My Life, Starring Dara Falcon

Overview

In her latest novel, the author of Another You combines intensely realistic description and an effortless command of mood to examine the treacherous difference between love and fascination--between what we know about other people and what we think we know.  Dara Falcon is someone other people think they know.  Charismatic and theatrical, she has no sooner arrived in a New England town than she is wreaking havoc in the lives of her new friend Jean and her family.  As Ann Beattie ...
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Overview

In her latest novel, the author of Another You combines intensely realistic description and an effortless command of mood to examine the treacherous difference between love and fascination--between what we know about other people and what we think we know.  Dara Falcon is someone other people think they know.  Charismatic and theatrical, she has no sooner arrived in a New England town than she is wreaking havoc in the lives of her new friend Jean and her family.  As Ann Beattie follows Dara's antics, she braids subplots and vibrant characters into a work that is compassionate, tartly funny, and teeming with life.  
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Editorial Reviews

Joan Smith

Ann Beattie became famous in the 1970s for a certain kind of spare, unsentimental fiction about alienated and often feckless young baby boomers that managed to seem both terribly contemporary -- even hip -- and impossibly remote, all at the same time. Over the course of producing 11 books of fiction she has grown more generous in her depictions of the emotional lives of her characters -- they seem more often now to have some access to their feelings. But Beattie still paints a world in which people never really see one another, and are as helpless to connect as ping-pong balls floating in an airless room.

In My Life, Starring Dara Falcon, Beattie's narrator is Jean Warner, who doesn't realize she's unhappily married, unhappily situated, until she meets the title character, a disturbed young woman who compulsively pursues other people's husbands and boyfriends and tells self-dramatizing lies about herself. The troublemaker calls herself Dara Falcon, and if you by chance miss the reference to predation in her name, Beattie is careful to point it out to you. Everything, in fact, is obvious in My Life, Starring Dara Falcon -- that Dara is trouble, that she is not to be trusted -- obvious except to Jean, that is. It becomes increasingly difficult to sympathize with Jean Warner and her infatuation and inevitable disillusionment with her beautiful bird of prey. When Jean leaves her husband and his close-knit family, to whom she had at first clung so happily, it is because she wants to live as freely and bravely as she believes Dara does. She goes back to school, "realizing" that her husband is conservative and remote, that he doesn't talk about things. But when he does try to talk to her, she avoids him. Their conversations are impossibly cryptic, as if neither of them believes the other is reachable. No one in this novel seems to believe in the possibility of being understood.

When Jean finally "realizes" that she has been deceived by Dara, her fury is also impossible to believe, because the climactic deception is such a pathetic one. By allowing Jean the last word on the treacherous Dara, Beattie skips over the fact that sweet Jean herself is the novel's most treacherous character. She leaves her best friends and her husband, she cruelly rejects a boy, the son of a friend, she fell into bed with one day trying to avoid visiting her husband. She leaves Dara only when Dara is finally stripped of all pretense. But Beattie shows no insight into her narrator's deficiencies and there is no one in this novel to like, because there is no one, including the author, who understands its protagonists well enough to grow fond of them. -- Salon

