Middle Age: A Romance

( 7 )

Overview

In Salthill-on-Hudson, a half-hour train ride from Manhattan, everyone is rich, beautiful, and — though they look much younger — middle-aged. But when Adam Berendt, a charismatic, mysterious sculptor, dies suddenly in a brash act of heroism, shock waves rock the town. But who was Adam Berendt? Was he in fact a hero, or someone more flawed and human?

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Middle Age: A Romance

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Overview

In Salthill-on-Hudson, a half-hour train ride from Manhattan, everyone is rich, beautiful, and — though they look much younger — middle-aged. But when Adam Berendt, a charismatic, mysterious sculptor, dies suddenly in a brash act of heroism, shock waves rock the town. But who was Adam Berendt? Was he in fact a hero, or someone more flawed and human?

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Editorial Reviews

Newsweek
“Hilarious and mournful. [Oates’s] realism is laced with suspense, her mastery of storytelling on full display.”
San Francisco Chronicle
“A magnificent treat.… Middle Age is the work of a master in her prime.”
Newsweek
“Hilarious and mournful. [Oates’s] realism is laced with suspense, her mastery of storytelling on full display.”
San Francisco Chronicle
“A magnificent treat.… Middle Age is the work of a master in her prime.”
From The Critics
"You leave home one afternoon, you never return as yourself," thinks a recently deceased man in the opening pages of Oates' immaculately plotted and emotionally resonant novel. The dead man is sculptor Adam Berendt (or is he really?), and the grieving community is the determinedly middle-aged Salthill-on-Hudson. The novel itself is both a good old-fashioned mystery and an inquiry into questions about identity and love, about who we become when one among us disappears. No one, it seems, ever really knew Adam, though that never stopped people from believing that he was their best friend or destined to be their lover. No one could name just why they loved him, but they did. No one is prepared for the marriages and dreams that crumble in his absence; for the tricks that memory plays; or for the revelations, both sudden and quiet, that ultimately lead Oates' cast toward more satisfying, honest, even dignified lives. There is light, a lot of it, at the end of this long book.
—Beth Kephart

Publishers Weekly
A romance? The hero dies in the opening pages, adolescents renounce their parents and the grownups aren't true to themselves, much less each other, because they have no idea what they are. In the Lexus-crowded town of Salthill-on-Hudson, husbands and wives share beds in which the linens meet more crisply than the bodies. "How eternal is a single night, and of what eternities are our long marriages composed!" And yet romance is deep in the bones of this soaring epic of renewal and redemption, an Easter of the flesh, a Viagra of the soul. Sculptor Adam Berendt goes into cardiac arrest while saving a child from drowning, and so redeems the 50-somethings of Salthill with his death; he confers the idea and the actuality of grace on their lives. It may be said of Oates's oeuvre that it is a long marriage between author and reader, composed of many eternities. Her sentences seem to contain more sentiment per word than anyone else's. She punishes us with terrible truths: Death lurks at every window and Eros is a demon, worshiped at awful cost. In marriages charged with such import, one must cheat in order to breathe, as Augusta Cutler discovers after Adam's death, when she leaves her husband, Owen, to ferret out the truth about Adam, and herself, and to find respite. Reminiscent of her powerful Black Water, but equipped with a happy ending, Oates's latest once more confirms her mastery of the form. (Sept. 10) Forecast: Of late, Oates can do no wrong. Deep in her career, she is pulling out the stops again. Since the success of Blonde, and Oprah's February 2001 selection of We Were the Mulvaneys, more readers than ever will be gravitating to her new work (and her backlist, too), and they should bethoroughly satisfied with her latest offering. Copyright 2001 Cahners Business Information.
Library Journal
Oates on febrile relationships. Copyright 2001 Cahners Business Information.
Kirkus Reviews
Oates's fat new opus (her 29th full-length novel, if anyone is still counting) traces the effects of an inscrutable sculptor's benign personality and aura on a townful of admirers who find their lives permanently altered by the memory of him. Adam Berendt, the mystery man of the prosperous upstate New York village of Salthill-on-Hudson, suffers fatal cardiac arrest while attempting to save a drowning child. The several (mostly married) women who had adored his playful, provocative intellect and perversely attractive physical ugliness (including one blind eye) react variously to the loss of their social circle's very own Socrates (for Oates makes it explicit: even giving Adam a faithful dog named Apollodoros, after the real Socrates's dutiful young companion). Neurasthenic divorcee Abigail Des Pres works through a borderline-incestuous fixation on her surly teenaged son. Thirtyish bookstore owner Marina Troy becomes the surprised beneficiary of Adam's whimsical largesse. Adam's attorney Roger Cavanagh battles his embittered ex-wife and accusatory adolescent daughter, while enduring sexual fixations on both the unresponsive Marina (who soon moves away) and a feisty feminist paralegal. Timid Camille Hoffmann soothes her loneliness by "mothering" a brood of abandoned canines (including, of course, "Apollo"), and Rubens-like beauty Augusta Cutler (the Shelley Winters part) travels the country deciphering the mystery of Adam's past. As in Oates's Broke Heart Blues (1999), the oracle proves something less than his acolytes had imagined. Still, all ends more or less affirmatively (this being a "romance"); there's even a climactic reconciliation in a fabricated Garden of Eden. Middle Age hasits moments, but it's basically redundant and shapeless (Oates is still introducing new material barely ten pages prior to its end), and very heavily indebted to Plato's numerous portrayals of Socrates (caves and shadows loom up frequently), several Iris Murdoch novels (Revered Charismatic Figure Shapes Lives of Those Who Loved Him), and especially John Updike's Couples (Salthill=Tarbox?; and the concluding chapters contain multiple echoes of Couples's denouement). It's better than Blonde. But that's a little like saying that Plato's Timaeus goes down easier than the Parmenides.
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Product Details

