group (USA)
  • Publication date: 3/28/1994
  • Pages: 416
  • Product dimensions: 5.00 (w) x 7.72 (h) x 0.79 (d)

Meet the Author

Carol Shields

Born in Oak Park, Illinois, in 1935, Carol Shields moved to Canada at the age of twenty-two, after studying at the University of Exeter in England, and then obtained her M.A. at the University of Ottawa. She started publishing poetry in her thirties, and wrote her first novel, Small Ceremonies, in 1976. Over the next three decades, Shields would become the author of over twenty books, including plays, poetry, essays, short fiction, novels, a book of criticism on Susanna Moodie and a biography of Jane Austen. Her work has been translated into twenty-two languages.

In addition to her writing, Carol Shields worked as an academic, teaching at the University of Ottawa, the University of British Columbia and the University of Manitoba. In 1996, she became chancellor of the University of Winnipeg. She lived for fifteen years in Winnipeg and often used it as a backdrop to her fiction, perhaps most notably in Republic of Love. Shields also raised five children — a son and four daughters — with her husband Don, and often spoke of juggling early motherhood with her nascent writing career. When asked in one interview whether being a mother changed her as a writer, she replied, “Oh, completely. I couldn’t have been a novelist without being a mother. It gives you a unique witness point of the growth of personality. It was a kind of biological component for me that had to come first. And my children give me this other window on the world.”

The Stone Diaries, her fictional biography of Daisy Goodwill, a woman who drifts through her life as child, wife, mother and widow, bewildered by her inability to understand any of theseroles, received excellent reviews. The book won a Governor General’s Literary Award and a Pulitzer Prize, and was also shortlisted for the Booker Prize, bringing Shields an international following. Her novel Swann was made into a film (1996), as was The Republic of Love (2003; directed by Deepa Mehta). Larry’s Party, published in several countries and adapted into a musical stage play, won England’s Orange Prize, given to the best book by a woman writer in the English-speaking world. And Shields’s final novel, Unless, was shortlisted for the Booker, Orange and Giller prizes and the Governor General’s Literary Award, and won the Ethel Wilson Prize for Fiction.

Shields’s novels are shrewdly observed portrayals of everyday life. Reviewers praised her for exploring such universal themes as loneliness and lost opportunities, though she also celebrated the beauty and small rewards that are so often central to our happiness yet missing from our fiction. In an eloquent afterword to Dropped Threads, Shields says her own experience taught her that life is not a mountain to be climbed, but more like a novel with a series of chapters.

Carol Shields was always passionate about biography, both in her writing and her reading, and in 2001 she published a biography of Jane Austen. For Shields, Austen was among the greatest of novelists and served as a model: “Jane Austen has figured out the strategies of fiction for us and made them plain.” In 2002, Jane Austen won the coveted Charles Taylor Prize for Literary Non-fiction. A similar biographical impulse lay behind the two Dropped Threads anthologies Carol Shields edited with Marjorie Anderson; their contributors were encouraged to write about those experiences that women are normally not able to talk about. “Our feeling was that women are so busy protecting themselves and other people that they still feel they have to keep quiet about some subjects,” Shields explained in an interview.

Shields spoke often of redeeming the lives of people by recording them in her own works, “especially that group of women who came between the two great women's movements…. I think those women’s lives were often thought of as worthless because they only kept house and played bridge. But I think they had value.”

In 1998, Shields was diagnosed with breast cancer. Speaking on her illness, Shields once said, “It’s made me value time in a way that I suppose I hadn’t before. I’m spending my time listening, listening to what's going around, what's happening around me instead of trying to get it all down.” In 2000, Shields and her husband Don moved from Winnipeg to Victoria, where they lived until her passing on July 16, 2003, from complications of breast cancer, at age 68.

Biography

Carol Shields's characters are often on the road less traveled, and the trip is never boring. She has written about a folklorist, a poet, a maze designer, a translator, even other writers -- appropriate professions in novels in which characters struggle to find their own paths in life.

Shields often focused on female characters, most notably in The Stone Diaries, her Pulitzer Prize-winning novel documenting the birth, death, and everything in between of Daisy Goodwill. Goodwill's story is told over a century, in various voices, featuring Shields's wry humor and her ability to convey what she has called "the arc of human life."