Publishers Weekly - Publisher's Weekly
Raised after her parents' death by an unloving maiden aunt, young Jean Warner has struggled to leave the loneliness of her childhood behind: she dropped out of college, rushed into marriage and lost herself as best she could in the bosom of her husband's large, close-knit New Hampshire family. But when she falls under the spell of Darcy Fisher, aka Dara Falcon, a seductive aspiring actress with a mysterious past, Jean's marriage begins to reveal its flaws, and Jean is forced to taste the bitterness that permeates her new family's claustrophobic self-involvement. In what is her first true coming-of-age novel, Beattie Picturing Will; Another You returns to the 1970s that she once chronicled firsthand almost invariably, for her characters, a time of domestic dissolution and disillusionment. As in Beattie's more recent novels, however, the pain here holds some promise of redemption, or at least eventual contentment Jean tells her story from the safe distance of the 1990s and a happy second marriage. The texture of Nixon- and Ford-era upper-middle-class life, the minutiae and conversational rhythms that made Beattie's name as an observer of contemporary culture, bear less of her story's burden than they do in earlier fiction. In all, this is perhaps Beattie's most traditional work to date it is certainly one of her most accomplished: in their different ways, heroine and villainess live out the dictum most famously phrased by George Eliot that character is destiny. Or, as Jean puts it, "Unless you're very, very lucky which, as everyone knows, we so rarely are when we really, truly need luck, those things we've done wrong will inevitably boomerang." What finally separates Jean from Dara, and from many of Beattie's most pathetic and sympathetic characters, is the ability to learn from her own failings. That ability makes this novel a comedyand something of a relief for readers who have always trusted Beattie to tell the truth about her generation's romantic troubles, even when the truth was all cloud and no silver lining.
Library Journal
"There Dara sat; the star, with stars in her eyes. And I felt illumined, as if lit by ambient light." This just about sums up the effect of Dara Falcon on Jean Warner, so cheerfully caught up in the affairs of her husband's ingrown family that she sometimes seems incidental, even to herself. But then Dara comes to town charming, flirtatious Dara, whose past remains a mystery, who is forever re-creating herself which is to say, lying and, remarkably, she and Jean become friends. That is, she lays siege to Jean for purposes of her own just as she lays siege to various eligible and not-so-eligible men in her vicinity. As Jean contends with Dara, her subtly shifting feelings about the family, and the suspicious Tom Van Sant who has returned home after many years and is soon setting up a business that threatens the family's, the reader feels a terrible vortex slowly pulling everyone downward. Dara is a fascinating character, and though she finally gets on the reader's nerves, Beattie has crafted a fine study of obsessive relationships with her usual aplomb. For all libraries. Barbara Hoffert, Library Journal
Chicago Tribune
Beattie is a master novelist.
NY Times Book Review
Beautifully eloquent...Her sense of comedy is unerring.
Anne Lamott
Beattie is in top form….A cool and contained pleasure, much like that of eating subtle and delicious mints one by one.
San Francisco Chronicle
Anne Lamott
"Beattie is in top form....A cool and contained pleasure, much like that of eating subtle and delicious mint one by one." -- San Francisco Chronicle
Kirkus Reviews
Beattie follows up the successful Another You (1995) with a tale of domestic grief on a low boil.

Dara Falcon is the sort of woman who can easily stick in your craw. As predatory and majestic as her namesake, she manages to swoop down on poor Jean Warner and sink her talons in: "Dara Falcon was once Darcy Fisher. She either had or hadn't been a promising young actress. She either did or did not have a baby when she was sixteen." Nothing is very clear about Dara's past, and—as Jean figures out after she's known her for a while—her present life is hardly less deceptive. In the small New Hampshire town where Jean lives with her husband Bob, however, Dara's sudden and unexplained appearance brings a measure of glamour that most of the locals are too dazzled to question. Passionate, charming, seductive, Dara makes a play for most of the men in town but settles for a while on Tom Van Sant, an old schoolmate of Bob's. This puts Jean in an awkward position when the two part ways, since she has to assume the most thankless of diplomatic roles as intermediary to a broken couple. When an elaborate conflict over the return of Tom's ring blows up in Jean's face and Dara accuses her of disloyalty, Jean slowly begins to wonder what manner of girl she's dealing with. "It would be difficult to explain why Dara and I went on to have a friendship," she concludes. "It was a friendship . . . in which I listened in desultory fashion and trusted absolutely nothing she said." Finally, a resolution is offered when a tragedy confirms Jean's suspicions about Dara's motives and priorities, and allows her to find a way out of the emotional maze of Dara's many damaging fantasies.

Crisp prose with little behind it: Beattie's narrative skill nearly makes up for the paltry tale itself—but not quite.

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Product Details

  • ISBN-13: 9780679781325
  • Publisher: Knopf Doubleday Publishing Group
  • Publication date: 6/28/1998
  • Edition description: Reprint
  • Pages: 307
  • Product dimensions: 5.22 (w) x 8.01 (h) x 0.65 (d)

Meet the Author

Ann  Beattie
Ann Beattie lives in Maine and Key West, Florida.  Her latest novel, Park City:  New and Selected Stories will be published by Knopf in June 1998.

Biography

After publishing several stories in The New Yorker, Ann Beattie burst on the literary scene in 1976 with not one, but two books -- a collection of short fiction entitled Distortions and a critically acclaimed debut novel, Chilly Scenes of Winter. Almost immediately, she was proclaimed the unofficial diarist of an entire generation, evoking the lives of feckless, young, middle-class baby boomers who came of age in the 1960s yet never really grew up, choosing instead to lug around their dashed expectations like so much excess baggage.

