A fully realized portrait of one woman's life in all its complexity, by the National Book Award-winning author
An ordinary life--its sharp pains and unexpected joys, its bursts of clarity and moments of confusion--lived by an ordinary woman: this is the subject of Someone, Alice McDermott's extraordinary return, seven years after the publication of After This. Scattered recollections--of childhood, adolescence, motherhood, old age--come together in this transformative narrative, stitched into a vibrant whole by McDermott's deft, lyrical voice.
Our first glimpse of Marie is as a child: a girl in glasses waiting on a Brooklyn stoop for her beloved father to come home from work. A seemingly innocuous encounter with a young woman named Pegeen sets the bittersweet tone of this remarkable novel. Pegeen describes herself as an "amadan," a fool; indeed, soon after her chat with Marie, Pegeen tumbles down her own basement stairs. The magic of McDermott's novel lies in how it reveals us all as fools for this or that, in one way or another.
Marie's first heartbreak and her eventual marriage; her brother's brief stint as a Catholic priest, subsequent loss of faith, and eventual breakdown; the Second World War; her parents' deaths; the births and lives of Marie's children; the changing world of her Irish-American enclave in Brooklyn--McDermott sketches all of it with sympathy and insight. This is a novel that speaks of life as it is daily lived; a crowning achievement by one of the finest American writers at work today.
A Publishers Weekly Best Fiction Book of the Year
A Kirkus Reviews Best Fiction Book of 2013
A New York Times Notable Book of 2013
A Washington Post Notable Fiction Book of 2013
An NPR Best Book of 2013
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Alice McDermott is the author of six previous novels, including After This; Child of My Heart; Charming Billy, winner of the 1998 National Book Award; and At Weddings and Wakes, all published by FSG. That Night, At Weddings and Wakes, and After This were all finalists for the Pulitzer Prize. McDermott lives with her family outside Washington, D.C.Excerpt. © Reprinted by permission. All rights reserved.:
Pegeen Chehab walked up from the subway in the evening light. Her good spring coat was powder blue; her shoes were black and covered the insteps of her long feet. Her hat was beige with something dark along the crown, a brown feather or two. There was a certain asymmetry to her shoulders. She had a loping, hunchbacked walk. She had, always, a bit of black hair along her cheek, straggling to her shoulder, her bun coming undone. She carried her purse in the lightest clasp of her fingers, down along the side of her leg, which made her seem listless and weary even as she covered the distance quickly enough, the gray sidewalk from subway to parlor floor and basement of the house next door.
I was on the stoop of my own house, waiting for my father. Pegeen paused to say hello.
She was not a pretty girl particularly; there was a narrowness to her eyes and a wideness to her jaw, crooked teeth, wild eyebrows, and a faint mustache. She had her Syrian father’s thick dark hair, but also the permanent scattered flush, just under the fair skin, of her Irish mother’s broad cheeks. She had a job in lower Manhattan in this, her first year out of Manual Training, and, she said, she didn’t like the people there. She didn’t like a single one of them. She ran a bare hand along the stone balustrade above my head. The other, which lightly held the strap of her purse, wore a dove-gray glove. She’d lost its partner somewhere, she said. And laughed with her crooked teeth. Fourth pair this month, she said.
And left the library book she was reading on the subway yesterday.
And look, tore her stocking on something.
She lifted her black shoe to the step where I sat and pulled back the long coat and the skirt. I saw the laddered run, the flesh of Pegeen’s thin and dark-haired calf pressing through between each rung. The nail of the finger Pegeen ran over its length was bitten down to nothing, but the movement of her hand along the tear was gentle and conciliatory. A kind of sympathy for her own flesh, which I imitated, brushing my own hand along the unbroken silk of Pegeen’s stocking, and then over the torn threads of the run.
“Amadan,” Pegeen said. “That’s me. That’s what I am.”
She pulled the leg away. The skirt and the blue coat fell into place again. Across the back hem and up the left side of Pegeen’s good spring coat there was a long smudge of soot that I impulsively reached out to brush away. “You’ve got some dirt,” I said.
