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Overview
“Chandler Burr’s challenging first novel is many things: a glimpse into Hollywood culture, an argument about religious identity, a plea for the necessity of literature. This is a roman that needs no clefs.” —Washington Post
New York Magazinecalls You or Someone Like You, “The highbrow humanist name-dropping book of the summer.” The remarkable first novel by Chandler Burr, the New York Times scent critic and author of The Perfect Scent, is funny, smart, and provocative—an extraordinarily ambitious work of fiction that succeeds on many different levels. It is a book David Ebershoff, (authorof The 19th Wife) enthusiastically recommends “for anyone who defiantly clings to the belief that a book can change our lives.”
Product Details
| ISBN-13: | 9780061885594 |
|---|---|
| Publisher: | HarperCollins |
| Publication date: | 12/15/2023 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 352 |
| File size: | 643 KB |
About the Author
Chandler Burr is the New York Times scent critic and author of The Perfect Scent, The Emperor of Scent, and A Separate Creation. He has written for the Atlantic and The New Yorker. He lives in New York City.
Read an Excerpt
You or Someone Like You
Chapter One
It is 4:18 a.m. when I realize Howard has come home.
I watch his outline in the still, dark bedroom stripping off the trousers of his navy suit, stained with sand and Pacific salt water. After a moment, I ask, Who has the life he wants?
He says nothing, standing in the shadows. I say, Wystan Auden did, one could argue.
Howard cuts in, "We're not fucking talking about Auden, Anne."
I am, I say with a calm I do not at all feel, talking about Auden.
We wait in the dark, in the silence, and I realize Howard is crying, his shoulders shaking beneath his stained, unbuttoned dress shirt, the tie gone, his chin down almost to his hairy chest, bobbing up and down with every sob, his eyes closed, his fists clenched. I am so stunned I cannot move for a moment, this big man in his underwear, crying, but then I jump out of the bed. I take him in my arms. He is large enough that his jerky, rough sobs push me back and forth, as if I was grasping an oak in a storm.
Howard, I say. Howard.
He is wiping his nose on his sleeve. He turns away from me.
"It's bad," he finally says, his back to me.
I retreat the tiniest bit. What do you mean, bad?
"No," he says. "I mean it's really bad. I've thought a lot about it."
He fills his lungs, and he looks out and down over Los Angeles. The fury in his head and the pain that almost cripples him baffle me. He frowns, turns his eyes from L.A., and I watch him riding it out as they wash through him. They push him, shipwrecked, onto some distant mental shore. After a moment he manages to say, "I can't help feeling like I did somethingwrong."
I say after the briefest moment, You mean we.
He doesn't reply. Then he says, "No, actually I mean I."
Too small for a commercial flight, out the large dark windows the taillights of a tiny plane draw a dashed line across the sky.
I hear the "I." I feel something very cold start to climb.
The suddenly strange man who is my husband says, "There was something wrong before, and now I see it." He raises a hand like Caesar and adds in a loud voice, "Don't argue with me, Anne."
His anger is gasoline vapor filling the room.
I already know, of course, what the anger is: I am now, for him, a different kind of person. Howard discovered this only recently, when he picked Sam up at LAX after our son's flight home from Israel. Simply by telling him what had happened in Jerusalem, the boy made Howard realize that Sam, too, is a different kind. It was inadvertent—Sam, who is asleep down the hall, never intended to lead Howard to the conclusions that have brought him to standing here in the dark, covered in sand and half-naked and sobbing—but inadvertent hardly matters now.
I watch Howard get the suitcase down from the walk-in closet, go to the dresser, and start taking out the soft white T-shirts Consuela folded yesterday. On my bedside table I look at my Modern Library W. H. Auden: The Collected Poems. I was reading it last night as the hours ticked by and Howard didn't come home. I have selected it for my next book club—the studio executives—for one very specific reason: Unlike Howard, Auden, the adamant universalist, saw all Âpeople as the same kind. He called the human species "New Yorkers," and to him they were, otherwise, nameless.
I hear Howard murmur. I have to focus on it to clarify the words. "There's something missing, Anne."
I cast about for the thing to say. I say, as quietly as if I'm afraid of shattering something, There was never anything missing before.