  • ISBN-13: 9780060934903
  • Publisher: HarperCollins Publishers
  • Publication date: 9/1/2002
  • Edition description: Reprint
  • Pages: 480
  • Sales rank: 948,708
  • Product dimensions: 5.31 (w) x 8.00 (h) x 1.08 (d)

Meet the Author

Joyce Carol Oates is a recipient of the National Medal of Humanities, the National Book Critics Circle Ivan Sandrof Lifetime Achievement Award, the National Book Award, and the PEN/Malamud Award for Excellence in Short Fiction, and has been nominated for the Pulitzer Prize. She has written some of the most enduring fiction of our time, including We Were the Mulvaneys; Blonde, which was nominated for the National Book Award; and the New York Times bestseller The Accursed. She is the Roger S. Berlind Distinguished Professor of the Humanities at Princeton University and has been a member of the American Academy of Arts and Letters since 1978.

Biography

Joyce Carol Oates is one of the most influential and important storytellers in the literary world. She has often used her supreme narrative skills to examine the dark side of middle-class Americana, and her oeuvre includes some of the finest examples of modern essays, plays, criticism, and fiction from a vast array of genres. She is still publishing with a speed and consistency of quality nearly unheard of in contemporary literature.

A born storyteller, Oates has been spinning yarns since she was a little girl too young to even write. Instead, she would communicate her stories through drawings and paintings. When she received her very first typewriter at the age of 14, her creative floodgates opened with a torrent. She says she wrote "novel after novel" throughout high school and college -- a prolificacy that has continued unabated throughout a professional career that began in 1963 with her first short story collection, By the North Gate.

Oates's breakthrough occurred in 1969 with the publication of them, a National Book Award winner that established her as a force to be reckoned with. Since that auspicious beginning, she has been nominated for nearly every major literary honor -- from the PEN/Faulkner Award to the Pulitzer Prize -- and her fiction turns up with regularity on The New York Times annual list of Notable Books.

On average Oates publishes at least one novel, essay anthology, or story collection a year (during the 1970s, she produced at the astonishing rate of two or three books a year!). And although her fiction often exposes the darker side of America's brightest facades – familial unrest, sexual violence, the death of innocence – she has also made successful forays into Gothic novels, suspense, fantasy, and children's literature. As novelist John Barth once remarked, "Joyce Carol Oates writes all over the aesthetical map."

Where she finds the time for it no one knows, but Oates manages to combine her ambitious, prolific writing career with teaching: first at the University of Windsor in Canada, then (from 1978 on), at Princeton University in New Jersey. For all her success and fame, her daily routine of teaching and writing has changed very little, and her commitment to literature as a transcendent human activity remains steadfast.

