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She May Not Leave [NOOK Book]

Overview

Fay Weldon lets her incisive wit loose on a hot issue facing many modern families — child care, and what can happen when that involves having a nanny under your roof. Hattie and Martyn are the proud parents of newborn Kitty; both are in their early thirties, smart, handsome, and, for reasons of liberal principle, not married but partnered. All seems fine at first — healthy baby, happy couple — but when they have to decide who’ll look after little Kitty, things get complicated. Hattie’s dying to get...
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She May Not Leave

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Overview

Fay Weldon lets her incisive wit loose on a hot issue facing many modern families — child care, and what can happen when that involves having a nanny under your roof. Hattie and Martyn are the proud parents of newborn Kitty; both are in their early thirties, smart, handsome, and, for reasons of liberal principle, not married but partnered. All seems fine at first — healthy baby, happy couple — but when they have to decide who’ll look after little Kitty, things get complicated. Hattie’s dying to get back to work but Martyn fears employing foreign help might hurt his leftist political aspirations. Martyn capitulates when Agnieska arrives — a Polish nanny who happens to be both domestic goddess and first-rate belly dancer, the maker of a mean cup of cocoa who’s also educated in early childhood development. Having her in the house makes life livable again for the young couple, so when problems arise with her immigration papers Martyn and Hattie will do anything to keep her in the country. But will their decision to have Martyn marry her be the trouble-free solution they envision.
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Editorial Reviews

Publishers Weekly
Wary '80s feminism observer Weldon (The Fat Woman's Joke) turns her sharp eye to the desperate neediness of two-career London parents seeking child care. Early 30-ish Hattie, a literary-rights agent, and lefty journalist Martyn are partners, rather than husband and wife. For their infant, Kitty, they procure competent young Pole Agnieszka Wyszynska who effects a glorious, unprecedented order in their household, thus allowing Hattie to return to work and the couple to enjoy real food and sex once in a while. It's Hattie's grandmother, Frances, however, who narrates, and Frances suspects Agnieszka isn't quite what she seems. If the au pair really is Ukrainian rather than Polish, she's not an EU cardholder and thus not legal to work. The solution of having Martyn marry Agnieszka makes Frances, who has emerged from the swinging '60s bearing her share of battle scars, raise her eyebrows. Weldon also adds great aunt Serena, a successful novelist, to the chorus; she has her own child-rearing, marriage and career stories. The results hit very close to the working literary family's bone. (June) Copyright 2006 Reed Business Information.
Library Journal
Beware the au pair! Martyn and Hattie, staunchly unmarried new parents of Kitty, overcome their liberal political principles by hiring a young Polish woman as a live-in nanny, to their eventual ruin. Hattie, thrilled to return to work at a London publishing house, is grateful for Agnieszka's confident way with babies and her organic carrot pastries. Martyn, an editor for a social and political monthly, envisions a career in politics while eyeing his belly-dancing new flatmate. Of course, not all is as it seems, and Weldon throws in several last-minute twists that, though not quite bunny-in-the-pot scary, still manage to surprise. Imagine a less-zany I Don't Know How She Does It crossed with The Nanny Diaries, told with Weldon's wry humor and feminist perspective. Then add running commentary from Frances, Hattie's 72-year-old grandmother, who ruminates over the various women, children, au pairs, and lost loves in her life. It's like listening to a much-loved doddering aunt-there's wisdom there, but you have to suffer through meandering reminiscences for the occasional bon mot. Buy where Weldon's other titles (like Mantrapped) are popular.-Christine Perkins, Burlington P.L., WA Copyright 2006 Reed Business Information.
Kirkus Reviews
A British doyenne of elegantly savage modern comedies of manners returns to form with a cautionary tale of childcare. Weldon (Mantrapped, 2004, etc.), with some 24 novels and numerous nonfiction works and short-story collections to her name, has a justified reputation as one of the most acerbic judges of human and gender frailty. In this latest mixture of family saga and morality fable, Hattie and Martyn, a couple of 30-something unmarried London yuppies, bear the brunt of her scrutiny, representatives of the comfy, left-leaning middle classes who claim to live by their principles but only, it turns out, when it suits their needs. After the birth of their first child puts financial pressure on the household, they decide to employ a married, Polish au pair, Agnieszka, whose arrival restores marvelous order to the domestic chaos: Hattie can go back to work; the couple's sex life can resume; and all manner of other compensations follow, which help the pair swallow their repugnance at employing what is in effect a servant. But Agnieszka is not quite what she seems-neither Polish, nor married. The story is narrated by Hattie's grandmother, Frances, who interleaves the Agnieszka episodes with anecdotes from the larger family. References to the mitochondrial line recur, as Weldon, taking the long view, expands her theme of genealogical descent via the female side. Too many characters are invoked here, but Weldon's domestic observations and aphorisms are nevertheless to be relished, as is the surprising conclusion. Sly, salty, savvy.
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Product Details