He merely breathes for a moment, wincing. Then, "There is now."
He is walking to and from the suitcase in the shadows. The sun will be up in about fifty minutes. I hear his feet.
Howard, I say.
(I can't bear the silence.)
Oh, Howard! I implore him, please talk to me.
"It's not necessarily rational," he says, his eyes on the things in his hands, and adds, his jaw tense, "To you that means it's suspect. I used to feel that way. Now I don't."
As he packs, he begins to speak about having left an island long ago and wandering in the wilderness but the little island never forgot him, about a home that he betrayed, about a man in exile (in exile? I ask; in exile from what, Howard? but he doesn't stop), and about longing without realizing he was longing—and my saying, How can you long without realizing it? and his digging in his heels at this, putting his head down, his voice rising by several decibels as if sheer willpower could win the argument.
He wraps some black shoes in felt. There is a suit bag. He is leaving our home.
Who will you be staying with? I ask.
He is struggling with the suitcase. "I'll be in touch," he says through gritted teeth, working on the lock. He snaps shut the case, hefts the suit bag. Glances heavily at the dresser to check that he hasn't forgotten anything.
Who will you be staying with?
It takes an instant for his feet to begin to move.
I hear his footsteps going down the hall. The kitchen door opening, a moment of auditory void, then the sound of it closing. An eternal period, and the car's powerful German engine wakes again, calm mechanical equanimity. I listen to the recessional down our driveway. The faint sound of gravel crunching under tire comes through the open window, then the engine, the car leaps forward, and Howard vanishes into what is left of the night.
The movie cliché is the woman reaching out her hand, touching his pillow, and only then remembering. But I, when I wake again, find by contrast that my brief sleep has been entirely drenched in a blue distillate of his departure, such that even awake I confuse waking with sleeping and believe dreams to have become merely mundane. Unlike in the movies, there is never a single instant I don't know that he's gone.
In the silent living room (the sky is pale white-blue now) I search the vast, clean, neat shelves for a large dark-blue children's book. The search is merely movement, an attempt to rein in the vibration of my emotional state. I am a very rational person, even though I am at the moment, not altogether rationally, searching up and down for this children's book that is at the moment incidental.
I have a thought in my mind like my pulse, not under my control, and though I am shattered, the thought is crystalline, coherent: Everything that I have done has been connected. All these pieces of literature, the poetry, the novels, all of it. The lines that I spoke to express what I felt instead of using my own words because, to me, the authors were just better. And that connection, that thread, was, in every case, Howard. Now that Howard is gone I realize with a terrible clarity that the quotations were really always and only my way of talking to my husband. Throughout the book club I was speaking to them, yes, of course, and everything I said was meant for them, but it was also meant for Howard. This narrative, this conversation I have had with Howard from the very start, if it was imperfect and at times obtuse and, most recently, interrupted, it was entirely our own. And those authors' words: When I used them, Howard always interpreted them the way I did. Or I thought he did.
When Sam was a very small boy, I would open the tall French doors of our house up in the hills from which we looked down over Los Angeles and sit him next to me and read to him from a big dark-blue children's book of Bible stories, one my mother had found at Camden Market when I was a girl in London, called The Lord Is My Shepherd. I read all the stories to him, as my mother had to me, but his story, and Sam made clear the possessive, was Samuel's.
"?‘Hannah was barren,'?" the story began.
(It means she couldn't have children, Sam. She wanted to, so very, very much; she wanted a little boy, like you. But she couldn't.)
"?‘And she vowed a vow, and said, O Lord of hosts, if thou wilt give unto thine handmaid a man child, I will give him unto the Lord all the days of his life.'?"
The Lord answered Hannah's prayers. "?‘And she called the boy Samuel, saying, Because I have asked him of the Lord. And Hannah took him to the temple in Shiloh and gave the child to Eli, the priest. And the child Samuel grew on.'?"
"The sleep part!" Sam ordered, four years old, looking at the book. (I heard a laugh and looked up. Howard was leaning against the doorway, amused. He uncrossed his arms briefly to make a saluting gesture, "Yes, sir!")
You or Someone Like You. Copyright © by Chandler Burr. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.\