The Missing World
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The Missing World

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by Margot Livesey
     
 

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What if--by a stroke of fortune--you could start afresh, could wipe away that catastrophic blunder in your past? And to what lengths would you go to establish that in fact you'd done nothing wrong at all? After an accident robs Hazel of three years' worth of memory, just such an opportunity is granted to her ex-boyfriend Jonathan. What follows in Margot Livesey's

Overview


What if--by a stroke of fortune--you could start afresh, could wipe away that catastrophic blunder in your past? And to what lengths would you go to establish that in fact you'd done nothing wrong at all? After an accident robs Hazel of three years' worth of memory, just such an opportunity is granted to her ex-boyfriend Jonathan. What follows in Margot Livesey's The Missing World is a brilliant inverted love story: one man's desperate attempts to realize and rationalize a lie, and a woman's harrowing attempts to recognize the truth.

Editorial Reviews

From the Publisher

“An enthralling novel . . . that makes you feel as well as think.” —The New York Times

“Delicate and terrifying . . . a modern-day Rebecca.” —The Boston Globe

“The sort of old-fashioned tale that Maugham would have admired--its thrills are understated, delicious, and not to be missed. . . . [Livesey's] style recalls the early, best Hitchcock, as evil unfolds in the most commonplace of circumstances.” —The Washington Post Book World

“A page-turner: suspenseful, crisp, beautifully crafted . . . Livesey is a riveting storyteller as masterful as Patricia Highsmith or Ruth Rendell.” —The San Diego Union-Tribune

“Darkly humorous . . . a Shakespearean comedy with Murdochian overtones.” —The New Yorker

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What Really Happens

The hardest sort of student short stories to discuss in class workshops are those that are adept from sentence to sentence but hopelessly fouled either by plot contrivance (say, a character's convenient case of amnesia) or by the author's desire to editorialize about some issue or idea (a colleague of mine calls these exemplum-style stories "debate-club topics made flesh"). For years, I believed that, despite all the pretty sentences, such stories are too ill-conceived to be salvageable. I'd try to be diplomatic, which is hard when a voice in your head keeps telling you that if you told the truth you'd say merely, "Junk this and write something else."

Finally, after nearly 20 years, I bumbled upon something really useful to say.

"What would really happen in a situation like this?" I heard myself blurt one day in class. "Not what happens here. Not any hackneyed plot contrivance that you feel like you've seen a zillion times on TV. What would really happen to recognizable human beings thrown into such an unlikely bind?"

Such material doesn't have to be ceded entirely to editorial writers or to genre fiction's game board-piece character development. Be vigilant in stamping out the mildest cliché. Dig more deeply into the characters. Do research. Learn stuff, then don't strain to show the reader what you know. Deliver the news. Tell a convincing story.

A shorthand way to explain this: read the exquisitely designed novels of Margot Livesey.

Homework concerns conflicts within a stepfamily (without ever seeming akin to the Brady Bunch). Criminals concerns a baby abandoned in a bus station and the consequent complications of custody and blackmail (without ever sinking remotely close to the antic-crime-novel-featuring-dumb-bad-guys genre). The Missing World, just published, concerns a woman who is hit by a car and loses all memory of the last three years of her life (without ever seeming like a straight-to-video movie starring Brat Pack or SNL alumni).

"I try to write novels that make plot the muscle of the apparatus," says the Scottish-born Livesey from her home in Boston. "That doesn't mean, at all, that character development is secondary, just that—in the way all those great 19th-century novels do—I want to use a strong plot to get to a different, deeper level."

With each book, she says, she asked herself this question: "What would someone like myself, or the sort of person I know, do in quite extreme circumstances?"

The result has been books that get compared to those both of mystery writers (including P. D. James and the inestimable Patricia Highsmith) and of the award-magnet literary fiction writers like Ian McEwan, Iris Murdoch, and Penelope Fitzgerald.

When Criminals came out, and people started calling it a "thriller," even occasionally shelving it among crime novels, Livesey says she was "shocked," but ultimately pleased. "The word 'thriller,'" she speculates, "has become shorthand for 'an entertaining, readable book.'"

When people (or at least reviewers for The New York Times and The New Yorker) called her new novel The Missing World a comedy, Livesey was shocked again.

"Perhaps more taken aback than shocked," she says. "'Comedy' is not the first word that I would use to describe the book. But I do mean it to be witty, and I'm pleased people are responding to that. There are certainly parts of it that I mean to be funny."