Indeed, Beattie's fiction is filled with such unhappy characters -- intelligent, well-educated people whose lives are steeped in disappointment and a vague sense of despair. Failed relationships, nostalgia for the past, and the inability to reconcile youthful idealism with the demands of adult life are recurring themes in short story collections like Secrets and Surprises (1978), What Was Mine (1991), and Park City (1998), as well as novels such as Falling in Place (1981), Love Always (1985), and Another You (1995).

Yet, Beattie vehemently denies that she set out to chronicle an era or to describe a particular demographic. ''I do not wish to be a spokesperson for my generation,'' she told The New York Times in 1985. She explained further (in the literary magazine Ploughshares) that she simply wrote about the people who surrounded her -- refugees from the '60s, bewildered by the real world and longing to return to the seductive counterculture of sex, drugs, and rock 'n' roll.

A writer of spare, elegant, whip-smart prose, Beattie has been classified as a minimalist, a label she rejects as reductive. In many ways, though, her writing fits the bill. Her stories, like those of minimalism's famous poster boy (and Beattie's good friend) Raymond Carver, are composed of simple, declarative sentences teeming with irony and finely observed detail; also like Carver, she is a nonjudgmental narrator, completely detached from her characters and their actions and meting out contextual clues to be interpreted by the reader. However, as she has matured as a writer, she has traded in strict minimalism for a more realistic style, endowing her characters with emotions (and something of an inner life!) and rendering her fiction more fully "human."

Occasionally, Beattie has come under attack for loading her stories with brand names and pop culture references. But even this use of "Kmart realism" seems not to have dimmed her light. Reviewing her 2008 anthology Follies for The New York Times, David Means had this to say: "[W]hen Beattie's work is clicking her stories are wonderful to behold. Her best work ... will endure long after so much of what we know now -- the brand names, television shows and quick-shop stores -- is gone."

Good To Know

Beattie's first novel, Chilly Scenes of Winter, was adapted into a film by Joan Micklin Silver starring John Heard and Mary Beth Hurt. It was first released in 1979 as Head Over Heels with an unsatisfying, tacked-on happy ending. Audiences were lukewarm. In 1982, the movie was re-released under the novel's title and with an ending that matched the book. This version was a success.

Beattie is married to the painter Lincoln Perry. In 2005 the two collaborated on a retrospective of Perry's paintings entitled Lincoln Perry's Charlottesville, boasting a long essay and interview by Beattie.

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    1. Hometown:
      Maine and Key West, Florida
    1. Date of Birth:
      September 8, 1947
    2. Place of Birth:
      Washington, D.C.
    1. Education:
      B.A., American University, 1969; M.A., University of Connecticut, 1970

Read an Excerpt

I was stretched out on a lounge by the pool at a hotel in Key West when I found out the news about Dara Falcon. A pink-faced, pink-kneed man had left The New York Times behind as he slipped into his flip-flops for the walk to the elevator. Before he'd gotten ten steps away, I'd pulled his newspaper out from under the mattress pad and started flipping through. I hadn't seen a newspaper since I left Connecticut four days earlier, and I wouldn't have bought one, but the temptation of an abandoned Times was too great. I read the beginning of several articles on page one, but didn't turn to the jump pages. I looked at the book review, but the book didn't sound interesting, even though the reviewer said it was. I was just about to tuck it back under the mattress and tilt my face toward the sun, which had come out from behind a very large cloud, when I turned through a few more pages and saw it: Dara Falcon, Actress and Playwright. No survivors were mentioned. There was a photograph from the early eighties, which is when she'd had her biggest success, starring opposite Viva in an Andy Warhol film, and later as Amanda Greenfield, on the soap Time of Desire. In the photograph, her hair was parted down the middle, and she was looking at the camera without any trace of a smile. She had on a turtleneck, and if I could have seen the rest of her, she would have been wearing her size-seven jeans and-had the photograph been taken a little earlier-the ruby-and-diamond ring Tom Van Sant had given her. It had been his mother's ring, and there had been a time when it bothered him very much that his mother had died so young, before he had any serious girlfriend. But then, what didn't make Tom Van Sant sad? His mother's death was one of the few things he hadn't orchestrated to make himself morose.