Good To Know

When not writing, Oates likes to take in a fight. "Boxing is a celebration of the lost religion of masculinity all the more trenchant for its being lost," she says in highbrow fashion of the lowbrow sport.

Oates's Black Water, which is a thinly veiled account of Ted Kennedy's car crash in Chappaquiddick, was produced as an opera in the 1990s.

In 2001, Oprah Winfrey selected Oates's novel We Were the Mulvaneys for her Book Club.

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    1. Also Known As:
      Rosamond Smith
    2. Hometown:
      Princeton, New Jersey
    1. Date of Birth:
      June 16, 1938
    2. Place of Birth:
      Lockport, New York
    1. Education:
      B.A., Syracuse University, 1960; M.A., University of Wisconsin, 1961

Read an Excerpt

Survived By..

1

How Death enters your life. A telephone ringing.

And maybe you're still waiting for Adam Berendt to call. And maybe you're confused, your heart already pumping absurdly, when a stranger's voice utters the name Adam Berendt and you answer eagerly, hopefully.

"Yes? I'm Marina Troy. What -- what is it?"

That instant before fear strikes. Fear like a sliver of ice entering the heart.

2

Thwaite was the bearer of Adam Berendt's death. She would learn.

An ugly name, isn't it? Though the child's name, Samantha, is beautiful.

It was Thwaite that would stick in Marina's brain like a burr. Thwaite that became her obsession, she who would have defined herself as a woman free of obsession. A reasonable intelligent unemotional woman yet how Thwaite lodged in her brain as suffocation, choking, tar-tasting death. Thwaite Thwaite in her miserable sleep those nights following Adam's death. Sobbing aloud, furious: "If I'd been there with him on the boat, I wouldn't have let Adam die."

In the derangement of grief Marina Troy quickly came to believe this.

3

Local TV News! How Adam would have been embarrassed, if, just maybe, secretly proud.

Good Samaritan. Adam Berendt. Resident of Salthill-on-Hudson. July Fourth accident. Hudson River. Rescue of eight-year-old. Adam's face on the glassy screen: squinting his blind eye, smiling. That big head like something sculpted of coarse clay. A mere moment on the TV screen. Swift cut to the much younger Thwaites, parents of the rescued child. Thwaite. Harold and Janice. Jones Point residents. Devastated by. Tragic episode. So very sorry. So very grateful. Courageous man sacrificing his life for our daughter. Our Samantha. Our prayers will be with Adam Berendt. We are hoping to make contact with his family, his survivors. Oh, we hope ... Marina switched off the TV in disgust.

How could she bear it, the banality of Adam as a "Good Samaritan." The banality of the Thwaites' emotion, how disappointingly ordinary they were, and young, stammering into microphones thrust into their dazed faces.

"Well. I must learn to bear it. And more."

She was an adult woman, she knew of loss, death. She was not a naive, self-pitying person.

Her mother was chronically ill, and her father had died three years ago at the age of seventy-nine, so Marina knew, Marina knew what to expect from life, every chichŽ becomes painfully true in time, yet you survive until it's your turn: you don't become middle-aged without learning such primitive wisdom. Yet, when Marina's father had died, Marina had not been taken by surprise. That death had been not only expected, but "merciful." After cancer operations, and months of chemotherapy, the fading of Marina's father's life had been a slow fading of light into dusk and finally into dark. And there you are: death.

Not like Adam's death.

"Adam, God damn you. Why."

She was desperate to recall the last time they'd spoken. She shut her eyes, rubbing her eyes with the palms of her hands: Adam's face!

A doctor at the Jones Point Medical Center had prescribed a sedative for Marina Troy. (Did that mean she'd become hysterical? She'd lost all dignity, and collapsed?) Next morning staggering from her bed that was like a grave, at the top of her house on North Pearl Street. Her storybook house, as Adam had called it fondly. As Marina Troy was a storybook creature to be rescued. (By him?) In sweat-smelling nightclothes, a strap slipping off her shoulder, tugging at a window to raise it higher must breath! must breath! There was some fact that plagued her with its cruelty, its injustice: what? The last time we spoke, I didn't know. If I had known. The ceiling careened over her head with an air of drunken levity. Lilac fleur-de-lis wallpaper of subtly mocking prettiness. Thwaite mixed with the church bells. Thwaite Thwaite clamoring jeering in her head.