Her success with what one critic called "issues-related" material might be flattering, Livesey says, but it's not really what it feels to her like she's doing. "For me, it just feels like watching certain things surface in the culture."

What surfaced to inspire The Missing World, Livesey says, was our current preoccupation with memory: memory loss, recovered memory syndrome, millennial nostalgia, research into Alzheimer's disease, Tourette's syndrome, and even publishing's late memoir craze. The book's acknowledgments cite by name eight books on the subjects of memory, amnesia, and the human brain.

"But the first spark of the novel—and this is embarrassing to admit," she admits, lowering her voice to a conspiratorial level, "it must have been in a waiting room—came from an article in People magazine."

The article was about a man whose fiancée was injured in a car wreck and had lost much of her memory of recent events. He decided that, rather than just go ahead with their wedding plans, he should instead court and woo her all over again. (Now you know why this was in People.)

Not long after Livesey read that, a similar thing happened to distant acquaintances of hers. The wife lost her memory and the husband became the custodian of the couple's past, which, Livesey says, "had been a very stormy one."

The main plot of The Missing World is about an insurance adjuster named Jonathan (a deftly drawn monster of the mundane sort that probably lives or works alongside you) who takes advantage of his journalist ex-girlfriend Hazel's accident and consequent memory loss to try to insinuate himself back into her life and undo what he (disingenuously, it turns out) believes to be the biggest mistake of his life, which is turning down the marriage proposal she extended on a February 29th four years earlier.

The novel's other main characters—an expatriate African-American roofer named Freddie, a grimly out-of-work actress named Charlotte, a drab and ruthlessly responsible nurse (also Charlotte's sister) named Bernadette, and Hazel's best friend Maud—all act as foils to one another, revolving around the novel's central questions of amnesia and memory. But Livesey is so subtle, so sly, and such a good storyteller, that this only seems obvious at the end of the book.

"This was all also a covert way of writing about being an expatriate," Livesey says, "which, after all, is another sort of being cut off from memories of one's past."

"One of the peculiar things about America is that so many people are expatriates in their own country. In Britain, something like three quarters of the population still lives within 20 minutes of their parents. I think in this particular way I may have written a very American book, one that happens to be set in North London."

It's a telling example of Livesey's subtlety that Freddie, the novel's one expat character, is in some ways her total opposite (male, black, an American in Great Britain, a physical laborer) and yet in others is perhaps the most autobiographical character in the book: Someone geographically and perhaps dispositionally like herself, a recognizable human being who finds himself in an extreme situation and, like all the other principal characters in The Missing World, convinces you that what in lesser hands might be a plot conceit is, from Livesey, the news—what would really happen.

Mark Winegardner

Mark Winegardner, a professor in the creative writing program at Florida State University, is the author of four books, including, most recently, the novel The Veracruz Blues.

Library Journal
When Hazel Ransome, a freelance journalist, is hit by a car and loses her memory of the past three years, her ex-lover Jonathan seizes the opportunity to gain a second chance with her. As Hazel convalesces in the London home they shared for four years, Jonathan, an insurance claims adjuster and bee-keeper, tries desperately to keep her from discovering the mistake he made that caused her to leave him the previous year. When her best friend, Maud, fails to help her piece together the events of her recent past, Hazel finds unlikely allies in two fellow Londoners who are struggling to keep their own too-vivid memories from overwhelming them. Livesey (Criminals), a native of Scotland, spins a suspenseful tale full of bright, believable characters. Recommended for all fiction collections.--Jane la Plante, Minot State Univ. Lib., ND Copyright 2000 Cahners Business Information.

Product Details

ISBN-13:
9780312424701
Publisher:
Picador
Publication date:
03/21/2006
Edition description:
First Edition
Pages:
336
Product dimensions:
5.50(w) x 8.50(h) x 0.75(d)

Read an Excerpt

The outside door was open. Rushing up the stairs, he pictured Hazel unconscious on the floor, clutching the phone. He would carry her into the bedroom and hold a cool cloth to her forehead until she opened her eyes and begged him to lie down beside her. As soon as he unlocked the door of her flat, Jonathan knew this was the easy version. Sounds he could not parse into sense came from the living-room. "Hello," he said, not loud enough to be heard.