Dara Falcon had died of pancreatic cancer, according to her secretary. She hadn't written anything that had been published or, to my knowledge, performed, in fifteen years, and she had a secretary? Who could really say, I suppose: J. D. Salinger; Dara-towering piles of manuscripts might eventually materialize. But how had Dara managed to get not only an obit in the Times, but a photograph as well? I looked again at the photograph. This was the woman my former sister-in-law had irately described as being responsible for the end of my marriage. Before that, though, she'd gotten me to sell her my car for a dollar, and she'd let me wear Tom Van Sant's mother's ring while she wore my alpaca jacket, and then she'd given me a hundred dollars because the dry cleaner had ruined it, though I later found out they had given her one fifty.

"You blame me for bad luck?" she'd said, incredulously. She always made me question whether I was rational. And those times when she'd grant that I was, she'd pout because I wasn't a good sport. "Well, yes, what you say is rational, sweetheart, but can't you forgive me?" She spoke in italics. She had a way of being able to wither into a waif right in front of you, her eyes suddenly larger, the slight hunch of her shoulders reducing her instantly in size. In Tom Van Sant's presence she was often inches shorter and pounds lighter than she actually was.

After the Cafe Central days, when New York got too expensive and her career as a soap opera actress was too discouraging, she went into exile in Vermont, which was the preferred farthest edge of the world for the truly hip. She sent amusing photocopied Christmas letters (in fact, the only ones I have ever received were from Aunt Elizabeth and from her), in which she referred to herself in the third person and did an impressive job of satirizing Christmas letters, filling hers entirely with trivia. The last time I heard from her she was still the quintessential Dara, expressing her undying devotion, and cueing me that I should respond in kind, because she was gravely ill.

Above the Gulf of Mexico, a small boat pulled someone dangling from a blue-and-white parachute. Except for its bright color, the way it billowed and drifted reminded me of tropical insects that could settle so gently you'd never sense their presence until after the bite. My husband was off on a catamaran with his brother, who'd flown from a small town outside of Albany to spend a few days with us in Key West. At Christmas Jacob had found out that his wife was having an affair with their minister, so he was preoccupied and feeling sorry for himself. John thought that constant activity was the best way to distract Jacob. Panting and glazed with salt water and sweat, they would appear at periodic intervals and then rush off again. This time they had been gone for almost an hour.

A waitress in a short sarong, halter top, and high-top basketball sneakers asked if I would like anything from the bar. I ordered an iced coffee and thought about what I could do to distract myself from thinking about Dara-which really meant what I could do to distract myself from thinking about my life. A man I dated long before I met John (a man who ultimately betrayed me) had often listened in puzzled silence to my impassioned descriptions of Dara's behavior-I was even more worked up about it years ago-and then had said to me, "She sounds like my idea of hell. It makes you wonder why anyone would befriend a person when they could befriend a dog." He wasn't trying to be funny; my stories about Dara had made him doubt whether I had good sense and also inspired him to get an Irish setter.