Pegeen turned, twisted her chin around, arm and elbow raised, trying to see what she couldn’t see because it was behind her. “Where?” she said.
“Here.” I batted at the dirt until Pegeen threw back her head in elaborate frustration, pulling the coat forward, winding it around her like a cloak. “I’ll be happy,” she said, slapping at her hip, “to stop going to that filthy place.” Meaning lower Manhattan, where she worked.
She paused, put her nose to the air in mock confidence. “I’ll get a boyfriend,” she said. She batted her eyelashes and drew out a sly smile. They were great kidders, the Chehabs, and no boyfriends, it seemed, had yet called for Pegeen. “I’ll get myself married,” she said, and then licked all at once the four tall fingers of the gloveless hand and swatted them against the dirty cloth.
“Amadan,” she said again. Which, she explained, was her mother’s word for fool.
And then she released the skirt of her long coat and, dipping her shoulders, shook herself back into it again. She reminded me of a bird taking a sand bath. “I fell down,” she announced. She said it in the same fond and impatient tone she had used to describe the lost glove, the forgotten library book. “On the subway.” It was the tone a mother might use, speaking about a favorite, unruly child.
Pegeen blew some exasperated air through her pooched-out lower lip. “I don’t know what the blazes makes me fall,” she said impatiently. “I do it all the time.” She suddenly squinted and the flush just under her downy skin rose to a deep maroon. She lowered her face to mine. “Don’t you dare tell my mother,” she said.
I was seven years old. I spoke mostly to my parents. To my brother. To my teachers when I had to. I gave some whispered response to Father Quinn or to Mr. Lee at the candy store when my mother poked me in the ribs. I could not imagine having a conversation with Mrs. Chehab, who was red-haired and very tall. Still, I promised. I would say nothing.
Pegeen shook herself again, standing back and lifting her shoulders inside the pale blue coat. “But there’s always someone nice,” she said, her voice suddenly gone singsong. “Someone always helps me up.” She struck another pose, coy and haughty, as before, her chin in the air. She touched the feather in her hat. “Today a very handsome man gave me his hand. He asked if I was all right. A real Prince Charming.” She smiled again and looked around. Just a few doors down, the older boys were playing stickball in the street. There was a knot of younger ones on the curb, watching. Bill Corrigan was in his chair on the sidewalk just behind them.
Pegeen leaned forward once more. “Tomorrow,” she said breathlessly, whispering now, “I’m going to look for him again. If I see him, I’m going to get real close.” She leaned down, her hand on the banister above my head. “I’m going to pretend to fall, see? Right next to him. And he’ll catch me and say, ‘Is it you again?’”
All human eyes are beautiful, but Pegeen’s were very black and heavily lashed and gorgeous now, with the sparkle of her joke, or her plan, or, perhaps, her vision of some impossible future.
She straightened up. “We’ll see what happens then,” she said, sly and confident, her thick eyebrows raised. She swung her purse slowly, turned to move on. “That will be something to see,” she said.
At her own house, Pegeen didn’t use the basement door, as usual. She climbed the stone steps, taking them one at a time, like a small child. At the top, she paused again to swat at the back of her coat, only touching the dirt with her wrist. It was early evening. Spring. I could see Pegeen’s reflection in the oval glass of the outer door—or at least the blue heart of the reflection, which was both the reflection of her good spring coat and the evening light on her flushed face. Pegeen pulled open the door and the thin image in the glass shuddered like a flame.
I turned back to the vigil I was keeping on the stone steps. Vigil for my father, who had not yet come up from the subway.
From the far corner, the neighborhood’s men and working women were coming home. Everyone wore hats. Everyone wore trim dark shoes, which was where my eyes fell when any of them said, “Hello, Marie,” passing by.
At seven, I was a shy child, and comical-looking, with a round flat face and black slits for eyes, thick glasses, black bangs, a straight and serious mouth—a little girl cartoon.
With my heart pinned to my father’s sleeve in those days.