  • ISBN-13: 9781555848866
  • Publisher: Grove/Atlantic, Inc.
  • Publication date: 12/1/2007
  • Sold by: Barnes & Noble
  • Format: eBook
  • Edition description: First Trade Paper Edition
  • Pages: 288
  • File size: 3 MB

Meet the Author

Fay Weldon is a novelist, screenwriter and cultural journalist. Her novels include ‘The Life and Loves of a She-Devil’, ‘Puffball’, ‘Big Women’ and ‘Rhode Island Blues’. She has also published her autobiography ‘Auto da Fay’. Her most recent novel was the critically acclaimed ‘She May Not Leave’. She lives in Dorset.


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Read an Excerpt

She May Not Leave


By FAY WELDON

Atlantic Monthly Press

Copyright © 2005 Fay Weldon
All right reserved.

ISBN: 0-87113-942-1


Chapter One

Martyn And Hattie Have Employed An Au Pair

'Agnieszka?' asks Martyn. 'Isn't that far too long a name? If she wants to get on in this country she'll have to shorten it. People are just not familiar with sshzk.'

'But she won't want to shorten it,' says Hattie. 'People have their pride, and a loyalty to the parents who named them.' 'If we pay her,' says Martyn, 'she may have to do more or less as we ask.'

Martyn is in conversation with Hattie in their economical, comfortable first-time-buyers' house in London's Kentish Town. Both are in their early thirties, handsome, healthy and educated, and for reasons of principle not lack of affection are not married but partnered. Baby Kitty, twenty-four weeks old, sleeps in her cot in the bedroom: Martyn and Hattie fear that she may not sleep for long. Martyn is just back from work. Hattie is ironing: she is unused to the task, and making a rotten job of it but she is, as ever, doing her best.

Hattie is my grandchild. I spent many years bringing her up and I am fond of her.

They have been talking about the possibility of employing an au pair, Agnieszka, recommended by Babs, a colleague of Hattie's at Dinton & Seltz, Literary Agents. Hattie took maternity leave: now she wants to return towork, but Martyn is resistant. Not that he says so, but Hattie can tell because of his feeling that the girl's name is too long. About Agnieszka they know very little, except that she has worked for Babs's sister, the one with triplets, and left with good references.

In the circles in which Martyn and Hattie move as many babies are implanted as conceived, and so do often arrive in twos or threes. Kitty was an accident which served, after initial confusion and dismay, to make her the more precious to her parents. Fate had intervened, they felt, for the good. Man proposes, God disposes, and for once the result was satisfactory.

'I don't think it would be right to ask her to change her name on our account,' says Hattie. 'She might be offended.' 'I am not sure,' says Martyn, 'that we should define right as what does not offend.'

'I don't see why not,' says Hattie. Her brow darkens as she comes to grips with what Martyn has just said. Surely not offending other people has a large part to play in what is defined as 'right'? But since Kitty's birth she is less sure than before about what is right and what is wrong. Her moral confidence is being eroded.

She can see it is 'wrong' to jam a comforter in baby Kitty's mouth to stop the crying, as poorly educated mothers from the housing estates do. 'Right' would be searching for the cause of the crying and attending to that. If this is the case she chooses wrong over right at least five times a day. She can see she is also guilty of elitism, in not wanting to be numbered as one of the estate mothers. The family income may be currently below the national average, but even so the notion of her own superiority increasingly flits across her mind. Does she not read books about child-care, instead of waiting two weeks for the health visitor to turn up? Surely she is someone who controls her own destiny? But she has been so a-mush lately, so driven by hormonally based emotions, so much a prey to unaccustomed resentments and gratifications that she swings from conviction to doubt within minutes. She did wake this morning, leaning over to the crib beside the marital bed to put the comforter in Kitty's mouth, with the comforting understanding that people are as moral as they can afford to be, no more nor less. She should not blame herself too much.