You could ask a dozen people who knew her, and in all likelihood they would describe different Daras. The only common denominator might be that while they had first thought one thing about her, eventually they had come to think the opposite. This would not necessarily be anything negative; they might have thought her very outgoing and decided that actually she was quite a private person, or they might have thought she was a good listener and then decided that she was clever to ask leading questions and file away the answers-a writer at heart, wasn't that true? Usually men held the strongest opinions, because if men knew her for any time at all, they tended to find themselves in very deep, very fast. She was more cautious with women, and they with her. If you weren't equally pretty-though of a different type-she usually couldn't be engaged. Of course, you also had to be somebody, though I don't mean somebody in the eyes of the world: it would suffice if you were a highly recommended optometrist, or even if you could be relied on to help her. She once shared a house in Vermont with a woman who raised ladybugs. Either she raised the best ladybugs, or the biggest, or had the largest mail-order business-I can't remember. But with men or women, whatever you were-whatever you did-had to be easily paraphrasable and sound at once humorous and dramatic. If she couldn't present you in one sentence, she wasn't interested. My own sentence was: She met an actor at Cafe Central and sailed for England with him the next morning. Though she'd known me more intimately in other times, this would be the first thing she said after introducing me to someone new. No matter that the actor's name would have been unfamiliar to anyone who hadn't watched a sitcom that only lasted a dozen episodes. No description of the way this might have been a more interesting situation than it seemed (I was paid to pretend to his elderly aunt that I was his fianc?e). No qualifiers or explanations were ever offered at all, except that sometimes she would digress into saying that the nightlife at Cafe Central was the most fun she had ever had in New York, and sometimes she would throw in the information that Bruce Willis tended bar. She passed over the fact that she moved away with the ladybug lady (who had tried without success to become an actress, and became, instead, a sales clerk at Macy's, before poverty drove her to Vermont) when she could no longer afford her rent. She wanted to give the impression that we-but particularly she-had been at the right place at the right time, though she didn't ever say that most of the actors who hung around Cafe Central didn't think she was a very good writer, or that, as time went on, people no longer jumped up when she walked in to invite her to join their table. Someone had found out that no one at Long Wharf had ever heard of her, so of course they were not really considering presenting her newest play. One man she'd slept with said that she'd confided in him that she was drawn increasingly to women, and a woman who'd cut her hair in exchange for a few white wines the previous night told stories behind her back, saying that Dara had picked up the cut hair and wanted her to kiss it-that what at first seemed like a joke had become frightening when Dara repeatedly kissed the hair herself, down on her knees like an animal feeding. She had risen with a whiskery mouth and tears in her eyes, looking so forlorn, the person said . . . , so desirous that someone be involved in the oddly personal ritual with her. Dara would tell you that she had spent a dreamy afternoon-"dreamy" was one of her favorite words-dancing with Patsy Cline (meaning: to Patsy Cline tapes; Dara understood she had no power to resurrect the dead), or that for breakfast she had feasted on feathers (translation: health-food-store breakfast food that looked like large, ragged asterisks; who could say what strange substances we ingested back then in the name of good health?). I let her stay at my apartment for the two weeks I was on the QE2 and in London. She teased me by calling it my "flat" and by mock complaints that I had such a small "telly." It was necessary then, and always, to exaggerate the way someone lived so that they lived a major or a minor life. Certainly no one she would associate with could live an average life, so we were all either worse off or else really living amid opulence or, at the very least, situated in fascinatingly eclectic circumstances. I thought I had been to her New York apartment, but it turns out I had only visited a place she'd been house-sitting. At the time, though, I took careful note of the fur coat that she'd never worn, hung on a large golden hook on the back of the front door, and of a large telephone that looked like one square foot of the lighted dashboard of a superjet's cockpit. The small kitchen was painted with black lacquer, the dangling lightbulb surrounded by a large rice-paper globe, and the sleigh bed-an antique; the first sleigh bed I ever saw-doubled as a sofa, draped with worn Turkish kilims and satin pillows. The place was comfortable and eclectic, and so was Dara. I thought her apartment expressed her personality Looking back, I suppose it certainly did, though not in the way I thought.

Dara had many good qualities, lest we forget (another of her favorite phrases, said with imploding desperation, when she, herself, was eager to temper another person's negative opinion): She was attentive; she could be kind; she was sometimes sentimental and didn't mind if you saw that she was. She was also very pretty, and petite, and you could find yourself thinking that she needed taking care of, and that you should serve as her protector. Who didn't tell a few white lies back in those days, more as a way to bolster their self-confidence than as a way to deliberately misrepresent themselves? Who was proud of where and how they lived-who had (or even aspired to) the perfect apartment? And who didn't do odd things for money, whether it was stringing along with some man's plan to get money for a nonexistent wedding from his wealthy aunt in England, or marrying someone for a fee so they could get a green card (particularly popular with homosexuals), or working the night shift somewhere you hoped against hope none of your friends would ever show up? If New Orleans was the Big Easy, New York was the Absolutely Impossible, but that was not the criterion for changing your intentions about succeeding there. You just had to be inventive. You had to play things differently. You had to realize there were no insiders-at least, no one you were likely to meet-and that everyone was an immigrant: decide on a new name and plunge right in, which Dara had taken care of long before she moved to New York.

