The New York Observer (www.observer.com/node/37898)
SatiristÕs Keen Talent Targets
Motherhood Gone Badly Wrong
MotherÕs
Milk, by Edward St. Aubyn. Open City Books, 240 pages, $23.
PUBLISHED: NOVEMBER 13, 2005
TAGS: ARTS & CULTURE, EDWARD ST. AUBYN, HARPERCOLLINS PUBLISHERS INC.,
LONDON HEATHROW AIRPORT, PATRICK MELROSE
THIS ARTICLE WAS PUBLISHED IN THE
NOVEMBER 13, 2005, EDITION OF THE NEW
YORK OBSERVER.
About a
year ago, in a diner on eastern Long Island, I experienced one of those
moments—to which writers seem especially prone—of rapt, unseemly
over-interest in the people at the next table. Beautifully dressed for leisure,
sleek and thin as whippets, the young, medicated-seeming mother and her
slightly older husband were the sort of parents who transformed each moment
with the tiny son into a unique and golden educational opportunity. As the father
lectured his squirming child on the proper etiquette required to order a
cheeseburger and chat up the waitress, his pedagogical technique had an
unmistakable edge of the punitive and mocking. What made this chilling family
scene even more compelling was my vague, unsettling sense that IÕd met them all
somewhere before.
My
husband stole a long, sidelong glance at our neighbors. No, he said, we didnÕt
know them. But they were, he pointed out, the real-life counterparts of the
main characters in Edward St. AubynÕs extraordinary trilogy, Some
Hope (2003), which
weÕd both finished a few months before, and which weÕd spent the intervening
time persuading our friends to read.
One
hallmark of first-rate fiction is that it reveals the world as being populated
by its characters. Something similar occurs with Mr. St. AubynÕs marvelous new
novel, MotherÕs Milk, though this time what you keep noticing are not the withholding,
sadistic fathers, but rather the besotted mothers whose passion for their
children is so intense that it verges on the adulterous, forcing their
cuckolded husbands to watch and suffer in approving paternal silence.
At the
center of the novel is Patrick Melrose, the hero of Some Hope, which itÕs helpful but by no means
necessary to have read in advance of this book. Some Hope begins in the South of France,
where the Melrose family lives, and where PatrickÕs father, David, is first
seen methodically drowning a colony of ants and calculating precisely how long
he must talk to the maid before her arms start to ache painfully from the load
of laundry sheÕs carrying. As it turns out, DavidÕs barbarous cruelty extends
well beyond the insect kingdom and the lower classes. He brutally molests his
young son, torments his wife, and serves his guests a heady recipe of charm and
humiliation.
ItÕs hard
to imagine a bleaker domestic landscape, but what makes the trilogy so
extraordinary and pleasurable to read is how beautifully Mr. St. Aubyn writes,
his acidic humor, his stiletto-sharp observational skills, and his ability to
alchemize these gifts into one quotable, Oscar Wildean bon mot after another.
And what makes the book so moving, as a writer friend of mine said, is that you
feel that its hero is trying at every moment, and with every cell of his being,
not to turn into the asshole that heÕs been programmed from birth to become.
That
struggle is ongoing throughout MotherÕs Milk, in which we catch up with Patrick some years
after his marriage to the thoughtful and understandably disaffected Mary. HeÕs
the father of two sons, and his slowly dying mother, Eleanor, has decided to
leave his childhood home in Provence to a sleazy guru named Seamus and his
sketchy New Age foundation. The book abounds in visions of motherhood gone
hideously wrong, either through monumental self-interest (the sheer awfulness
of MaryÕs mother, Kettle, makes Eleanor seem almost beneficent) or through the
sort of quasi-erotic attachment that makes Patrick feel progressively more
alienated from that cozy trio composed of his wife and their two beautifully
drawn little boys.
No
contemporary writer writes more knowingly or eloquently from the point of view
of the child who is smarter and more observant than the adults around him might
wish to imagine. MotherÕs Milk starts, nervily, with what I suppose is called
a Òbirth memoryÓ—in this case, that of Robert, PatrickÕs older son,
recalling his first experience of wrenching separation from his mother. The
novel follows the family as the parentsÕ marriage unravels, as Patrick
initiates a love affair with a witty and unhappy former girlfriend, and as he
flirts with the sort of substance abuse that turned Bad News (the middle novel in Some
Hope) into a
dispatch from the private hell of a damned soul who simply couldnÕt get high
enough to lower the frequency of his own acute, self-lacerating awareness.
Near the
end of MotherÕs Milk, the Melrose family decides to cope with their exile from PatrickÕs
childhood paradise by taking a salutary, restorative trip to the United States.
By now, the reader can pretty much predict how well this neat solution will
work out, just as we can expect the vacation to provide Mr. St. Aubyn with yet
another chance to display his gift for making us recognize a volley of
hilariously barbed and enraged perceptions as the flailings of a character
struggling not to drown in a sea of despair. Here, to take one example, are the
anxious young RobertÕs musings on the Òhysterical softnessÓ of his fellow
passengers boarding the flight from Heathrow to New York, strangers displaying
Òa special kind of tender American obesity; not the hard won fat of a gourmet,
or the juggernaut body of a truck driver, but the apprehensive fat of people
who have decided to become their own airbag-systems in a dangerous world. What
if their bus was hijacked by a psychopath who hadnÕt brought any peanuts?
Better have some now. If there was going to be a terrorist incident, why go
hungry on top of everything else?
ÒEventually,
the Airbags dented themselves into their seats. Robert had never seen such
vague faces, mere sketches on the immensity of their bodies. Even the fatherÕs
relatively protuberant features looked like the remnants of a melted candle.Ó
IÕve
always hated the expression ÒwriterÕs writer,Ó with its implication of an
audience even smaller and more narrowly limited than that of the Òcult writer.Ó
But Edward St. Aubyn allows the phrase its best possible interpretation. HeÕs
the kind of writer who makes you notice the terrifying family at the next
table, and who makes you want to write.
Francine
ProseÕs most recent novel is A Changed Man (HarperCollins).