'Then you should see why not,' says Martyn. 'Social justice can't be achieved by simply letting everyone do what they want. A fox-hunter might well be offended if you pointed out that he was a cruel sadistic brute, but that doesn't mean you shouldn't say it. We should all be working towards the greatest good of the greatest number and sometimes hard words and tough choices must be made.'

'How would telling someone to shorten their name further social justice?' asks Hattie.

She feels mean and petulant; she knows she's being obstructive, but if Martyn can be so can she. Hattie has already asked Agnieszka to come round for an interview but hasn't told Martyn. She has not yet quite brought him round to the idea, though the arrival of the electricity bill and the community charge, both in the morning's post, has had its effects. Hattie must go back to work. Really there is no choice.

'For one thing,' he says, 'think of the delays while the name was spellchecked. Agnieszka Wyszynska! Computer operators all over the country will be at their wits' end. It would be a simple kindness to others to simplify it.'

'What to?' asks Hattie. 'What do you suggest?'

'Agnes Wilson? Kay Sky? Short and simple and co-operative. She can always change it back when she goes home to Poland.'

'I have no problem spelling Agnieszka Wyszynska. You just have to get used to certain combinations of consonants and realise "y" is a vowel. But then I studied modern languages and I'm not bad at spelling.'

Hattie is indeed good at spelling, but when she talks about Agnieszka's pride she may well be talking about her own. People tend to invest others with their own qualities be they desirable or otherwise. The generous believe others will be similarly generous: the liar accuses the other of lying: the selfish see selfishness in everyone else. If Hattie declines to use Microsoft's Spell-check, preferring to use her own judgement, or call her great-aunt the writer if in doubt, it is because she too has her pride. She has a highly developed superego. This may well be why she and Martyn, a man from the working-class North with high social principles and well-developed class-consciousness, are joined together in committed partnership, if not holy matrimony.

Hattie comes from the bohemian South, from a family for whom morality tends to concern itself with the integrity of a particular art form and the authenticity of emotion. It is a family in which Hattie's particular temperament is seen as something of an anomaly. There is something rigorous and nonconformist about her which echoes the same tendencies in Martyn. In this she is unlike her mother Lallie the flute player, or her grandmother Frances who is married to an artist currently in prison, let alone like her great-aunt Serena, the well-known writer. Heaven knows through which genetic route 'the responsible tendency', as Frances refers to it, has come. It may well be from Hattie's father Bengt, a schoolboy at the time of Hattie's conception. But who is to say? Bengt was so quickly whisked off to Sweden by his parents for a new and better start in life, that the details of his character were never fully apparent to Lallie's family. We could only watch and observe Hattie as she grew to find out what she would be like.

Bengt was to become a pharmacist in Uppsala and live quietly and decorously with a wife and three children, so with time it was assumed that he had left responsible, competent, if possibly rather priggish genes behind. The single brief act which resulted in Hattie occurred in what was known as the Tranquility Hut at the progressive and very expensive school the two young people attended.

Once a year, if Lallie can find a window in her busy international schedule, Bengt will bring his family over from Uppsala to visit her and Hattie, his ill-begotten daughter. Everyone is most courteous on these occasions but can't wait to get back to normality, which is to forget any of it ever happened.

Hattie is polite to her father but cannot be very interested in him. She found out and filled in details of his medical history to the researchers at the hospital where she went for antenatal care, but could find nothing but good health and non-event to report. If Hattie didn't resemble Bengt other than in a certain heaviness of jaw and brusqueness of temperament, she would have thought her mother had made a mistake and somebody quite other was responsible for her, Hattie's, existence. Like the rest of her family Hattie does like things to happen. Bengt is, frankly, dull.

But since she had Kitty it's the wrong kind of things which seem to happen. The district nurse, who calls regularly because Hattie has declined to join the weekly mothers' and babies' club, and this goes down on her notes, complains that the baby's motions are too loose and accuses Hattie of eating garlic. Hattie has not eaten garlic since Kitty was born. The district nurse does not even ask but just assumes Hattie is the kind of mother who would. Is this how she seems to others? Irresponsible, biddable, and dumb?