The boys were playing stickball down the street. Always at this time of day. Some of them friends of Gabe, my brother, although he, young scholar, remained inside at his books. The younger boys were lined at the curb, watching the game, Walter Hartnett among them. He had his cap turned backward and the leg with the built-up shoe extended before him. Blind Bill Corrigan, who had been gassed in the war, was on the sidewalk just behind Walter, sitting in the painted kitchen chair that his mother set out for him every morning when the weather was fine.
Bill Corrigan wore a business suit and polished shoes, and although there was a glitch in the skin around his eyes, a scarred shine in the satiny folds of his eyelids, although he was brought to the kitchen chair every afternoon when the weather was fine by his mother, whose arm he held the way a bride holds the arm of a groom, it was to him that the boys in the street appealed whenever a dropped ball or an untimely tag sent both teams, howling and cawing, to his side of the street. They were there now: shouting into one another’s face, throwing their caps on the ground, and begging Bill Corrigan to make the call. He raised one of his big, pale hands, and suddenly half the boys spun around, the other half cheered. Walter Hartnett rocked backward in despair, raising his good foot into the air.
I pushed my glasses back on my nose. Small city birds the color of ashes rose and fell along the rooftops. In the fading evening light, the stoop beneath my thighs, as warm as breath when I first sat down, now exhaled a shallow chill. Mr. Chehab walked by with a brown bag from the bakery in his hand. He had his white apron balled up beneath his arm, the ties trailing. There was the scent of new-baked bread as he passed. Big Lucy, a girl I feared, pushed a scooter along the opposite sidewalk. Two Sisters of Charity from the convent down the street passed by, smiling from inside their bonnets. I turned my head to watch their backs, wondering always why their long hems never caught at their heels. At the end of the block, the Sisters paused to greet a heavy woman with thick, pale legs and a dark apron under her coat. She said something to them that made them nod. Then the three turned the corner together. The game paused again, and the boys parted reluctantly as a black car drove by.
I shivered and waited, little Marie. Sole survivor, now, of that street scene. Waited for the first sighting of my father, coming up from the subway in his hat and coat, most beloved among all those ghosts.
* * *
Once, I stepped up to the glass case in the delicatessen in Rego Park, ready to call out my order. I was pregnant with my first child, hungry, a little light-headed. In a few months’ time, I would be at death’s door, last rites and all—my mother swinging her purse at the head of the priest who came to deliver them—but on this day there was only a sudden rupture behind my eyes. I fell without knowing I fell, like a sack of potatoes. And then I was faceup on the wooden floor. My legs were turned beneath me. There was an ache along the fleshy edge of my palm. Faces above me. More pain dawning, in my ankle, at the back of my skull. There was tuna salad on my hand and on my elbow and on the edge of my spring coat, where I had caught somebody’s order going down. I saw only the aproned bosom of the owner’s wife as I was lifted and led to a chair in the back room. There was sawdust on the floor and brown towers of damp cardboard boxes along one wall. A strong smell of salami. They sat me down in a metal folding chair that was the same color as the cardboard boxes, before a flimsy card table scored with tape. There was the slow reconstruction of what had happened. A policeman appeared, offered a trip to the emergency room, although the consensus among the other women crowded into the narrow doorway was that the slow sipping from a warm bottle of Coke would revive me. Which it did. And then the roast beef on rye I had been about to order, which the owner’s German wife watched me eat in the crowded back room—the meat piled thickly and as tender as butter—until the women were satisfied enough to declare, No harm done. The owner’s wife gave me a container of chicken soup and a quart of rice pudding to take home. She was a broad, solid woman with thick arms and legs. She swiped vigorously at the stain on my coat with a wad of dampened paper towel, and I remembered Pegeen then: There’s always someone nice.
* * *
My father appeared at the corner. Paused for his evening paper. Topcoat and hat to mark him as a clerk, not a laborer. I only raised my head above my knees when I saw him—although surely something, some sinewy energy, some delight, tensed and trembled itself through my thin back and shoulders as I gazed down the sloping street. The boys playing stickball parted once again for a passing car: it was the ebb and flow of their game. I turned away from them, raised a hand to the balustrade to get ready to spring. My father was a thin, slight man in a long coat. His step was quick and jaunty. He, too, wore shoes with a high shine.