But don't pigeonhole Shields as a "women's writer." "I have directed a fair amount of energy and rather a lot of rage into that particular corner [of the] problem of men and women, particularly men and women who write and how women's novels are perceived differently from men's," Shields said in a 2001 interview. In 1997's Larry's Party, she swapped genders, writing from the perspective of a male floral designer who discovers a passion for mazes.

Unafraid to experiment with genres, Shields wrote an epistolary novel (A Celibate Season, coauthored with Blanche Howard), a sort of "literary mystery" about the posthumous discovery of a murdered poet's genius (Swann), and short stories (collected in Dressing for the Carnival and other titles). Though she often covered serious topics, she rarely did so without humor. Her novel of mid-life romance, Republic of Love, was called by The New York Times a "touching, elegantly funny, luscious work of fiction," an assessment that could be applied to the bulk of her work.

Shields changed her viewpoint yet again for Unless, but the circumstance was a tragic one. The book, which resurrects the main character from Dressing Up for the Carnival's "A Scarf," was written during the author's battle with breast cancer. "I never want to sound at all mystical about writing,'' she said in a 2002 interview, ''but this book -- it just came out." Though not touching on her own illness, Shields did what she had always done -- took her own questions and lessons, then used them to produce a story that speaks its own truth.

Shields passed away on July 16, 2003; she was 68.

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    1. Also Known As:
      Carol Ann Warner
    2. Hometown:
      Victoria, British Columbia, Canada
    1. Date of Birth:
      June 2, 1935
    2. Place of Birth:
      Oak Park, Illinois
    1. Date of Death:
      July 16, 2003
    2. Place of Death:
      Toronto, Canada

Read an Excerpt

The Husband’s Story

Chapter One


At the restaurant Jack wanted to tell Bernie about Harriet Post, a girl he had once been in love with. He wanted to put his head down on the table and moan aloud with rage. Instead he placed his fork into a square of ravioli and said in a moderate tone, “History consists of endings.”

Bernie was not really listening; he was removed today, empty-eyed and vague, pulling at a dry wedge of bread and looking out the window on to the street, where a cold rain was falling. For almost a year now the topic of their Friday lunches had been the defining of history; what was it? What was it for? It occurred to Jack that perhaps Bernie had had enough of history. Enough is enough, as Brenda, his wife, would say.

“History is eschatological,” Jack said. He stabbed into his small side salad of lettuce, onions, celery, and radishes. “History is not the mere unrolling of a story. And it’s not the story itself. It’s the end of the story.”

“Uhuh.” Bernie’s eyes turned again toward the curtainless square of window, made double opaque by the streaming rainwater and by the inner coating of cooking grease. “And when,” he asked, chewing on a wad of bread, “did you decide all this?”

“Yesterday. Last night. About midnight. It came to me, the final meaning of history. I've finally stumbled on what it’s all about. Endings.”

“Endings?”

“Yes, endings.”

“A bolt out of the blue?” Bernie said.

“You might say that. Or you could call it an empiricalthrust.”

Bernie smirked openly.

“Go ahead,” Jack said. “Laugh if you want to. I'm serious for a change.”

“For a change.”

“History is no more than the human recognition of endings. History — now listen, Bernie — history is putting a thumbprint on a glass wall so you can see the wall. The conclusion of an era which defines and invents the era.”

“I get the feeling you've rehearsed this. While you were shaving this morning, maybe.”

"Let me ask you this, Bernie. What do we remember about history? No, never mind us — what does the man on the street remember about the past?”

“I am a man on the street. You tell me.”

“We remember the treaties, but not the wars. Am I right? Admit it. We remember the beheading, but not the rebellions. It’s that final cataclysmic at that we instinctively select and store away. You might say,” he paused, “that the ends of all stories are contained in their beginnings.”

“It’s already been said, I think. Didn't Eliot —?”

"But the ending is the story. Not just the signature. Take the French Revolution —“

“We've taken that. A number of times.” Bernie sat back, groggy after his veal and noodles. “We took the French Revolution last week. And the week before that. Remember that session you gave me about the French Revolution two weeks ago? About the great libertine infusion? Rammed into Europe’s flabby old buttocks?”