Marina's bedroom was a small charming room with small charming windows of aged glass, dating to the mid-1800s, windowpanes badly in need of caulking, overlooking St. Agnes Roman Catholic Church with its heraldic spire floating in the night sky, and its ancient bumpy churchyard. (In which Adam Berendt would certainly not be buried. Adam had been pagan, not Catholic; and Adam had wanted to be "burnt to a crisp" when he died.) North Pearl Street was one of Salthill's oldest streets, hilly and very narrow, and it dead-ended with three charming woodframe houses, one of which was Marina Troy's.

Somehow it had happened (when, exactly?) she'd become thirty-eight years old.

Young enough to be his daughter, Adam Berendt used to joke.

Don't be ridiculous! You're, what? -- fifty? Fifty-two?

Marina, to be perfectly frank, I've lost count.

She removed her sweat-soaked nylon nightgown and wadded it into a ball to toss onto the floor. She'd have liked to peel off her sticky itchy skin and do the same. In the silence following the church bells came the echo Thwaite! Thwaite. The sound of death, those hateful people, negligent parents, youngish, scared, reading off prepared statements to TV reporters, uncertain whether they should smile, or not smile, but one should always smile on TV, yes? -- if only fleetingly, sadly? In truth, Marina didn't detest these people. It was Thwaite that had insinuated itself into her head. Thwaite snarled like her long crimped dark-red hair, which by day she wore plaited and twined about her head ("like Elizabeth I") but by night it snagged and snarled, snaky tendrils trailing across her mouth. Thwaite a mass of such snarls no hairbrush could be dragged through. Thwaite that was the fairy-tale riddle: what is my name, my name is a secret, my name is your death, can you guess my name? Thwaite the helpless tenderness she'd long felt for Adam Berendt, who had been neither her husband nor her lover. Thwaite powerful as no other emotion Marina had ever felt for another person...

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Table of Contents

Prologue: Fourth of July 1
Part 1 If You Catch Me ...
Survived by ... 15
Old Mill Way: The Cave 61
The Madonna of the Rocks 102
The Game 136
Farewell! 180
Part 2 ... And I Don't Escape You
The Fell of Dark 193
Old Mill Way: The Transformation 238
The Girl in the Red Beret 294
Deardeaddad 343
The Missing 395
Part 3 Ever After
Dream Creatures 431
Old Mill Way: The Attack 439
The Ballet 447
The Lovers, by Night 454
The Homecoming 457
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Reading Group Guide

Is this fair? You leave your home in Salthill-on-Hudson on the muggy afternoon of July Fourth for a cookout (an invitation you didn't really want to accept, but somehow accepted) and return days later in a cheesy-looking funeral urn: bone chunks and chips and coarse gritty powder to be dumped out, scattered, and raked in the crumbly soil of your own garden.

Fertilizer for weeds.

-- From Middle Age: A Romance
Calling this darkly comic novel "a romance," Joyce Carol Oates kills off her hero on the first page, brings his spirit back to comment on his own death, and makes his memory a catalyst to change the lives of his Lexus-driving, privileged, and morally mixed-up friends. Everyone in Salthill-on-Hudson, New York, is middle-aged. Characterized by failed marriages, shallow lives, and liberal causes, the affluent residents enjoy the iconoclast in their midst: sculptor Adam Berendt who disdains their wealth (but secretly has millions) and seduces their women (but beds none of them). When Adam dies in an act of heroism -- or foolish recklessness, his death at first shocks his friends then provokes grief, anger, and baffling questions. Who was Adam Berendt? Where did he come from? What secrets did his past hide? Owner of the town's bookstore, red-haired Marina doesn't know what to do with the legacy he leaves her. Roger, his best friend and lawyer, commits a crime on his behalf. Other friends wreck their marriages, try to recapture their youth, rescue stray dogs, run away from home, or find true love. And all of them are transformed in unexpected and sometimes hilarious ways. Death,identity, and deception form the themes of this exquisitely crafted, modern-day morality tale, and so do love and friendship. But it will take until the closing chapters for readers to find out if good deeds lead to salvation or disaster, and if all roads lead back to Salthill-on-Hudson. Above all, in Middle Age: A Romance Joyce Carol Oates cuts through the fabric of America's materialistic facade to expose the heart inside . . . and the soul of a man aptly named Adam. Questions for Discussion
  • Joyce Carol Oates gives readers some conundrums to puzzle out in this work. Why call the book Middle Age: A Romance? Why name the town "Salthill-on-Hudson"? Why kill off the hero on the Fourth of July? Why name him Adam? Why name his dog Apollo? Have some fun trying to figure out what the author had in mind with any of these elements or others you find on your own.
  • In an interview with Greg Johnson, her biographer, Joyce Carol Oates said, "All my longer novels are political, but not obtrusively so, I hope." Middle Age: A Romance would be considered one of her longer novels. Do you think it's "political"?
  • One interview question that gets a prickly response from Joyce Carol Oates is: "Why is your writing so violent?" She calls the question "insulting" and "always sexist." However, even in this romance, she includes a healthy dollop of violent, one might even say grisly, events. What are they? What do they add to the story? Why are they necessary?
  • Exploring who we are -- our identity -- is a recurring theme in the writing of Joyce Carol Oates. Adam Berendt reinvents himself. Why? Is reinventing ourselves a choice we can all make? Would you, given the chance, change your name? Abandon your past? Live a different life? Why or why not?
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Customer Reviews