I waited until he was halfway toward home. And then I flew, across the sidewalk and into the air as he lifted me—the newspaper held tightly under his arm the only impediment, it seemed, to an ascent that I saw in my own imagination as equivalent, somehow, to the caps the boys had thrown into the air when Bill Corrigan made his call. I would not have been surprised to hear them cheer.
My father smelled, always, of fresh newsprint and cigarettes, of the alcohol in his faded cologne. I caught my chin on his buttons as he lowered me to the ground. A brief, painful scrape that upset my glasses and made my eyes water. I walked the last few paces home balanced on his shoes. We climbed the steps together and into the fragrant vestibule—fragrant with the onion odor of cooked dinners and the brownstone scent of old wood—and up the narrow stairs and into the apartment, where my mother was in the kitchen and my brother at the dining-room table with his books.
The apartment we lived in was long and narrow, with windows in the front and in the back. The back caught the morning light and the front the slow, orange hours of the afternoon and evening. Even at this cool hour in late spring, it was a dusty, city light. It fell on paint-polished window seats and pink carpet roses. It stamped the looming plaster walls with shadowed crossbars, long rectangles; it fit itself through the bedroom door, crossed the living room, climbed the sturdy legs of the formidable dining-room chairs, and was laid out now on the dining-room table where the cloth—starched linen expertly decorated with my mother’s meticulous cross-stitch—had been carefully folded back along the whole length so that Gabe could place his school blotter and his books on the smooth wood.
It was the first light my poor eyes ever knew. Recalling it, I sometimes wonder if all the faith and all the fancy, all the fear, the speculation, all the wild imaginings that go into the study of heaven and hell, don’t shortchange, after all, that other, earlier uncertainty: the darkness before the slow coming to awareness of the first light.
* * *
I followed my father to the narrow closet and held the newspaper for him while he hung up his overcoat and placed his hat on the shelf. He went to the couch in the living room and I went with him, fitting myself into his side, leaning heavily against his arm—“like a barnacle,” he said—as he read the evening paper.
The slipcover, also my mother’s handiwork, was a paradise of hummingbirds and vines and deep-throated flowers, the colors, if not the images, subdued by the thick brocade. Sinking into my father’s side, slipping under his arm as he patiently lifted the open paper to accommodate me, I entered that paradise via my tracing fingertip and squinted eyes, until he said, “Marie,” patiently, and asked me to sit up a bit.
He kept a long key chain attached to his belt, and perhaps to keep my bony weight from putting his arm to sleep, he pulled the keys at the end of it out of his pocket and placed them in my hands. There were two keys, small but heavy, and the metal disks with his embossed name and number from his time in the army, as well as a small St. Joseph medal tinged with green. I turned them over as he read, traced them with my fingers, tested the weight and the jingle of them. I wondered if Bill Corrigan, who had been gassed in the war, carried something of the same in his pocket.
When my mother called to me to get up and set the table, my father put his hand to the top of my head.