Dara Falcon was once Darcy Fisher. She either had or hadn't been a promising young actress. She either did or did not have a baby when she was sixteen. Gossip had it that Mrs. Fisher drank, and that Mr. Fisher wanted Darcy and her sister gone so he could try to rehabilitate his wife. Other people said that simply wasn't so, but that all was not perfect in the Fisher house, because Mr. Fisher had backhanded all of them: his wife; the girls. He died prematurely, golfing. His wife sold the house and moved into an apartment and the next year took up with a younger man-a waiter. Darcy hated the man and only shook off her deep depression when she got a scholarship to Radcliffe. Franny was accepted at Williams, but dropped out after one semester and went to live with her sister in Cambridge. They shared a small efficiency apartment on Mass. Avenue for a year, or a little more than a year, and then Franny left a note saying that she had met someone interesting, and that she and he were hitching to Nantucket. She was not heard from for years. A month or so into the search, unable to sleep and frantic with worry, Darcy was hospitalized. Her mother and Ron, the waiter, went to visit her, and apparently her mother became hysterical, screaming in front of the doctors and nurses that since Darcy couldn't alienate Franny from her effectively enough, then Darcy had seen to it that Franny disappeared. She insisted that Darcy knew where Franny was. She insisted there was no boyfriend, which was something she had also insisted upon with the police, though she refused to tell anyone why she was so sure of this. When she visited McLean Hospital, Darcy's mother was in the last trimester of her pregnancy, and it was the first time Darcy knew that she had married Ron, or that she was expecting a baby. Her mother was forty-one years old. "Why couldn't you have taken my baby, if you wanted another baby?" she told me she had asked her mother. Darcy's mother visited only once, and would not return phone calls. When Darcy was discharged, it was into the care of her aunt, who had steadfastly refused to discuss anything about the past with the doctors. Years later, when Dara was telling me the story, she said she resented the way her aunt had acted; she felt that too much of a premium was put on privacy in the family, and that that had been a good part of everyone's problem. True, she hadn't levelled with the doctors entirely herself, but she had been desperate to get out of the hospital; she felt convinced that she could somehow track down her missing sister; she had hoped that once-just once-an adult could be counted on to reveal painful truths about the family, to say to the doctors those things she found so difficult to express herself. As Dara told me these things, speaking forcefully but-I now see-vaguely, she pressed to her chest a picture she managed to let me know, without words, was her beloved sister, Franny. The young woman in the photograph was attractive, and she had an open face and sincere eyes. This picture was only of her face, in a tiny silver heart-shaped frame on Dara's night table. Or on the night table in the borrowed apartment. I only went there two or three times, but even in winter, and in spite of how little money she had, there were always fresh flowers. Looking back, I must admit that while I misunderstood other things, I was not wrong in assuming that the bouquets must truly have been Dara's. So: Dara had survived her childhood, and she had either had an early pregnancy or she hadn't, and she had gotten a scholarship to Radcliffe (or so she said), and then Franny had appeared on her doorstep, there had been quite a bit of smoking dope, and both she and Franny had had sex for money a few times. . . . Then Franny had disappeared, and Dara had been hospitalized. She was treated with antidepressants; she was discharged into her aunt's care in Bronxville but soon ran away, returning to Radcliffe and living with a girlfriend who offered her her sofa and who only turned against her when the girl's boyfriend said he had fallen in love with Dara, though ("Jesus! My bad luck!") it was nothing he'd ever said to Dara herself.

When I met her, she was phobic about Cambridge, afraid when she had nightmares that she was back there, slogging through the winter snow, high on grass or on prescription drugs, the songs of that period triggering real depression, the tastes of certain foods she'd eaten inextricable from the metallic taste in her mouth during the time she'd been hospitalized. "Promise I won't ever be back there," she would say to me-meaning all of it: on the snowy sidewalks; in the hospital; at Radcliffe; at the various grim apartments-and because it seemed very unlikely, indeed, I would promise, as if I had the power to ensure it. "One time when I disobeyed some stupid McLean rule, they cut off a bunch of my hair and stuffed it in my mouth," she told me. "They were the animals, not the patients." As she said it, she grabbed hold of both sides of her long, dark blond hair and pulled it lightly away from her face, allowing it to drift down, as if her hair were gently falling snow.

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Reading Group Guide

1. Until meeting Dara, Jean has simply fallen into things rather than actively making choices in her life. Jean remembers her aunt telling her "over and over that my passivity would be a lifelong habit, and lifelong curse for everyone else" [p. 100]. Is Jean's passivity a fixed feature of her character, or is it the result of her circumstances? Does the novel imply that Jean's experience with Dara roused her from her habitual passivity, or not?