'Anyway,' says Martyn now, 'it's all hypothetical. We don't need, want, let alone can afford an au pair. Forget it. It's just an idea of Babs's. I know she's your friend but she has an odd idea of how the world works.'

Martyn is not too keen on Babs as a friend for Hattie and not without reason. Babs is married to a Conservative MP and although Babs declares herself scornful of her husband Alastair's political opinions, Martyn has a feeling that something political must surely rub off in the marital bed, and that perhaps some essence of the amended Babs could in turn be transferred to Hattie. He feels that he has already personally osmosed a lot of Hattie's being by virtue of sharing a bed with her, and is happy enough about this. Why should he not? He loves her. They have the same outlook on life. The arrival of Kitty, half him and half her, has bonded their beings more closely still.

Hattie has no choice now but to tell Martyn the truth. Not only has she already spoken to Agnieszka of the too long name, but she has told Neil Renfrew, executive director of Dinton & Seltz, that she would like to come back to work within the month, having sorted out her child-care arrangements. Martyn and Hattie had decided to opt for a year's leave of absence: now Hattie, unilaterally, has halved that. Neil has found a space for her in Contracts, working opposite Hilary in the Foreign Rights Department. Hattie has lost some seniority as a result of taking maternity leave but it's not too bad. She should be back on career course within the year. Hattie reads and speaks French, German and Italian; she is suited to the job, and the job to her.

She would perhaps rather be working at the more literary end of the agenting business - it's more fun: you go out to lunches and talk to writers - but at least in foreign rights you go to the Frankfurt Book Fair and deal with overseas publishers. Eastern Europe is an important and expanding market in which Hattie will need to be active. The job is going free since Colleen Kelly, who has become pregnant after five years of IVF, is stopping work early to write a novel. It has occurred to Hattie that Agnieszka will help her to learn Polish.

'But you haven't even met her,' says Martyn now as Hattie reveals truth after irritating truth. 'You have no idea what's she's like. She could be part of some international baby-theft ring.'

'She sounded very nice on the phone,' says Hattie. 'Well-spoken, quiet and calm and not at all from the criminal fringes. Agnieszka looked after Alice's triplets until they moved to France last month. And Alice told Babs that she was a gift from heaven.'

'A gift to you, perhaps,' says Martyn. 'But what about Kitty? Do you really mean to compromise our baby's future in this way? Research shows that babies with full-time mothers in their first year are at an advantage intellectually and emotionally.'

'It depends which research report you read,' says Hattie, 'and sorry about this, but I do tend to believe the ones that suit me. She'll be fine. We're living on nothing, I have to ask you for money as if I were a child, we are unable to pay the community charge so I have no choice but to use child-care for Kitty. You've already told me I'm mad. What use is it to Kitty to have a mad mother?'

'You're being childish,' says Martyn, with some truth. 'And "mad" is not a very helpful word to use. Let's say you have been a little disturbed lately. But what's the point of my saying anything; you've jumped ahead and taken my approval for granted.'

He slams the fridge door a little harder than is necessary or desirable. Indeed, so hard does he slam the door, that the floor shakes and in the next room baby Kitty stirs and lets out a cry, before fortunately falling asleep again.

One of the unspoken rules of engagement in the battle for the moral high ground waged so assiduously by Hattie and Martyn is that the weapons of bad temper - bangings, crashings and shoutings - should not be used.

'Sorry,' he says now. 'I haven't had all that brilliant a day. I know I've more or less turned over Kitty's care to you, and I'd so much hoped we could do fifty-fifty parenting, but that's because I have to, not because I want to. All the same, you could at least have called me at the office and warned me.' 'I didn't want Agnieszka to get away,' says Hattie. 'Someone like her can pick and choose. As a fully qualified nanny in Kensington she could get £500 a week and her own maid.' 'That is revolting,' says Martyn.

'But she wouldn't be happy doing that. She's a real homebody, Babs says. She prefers to live as family, work in a real home, halfway between au pair and nanny.'

'She'd better make up her mind,' says Martyn. 'Au pairs are covered by strict guidelines: nannies are not.'