He stopped to pick up the phone, beeping on the hall floor, and went slowly into the living-room. Hazel was lurching away from him across the carpet, as if her legs were of different lengths or different substances, one wax, one lead. A table lamp, directly in her passage, fell to the floor. She was wearing a black pullover and, surprisingly, a blue skirt he had given her.

"Hazel," he said.

She reached the wall but still she did not stop. She kept walking until she was pressed right up against it, her toes nudging the skirting board, her thighs moving in a parody of an exercise machine. She raised her hands and began to claw at the plaster, her fingers scraping the magnolia paint, over and over.

When at last she turned around, he would not have recognised her. The whole shape of her face had changed. Her cheeks were puffy; her eyes, always so large and luminous, were rolling back in their sockets; saliva frothed her lips, and even her jaw seemed to undulate oddly. Only her fine, feathery hair was the same. "Barasingha," she said in an unnaturally deep voice.

Jonathan fled. In the hall he seized the phone and dialled Emergency.

"Which service do you require: police, fire, orambulance?"

"Ambulance," he shouted. And then he was speaking to a calm-voiced woman. Next to the phone was a bookcase, and as he recited the address he caught sight of the faded binding of Ovid's Metamorphoses, his second gift to her, squeezed between The Poems of Rumi and A Guide to Seashore Birds; at least she hadn't thrown it away.

"How long will it be?" he asked, but the operator was gone.

At the prospect of returning to the living-room, dread washed over him. Whoever was staggering back and forth, that person, that creature, was not Hazel. Barasingha? It sounded exotic: a small monkey, perhaps, or a complicated curry. He touched the spine of Metamorphoses, the gold lettering almost gone.

"Anything," he vowed, "I'll do anything to get her back again." His fingertips came away flecked with gold.

Hazel had sunk to her knees and was scrabbling at the wall, a desperate prisoner. Cautiously he knelt beside her and reached his arms around her, then almost let go. Deep, uneven zigzags were leaping through her, not like the vibrations of cold or grief but rather as if she were plugged into some wayward generator. He tightened his grip against the shocks. She continued to claw the paint. "Hazel," he pleaded, "stop it. Please, stop!"

Like the beginning of an answer came the faint seesawing of a siren

Meet the Author


Margot Livesey is the award-winning author of a story collection, Learning by Heart, and of the novels Homework, Criminals, The Missing World, and Eva Moves the Furniture, which was a New York Times Notable Book, an Atlantic Monthly Best Book of the Year, and a PEN/Winship finalist. Born in Scotland, she currently lives in the Boston area, where she is writer in residence at Emerson College.

Brief Biography

Hometown:
Boston, Massachusetts
Date of Birth:
July 24, 1953
Place of Birth:
Perth, Scotland
Education:
B.A. in English and philosophy from the University of York, England

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Missing World 3.5 out of 5 based on 0 ratings. 2 reviews.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
Manipulation of the Perfect World

The art of forgetting can be a gift and a burden. Margot Livesey's, The Missing World is exactly that. She addresses the good of amnesia and can link it to the bad. She takes two peoples lives and turns them upside down to where they are being manipulated.
Jonathan, a simple man whom is desperate to get back together with Hazel, whom is a sweet gentle minded person, walks in on her having seizures. He rushes her to the hospital where she is unconscious for over two weeks. When she finally comes to, Hazel can not remember anything from the past three years. Thus she forgets the fact that Jonathan had betrayed her. Seeking this as an opportunity to get back with Hazel, Jonathan convinces Hazels family to let her live with him again. They are reluctant and allow this.
With the plot steaming up as Hazel lives not knowing, Livesey adds a few other characters. You have Charlotte who is a distressed actress trying to get by, helping Hazel remember the past acting she used to do. Freddie, an African-American that is sent to fix Jonathans roof, whom thinks of Hazel as "a princess in a tower" and he must save her. The final character she throws in to make the plots dark corners even more suspenseful, is Mr. Early. These characters add humor and constent suspense for they are always trying to save Hazel from Jonathan.
Jonathan starts to realize that things are not going quite as he had planed and becomes very edgy with anyone whom poses a threat to his plan of keeping Hazel. Livesey throws another turn when she allows the reader to know how Hazel is starting to see Jonathan's true colors and starts to dig up what her seizure has made her not remember.
The Missing World, by Margot Livesey has some very interesting twist and turns. You have people constantly breathing down each others necks and great comic relief. I would recommend this book to anyone that wants to find out if "forgetfulness sets us free."