“Not true.” Jack pushed his plate away, belching silently; a gas pain shot across his heart. After twenty years the food at Roberto’s was worse, not better — it was a miracle they'd managed to stay in business — and the old neighbourhood around the Institute, with its knocked-apart streets and boarded-up shirt laundries and hustling porn shops, was shifting from the decent shade of decay that had prevailed during the sixties to something more menacing. These days violence threatened, even in the daytime; and disease too — someone or other had told him at a party the weekend before that you could get hepatitis from eating off cracked plates, and God knows what else. Furthermore, Jack had grown to dread the starchy monotony of Italian food; everything about it now, its wet weak uniformity of texture and its casual, moist presentation — the sight and smell of it made his heart plunge and squeeze. Was there really a time, he asked himself — of course there had been — when Italian food, even the fake Chicago variety, had seemed a passport to worldliness? Worldliness, ha! When the mere words — cannelloni, gnocchi, lasagna — had brimmed with rich, steamy eroticism? All you had to do was plunge your fork through the waiting, melting mozzarella and you were there, ah!


The Wife’s Story

Every morning Brenda wakes up, slips into her belted robe, and glides — glides — down the wide oak stairs to make breakfast for her husband and children. The descent down the broad, uncarpeted stairs has something of ceremony about it, it has gone on so long. She and Jack have lived in the Elm Park house for thirteen years now; Rob was a baby when they moved in; Laurie, twelve last October, has never lived anywhere else.

In the kitchen she reaches for the wall switch. It’s seven-thirty, a January morning, and the overhead fixture blinks once, twice, then pours steady, lurid light down onto the blue countertops, causing her to reel slightly. Her hands set out plates, reach into the refrigerator for frozen orange juice and milk, into the cupboards for Raisin Bran and coffee beans. Her husband, Jack, has given her a new coffee-grinder for Christmas, a small Swedish toy of a machine which is still a little unfamiliar to the touch. A button on its smooth side sets a tiny motor whirring, a brief zzzz which releases a pleasing instantaneous cloud of coffee smells. “Philadelphia,” Brenda murmurs into the coffee-softened air of the kitchen.

She boils water, pours it carefully. “Philadelphia.” Her voice is low and so secretive she might be addressing a priest or a lover.

For a month now, ever since she decided to go to Philadelphia, she has had her flight schedule thumbtacked in the lower right-hand corner of the kitchen bulletin board. Departure time, arrival time, flight number — all printed in her own hand on one of Jack’s three-by-five index cards.

Above where the card is pinned there are a number of other items. It seems to Brenda, yawning and retying the belt of her robe, that some of them have been there for weeks. Months. She tells herself she could get busy and weed out a few, but the confusion of notices and messages mainly pleases her. She likes to think of herself as a busy person. Brenda Bowman — what a busy person!

The clutter on the brown corkboard speaks to her, a font of possibility, firmly securing her, for the moment at least, against inactivity. On the other hand, she sometimes feels when she glances at it a stab of impatience; is there no end to the nagging of details? Appointments. Bills. Lists. Announcements. Furthermore, these small reminders of events past and present carry with them a suggestion of disappointment or risk. That old theatre programme, for instance, the one from the Little Theatre production they'd gone to — when was that? last November? The Duchess of Malfi. She had hated The Duchess of Malfi. So, surprisingly, had Jack.

Someone — Jack, of course, who else? — had pinned up a newspaper cartoon about the School Board scandal, two pear-shaped men balancing on penny-farthing bicycles and grappling over a sack labelled $$$. The point of the bicycles, though Brenda has been following the scandal with some interest, escapes her.

And there, snugged cleanly in the corner — she has cleared a small area around it — is her flight schedule. It looks purposeful and bright, winning from the welter of other items its small claim to priority. Brenda glances at it every morning when she comes downstairs to make breakfast. It is the first thing to catch her eye, and even before she plugs in the coffee-grinder and starts the eggs, she examines and is reassured by her own meticulous printing, Flight 452, United Airlines, departing Chicago at 8:35. Tomorrow morning, Saturday. Arrival at Philadelphia at 1:33.

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