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The Hoursby Michael Cunningham
In The Hours, Michael Cunningham, widely praised as one of the most gifted writers of his generation, draws inventively on the life and work of Virginia Woolf to tell the story of a group of contemporary characters struggling with the conflicting claims of love and inheritance, hope and despair. The narrative of Woolf's last days before her suicide early in/i>… See more details below
In The Hours, Michael Cunningham, widely praised as one of the most gifted writers of his generation, draws inventively on the life and work of Virginia Woolf to tell the story of a group of contemporary characters struggling with the conflicting claims of love and inheritance, hope and despair. The narrative of Woolf's last days before her suicide early in World War II counterpoints the fictional stories of Richard, a famous poet whose life has been shadowed by his talented and troubled mother, and his lifelong friend Clarissa, who strives to forge a balanced and rewarding life in spite of the demands of friends, lovers, and family.
The book would have been altogether absorbing had it been linked only thematically. However, Cunningham cleverly manages to pull the stories even more intimately togther in the closing pages. Along the way, rich and beautifully nuanced scenes follow one upon the other: Virginia, tired and weak, irked by the early arrival of headstrong sister Vanessa, her three children and the dead bird they bury in the backyard; Laura's afternoon escape to an L.A. hotel to read for a few hours; Clarissa's anguished witnessing of her friend's suicidal jump down an airshaft, rendered with unforgettable detail. The overall effect of this book is twofold. First, it makes a reader hunger to know all about Woolf, again; readers may be spooked at times, as Woolf's spirit emerges in unexpected ways, but hers is an abiding presence, more about living than dying. Second, and this is the gargantuan accomplishment of this small book, it makes a reader believe in the possibility and depth of a communality based on great literature, literature that has shown people how to live and what to ask of life.
Cunningham tells three tales, interweaving them in cunning ways and, after the model of Mrs. Dalloway itself, allowing each only a day in the life of its central character. First comes Woolf herself, in June of 1923 (after a prologue describing her 1941 suicide). In Woolf's day (as in her writings), little "happens," though the profundities are great: Virginia works (on Mrs. Dalloway); her sister Vanessa visits; Virginia holds her madness at bay (just barely); and, over dinner, she convinces husband Leonard to move back to London from suburban Richmond. In the "Mrs. Brown" sections, a young woman named Sally Brown reads the novel Mrs. Dalloway, this in suburban L.A. (in 1949), where Sally has a three-year-old son, is pregnant again, and, preparing her husband's birthday celebration, fights off her own powerful despair.
Finally, and at greatest length, is the present-time day in June of Mrs. Dalloway, this being one Clarissa Vaughan of West 10th Street, New York City, years ago nicknamed Mrs. Dalloway by her then-lover and now-AIDS-victim Richard Brown who, on this day in June, is to receive a major prize for poetry. Like the original Mrs. Dalloway, this Clarissa is planning a party (for Richard), goes out for flowers, observes the day, sees someone famous, thinks about life, time, the past, and love ("Now she knows: That was the moment, right then. There has been no other"). Much in fact does happen; much is lost, hoped for, feared, sometimes recovered ("It willserve as this afternoon's manifestation of the central mystery itself"), all in gorgeous, Woolfian, shimmering, perfectly-observed prose.
Hardly a false note in an extraordinary carrying on of a true greatness that doubted itself.
- Publication date:
- Edition description:
- First Edition
- Product dimensions:
- 5.56(w) x 8.34(h) x 0.66(d)
Read an Excerpt
In this remarkable book, Cunningham draws inventively on the life and work of Virginia Woolf to tell the story of a group of characters struggling with the conflicting claims of love and inheritance, life and death, creation and destruction. The novel moves along three separate but parallel stories, each focusing on the experiences of a particular woman during the course of one apparently unremarkable but in fact pivotal day.
Clarissa Vaughan, a book editor in present-day Greenwich Village, is organizing a party for her oldest friend, Richard, an AIDS-stricken poet who has just won a major literary prize. Laura Brown, a young wife and mother in 1949 Los Angeles, cares for her toddler and prepares a birthday cake for her husband as she tries to resist increasing waves of panic and feelings of alienation from her humdrum yet demanding life. And Virginia Woolf herself, the third woman, works on her new novel, Mrs. Dalloway, chats with her husband and sister, bickers with her cook, and attempts to come to terms with her deep, ungovernable longings for escape and even for death. As the novel jump-cuts through the century, the lives and stories of the three women converge, stunningly and unexpectedly, the night of Clarissa’s party for Richard.
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