'We'll sort that out when the time comes,' says Hattie. 'I took to her on the phone. You can tell so much from people's voices. Babs says she's exactly right for us. She got such a good reference from Alice that Alastair said it sounded as if Alice was trying to get rid of the girl.'

'Ah, the Tory MP. And was she?' asks Martyn.

'Trying to get rid of her? Of course not,' says Hattie. 'Alastair was joking.'

'Funny sort of joke,' says Martyn.

Martyn is still cross. His blood sugar is low after a day in the office. Obviously he is right; it is not ethical to exploit another in this way, especially if they have little power in the labour market, but it would be kinder to everyone if he left the matter alone.

He can find precious little in the fridge. Since Hattie took maternity leave they have not been able to afford dinners out, take-aways or luxuries from the delicatessen. Supper tends to be chops if he's lucky, with potatoes and vegetables and that's it, and served in Hattie's own good time, not his. He finds some cheese in the salad drawer and nibbles at it, but it is very hard. Hattie says she is saving it for grating.

Martyn feels Hattie rather overdoes what he refers to as her 'frugal number'. Anything will do at the moment to make life bleaker for both of them. She hates spending money on food. Food is full of pollutants which if she eats might end up in Kitty via the breast milk. Since the birth, it seems to Martyn, Hattie has gone into rejection mode. Sex also has become a rare event - rather than the four or five lively times a week it used to be. He can see it might be a good idea if she did go back to work, but he does not like her organising their joint life behind his back. He is Kitty's parent too.

Frances Presents Some Authorial Background

Let me make clear who is speaking here, who it is who tells the tale of Hattie, Martyn and Agnieszka, reading their thoughts and judging their actions, offering them up for inspection. It is I, Frances Watt, aged seventy-two, nee Hallsey-Coe, previously I think, but for a short time, Hammer: previously Lady Spargrove: previously - we would have got married but he died - O'Brien. I am Lallie's bad mother, Hattie's good grandmother - determined to get my money's worth from my new laptop, bought for me by my sister Serena. Write, write, write I go, just like my sister. 'Scribble, scribble!' As the Duke of Gloucester said to Edward Gibbon, on receiving The Decline and Fall of the Roman Empire, a million and a half words long: 'Always scribble, scribble, scribble! Eh! Mr Gibbon?'

(Continues...)



Excerpted from She May Not Leave by FAY WELDON Copyright © 2005 by Fay Weldon. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Sort by: Showing all of 3 Customer Reviews
  • Anonymous

    Posted December 26, 2007

    Give me a break

    Hattie and Martyn, 'committed' to each other, but not married, get an au pair for their baby, Kitty. The au pair, from Poland, is a genius at cooking, soothing the baby, laundry, and belly-dancing. She's a dream come true. When it looks like she will be deported back to her country (which is actually the Ukraine she deceived them in fact, she seems to be a pathological liar), Hattie has a weird idea that may work to keep the au pair with them in England. Completely ridiculous book. I could not relate to anyone, except maybe the baby. The book is omnisciently narrated by Hattie's elderly grandmother, wife to a man in jail for dealing drugs. Both Martyn and Hattie's families are dysfunctional, and no one seems to be raising their own children mothers foist them off on aunts or grandparents. Everyone has children out of wedlock. I get that it was a satire, but it was weird, off-the-wall, and completely leftist. Whose world actually looks like this, anyway?

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  • Anonymous

    Posted October 31, 2006

    Couldn't hold my attention

    It started out well enough, and it was an easy read, but it just didn't hold me. I ended up skimming through to the end, which I will admit was a bit of a surprise!

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  • Anonymous

    Posted June 20, 2006

    Just couldn't get into it

    I was looking forward to this, but I read the first 16 pages and put it down. I picked it up again in a few days, opened it at random and read a bit, and put it down again. Opened it at random again a few days later, nope. I wondered if it was due to my being in the wrong mood, but I tried yet again and just could not like any of the characters. I don't know whether it was A) the short passages which in my opinion interrupts the flow of things B) the grandmother's narration and constant mention of the women in Harriet's family or C) Martyn who struck me as a boring pill with a pretentious name that I disliked most. I really wanted to like this book, but I couldn't.

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