Average Rating 2.5
( 7 )
Rating Distribution

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Sort by: Showing 1 – 8 of 7 Customer Reviews
  • Anonymous

    Posted February 15, 2013

    AWFUL AND SLOW

    Made myself finish what I started. Book is beyond anticlimatic. I do love this author but a disappointment.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted May 13, 2005

    Worth a look

    I absolutely hated the lates JCOates book I attempted, 'I'll Take You There' so I was not sure about this one. I was pleasantly surprised. Although the characters are not exactly likeable, I really got caught up in their lives. I expected a strange ending, (it was OK) but the stories about all the different characters were very absorbing and you start to care deeply for everyone. A very keen look at an affluent New York suburb. This book will appeal mostly to women and would probably be a great book club choice. Recommend.

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  • Anonymous

    Posted January 7, 2002

    A Surprise

    Advertised as a romance, the book is much more than that. 'Middle Age' paints a disturbing picture of suburbia and yet pushes the reader on to see how the characters reinvent themselves for the better.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted October 21, 2001

    Roman a' clef?

    I think it's time to take a look at the author's bona fides. Before I bowed out at about 150 pages, I'd decided the game wasn't worth the candle. I might be wrong, but the dude she spent so much time edifying didn't seem to deserve the attention. Does Joyce Carol know something I don't?

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  • Anonymous

    Posted September 13, 2001

    Starting New

    Middle Age is about several upper class characters exploring potential new paths at the mid-point of their lives. At its centre is Adam Berendt whose life is unexpectedly cut off, but whose influence and Socratic interrogation of life acts as a catalyst to transform his friends in the tight-knit community of Salthill. Their lives, as they understand them, dissolve upon his death to be reformed. The mystery of Adam¿s past is threaded throughout the novel opening dozens of different possible beginnings to his life at the same time as multiple endings to the other characters¿ lives are imagined. Oates¿ tremendous skill is to draw a multitude of realistic detail while emotionally constructing her characters¿ thoughts. This method works to unearth strange revelations in her contemplation of mortality and the depthless possibilities of experience. The characters tear off the costumes of their present identity to wear new masks and reconstitute their sense of being. Marina Troy¿s potentiality as an artist has lain dormant for many years, but, through Adam¿s bequest of a residence for solitude, she is given the possibility of expressing her vision. Augusta Cutler leaves her secure life to pursue dangerous new possibilities and trace Adam¿s past. These stories as well as those of the other characters are told in a revolving narrative focus that juxtaposes the characters¿ intentions with the dramatic realizations of their experiences. Their middle age lives turn out not to be about just endings, but multiple beginnings as well. The novel gives a heartfelt portrait of characters that identify themselves alternatively as amorphous and fabled beings and desperate to break from their identification of an ordinary life.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 15, 2010

    No text was provided for this review.

  • Anonymous

    Posted June 16, 2009

    No text was provided for this review.

  • Anonymous

    Posted January 28, 2010

    No text was provided for this review.

Sort by: Showing 1 – 8 of 7 Customer Reviews

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