2. One of the first things we hear from Dara (regarding her relationship with Tom Van Sant) is that "it's really pathetic to be liked by an orphan, just because the person's so needy, and you happened to appear" [p. 60]. Considering that Jean is also an orphan--although Dara doesn't know this yet--are you surprised that Jean doesn't take this comment as a warning? Is the friendship that grows up between Dara and Jean a typical bond between young women in early adulthood? Jean worries that her response to Dara is quite adolescent: Is this so?

3. Why does Dara return to Dell? Is it an indication that she has failed in the competitive stakes of more sophisticated places? Is it necessary that Jean go elsewhere to make herself happier? Does the novel imply that there is something inherently limiting about small-town life?

4. The comical life story of Grace Aldridge, while seeming quite trivial at first, takes on a central importance in the novel. How does Beattie use Grace's pedestrian narrative, My Life, as a structural and thematic element? What does it mean to tell the story of one's own life? Why does Beattie call into question the truthfulness of what Grace, and Dara, tell others about themselves? Is Jean, too, an unreliable narrator as she tells her own story?

5. Liam tells Jean that the relationship between herself and Dara has an unexpressed sexual component. Is Dara in love with Jean, and vice versa? Is each woman merely using the other? Why doesn't Jean write back to Dara upon hearing that she is going to be treated for cancer?

6. What is the significance of the ring Jean wears? What does the ring represent for her? Is she right to return it to Tom?

7. Summarizing her rueful look at Bob's family, Jean says "They were all as much cases of arrested development as I was" [p. 178)]. What characteristics do the members of Bob's family share? Does Jean fit in well with them, despite her desire not to? How does Bob come across in the novel? Are you relieved or sorry when she leaves him? Is there anyone in the novel who isn't suffering from "arrested development"?

8. Discussing Grace Aldridge's memoir, Dara makes one of the novel's most intriguing statements: "Here we have the revelation that life is a game. Do we all feel that life is a game? Do we perhaps feel it, but also feel reluctant to say it, because life is supposed to be so serious?" [p. 103]. Is Dara being particularly honest and insightful at this moment? Does this explain her behavior?

9. Ann Beattie has commented on her attraction to stories in which "the seduction of the reader parallels the seduction of the characters." Is Dara meant to be seductive for the reader as well as for Jean?

10. John Updike has written that "Beattie's power and influence . . . arise from her seemingly resistless immersion in the stoic bewilderment of a generation without a cause." How would you relate this insight to My Life, Starring Dara Falcon? Why has Beattie included mention of political aspects of life in the late 1970s, like the activism against the Seabrook nuclear power plant? Is the time period an integral part of the story?

11. Do a character's physical surroundings and belongings shed any light on the meaning of "identity" in this novel? Do clothes, objects, and spaces express something important, or are they seen as temporary, random?

12. Dara plays the female lead in Ibsen's classic play A Doll's House, in which a wife slowly comes to reject her domestic life and her domineering husband. And even before Dara's performance, Jean realizes that "she had called to my attention--without words, merely by her existence--an alternative to being enfolded into the sameness and increasing numbness of family life" [p. 107]. How important a role does feminism play in the changes that Jean makes for herself?

13. The novel begins and ends with Jean speaking from Key West, some twenty years after the events she relates. How does her present life compare to the one she left behind? Has she changed? How does the beginning of the novel influence the reader's view of Dara?

14. Ann Beattie has said, "I don't begin anything, story or novel, or even a letter to my parents, knowing what the plot will be. Like fingers hovering over the Ouija board, I find that I linger longer over some characters than I'd have thought, because of a kind of electrical charge they possess; I find, time and time again, that what seemed a digression I decided to follow . . . resolves itself by becoming an important element of the plot I could never have anticipated." How does this description of Beattie's creative process relate to Jean's story, which threatens to be engulfed by the presence of Dara? Is it an apt description of the way peoples' lives take shape in reality?

15. In two of the genre's most classic examples--Charlotte Bronte's Jane Eyre and Charles Dickens's Great Expectations--the drama of coming to self-knowledge and learning one's place in the world is heightened by the fact that the protagonist is an orphan. If you have read these novels, how would you compare Jean Warner to Jane and Pip as an analyst of her own life? How would you judge the choices she makes? Does Jean's naiveté give way to something like wisdom or maturity?

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