* * *
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Book Description Farrar, Straus and Giroux, 2013. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Praise for Someone : "'Ordinary' is a word that's used a lot to describe McDermott's characters, mostly Irish and working class, mostly un-heroic in any splashy way. McDermott's heroine is named Marie and in Someone , we readers hear, in a fragmented way, about the marathon span of her life . . . yet in McDermott's unsentimental rendering, Marie's ordinary life becomes one for the record books. That's the spectacular power of McDermott's writing: Without ever putting on literary airs, she reveals to us what''s distinct about characters who don't have the ego or eloquence to make a case for themselves as being anything special . . . [McDermott is] a master of silence and gesture." Maureen Corrigan, NPR "In this deceptively simple tour de force, McDermott . . . lays bare the keenly observed life of Marie Commeford, an ordinary woman whose compromised eyesight makes her both figuratively and literally unable to see the world for what it is . . . We come to feel for this unremarkable woman, whose vulnerability makes her all the more winningand makes her worthy of our attention. And that's why McDermott, a three-time Pulitzer nominee, is such an exceptional writer: in her hands, an uncomplicated life becomes singularly fascinating, revealing the heart of a woman whose defeats make us ache and whose triumphs we cheer. Marie's vision (and ours) eventually clears, and she comes to understand that what she so often failed to see lay right in front of her eyes." Publishers Weekly (starred) "One of the author's most trenchant explorations into the heart and soul of the 20th-century Irish-American family . . . Marie's straightforward narration is interrupted with occasional jumps back and forward in time that create both a sense of foreboding and continuity as well as a mediation on the nature of sorrow . . . Marie and Gabe are compelling in their basic goodness, as is McDermott's elegy to a vanished world." Kirkus "Readers who love refined, unhurried, emotionally fluent fiction will rejoice at National Book Awardwinner McDermott's return. McDermott . . . is a master of hidden intensities, intricate textures, spiked dialogue, and sparkling wit. We first meet Marie at age seven, when she's sitting on the stoop in her tight-knit, Irish-Catholic Brooklyn neighborhood, waiting for her father to come home from work. Down the street, boys play stickball, consulting with dapper Billy, their blind umpire, an injured WWI vet. Tragedies and scandals surge through the enclave, providing rough initiations into sex and death . . . A marvel of subtle modulations, McDermott's keenly observed, fluently humane, quietly enthralling novel of conformity and selfhood, of 'lace-curtain pretensions' as shield and camouflage, celebrates family, community, and 'the grace of a shared past.'" Donna Seaman, Booklist (starred) Praise for Child of My Heart "There is the temptation, after reading Alice McDermott, to read nothing else for the longest timeto hold every exquisite word of her most exquisite novels in your head . . . That she exercises patience, compassion and wisdom where others emphasize strut, that she trusts herself with the power of scenes over the inflated intricacies of complicated plot. There is the temptation to use the word 'genius' in association with McDermott's name." Beth Kephart, The Baltimore Sun "[A] wondrous new novel . . . Child of My Heart extends [McDermott's] artistic triumphs, and we should rejoyce." Los Angeles Times Book Review "A master . . . As good as any literary novelist writing today, and when I say that I include the big guns: Russell Banks, Philip Roth, Toni Morrison . . . All [McDermott''s] books mirror the essential truths of existence so sure-handedly that they are neither comedies nor tragedies, but merely true." Anna Quindlen "Has something classic about it . . . [Its] craftsmanship and its moral intelligence are as one . . . Immaculate." The New. Bookseller Inventory # ABE_book_new_0374281092
Book Description FSG. 1 Cloth(s), 2013. hard. Book Condition: New. (Nominated for the 2013 National Book Award, a finalist for the National Book Critics Circle Award, and a New York Times Notable Book of the Year) The author of the National Book Award and American Book Award winner Charming Billy as well as three Pulitzer Prize finalists—That Night, At Weddings and Wakes, and After This—Alice McDermott here gives us a portrait of a seemingly ordinary yet unforgettable woman. We first glimpse Marie Commeford as a child—a girl of seven from Irish stock, observing her pre-Depression world through comically thick glasses, sitting on a Brooklyn stoop. Through her first heartbreak and her marriage, her career as a funeral director's "consoling angel," her brother's brief stint as a Catholic priest and his emotional breakdown, the deaths of her parents and the births of her children, we follow Marie through the rapidly changing 20th century."Here, in the most deceptively ordinary language, she evokes both the world of light and that of darkness. [The book] has something of the quality of a slide show . each slide, each scene, from the ostensibly inconsequential to the clearly momentous, is illuminated with equal care. The effect on the reader is of sitting alongside the narrator, sharing the task of sifting the salvaged fragments of her life, watching her puzzle over, rearrange and reconsider them—and at last, but without any particular urgency or certitude, tilting herself in the direction of finally discerning their significance. This is a quiet business, but it's the sense-making we all engage in, the narrative work that allows us to construct a coherent framework for our everyday existence. It's also a serious business, the essential work of an examined life. McDermott's excellence is on ample display here."—NYTBR 232. Bookseller Inventory # 62651
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