Since quitting work to look after his eight-year-old daughter, Alexa, Thomas Bradshaw has found solace and grace in his daily piano study. His pursuit of a more artistic way of life shocks and irritates his parents and in-laws. Why has he swapped roles with Tonie Swann, his intense, intellectual wife, who has accepted a demanding full-time job? How can this be good for Alexa?
Tonie is increasingly seduced away from domestic life by the harder, headier world of work, where long-forgotten memories of ambition are awakened. She soon finds herself outside their tight family circle, alive to previously unimaginable possibilities. Over the course of a year full of crisis and revelation, we follow the fortunes of Tonie, Thomas, and his brothers and their families: Howard, the successful, indulgent brother, and his gregarious wife, Claudia; and Leo, lacking in confidence and propped up by Susie, his sharp-tongued, heavy-drinking wife. At the head of the family, the aging Bradshaw parents descend on their children to question and undermine them.
The Bradshaw Variations reveals how our choices, our loves, and the family life we build will always be an echo—a variation—of a theme played out in our own childhood. This masterful and often shockingly funny novel, Rachel Cusk’s seventh, shows a prizewinning writer at the height of her powers.
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Rachel Cusk was born in 1967. She is the author of the memoirs A Life’s Work: On Becoming a Mother and The Last Supper: A Summer in Italy, and of six novels: Saving Agnes, which won the Whitbread First Novel Award; The Temporary; The Country Life, which won a Somerset Maugham Award; The Lucky Ones, which was shortlisted for the Whitbread Novel Award; In the Fold; and Arlington Park, which was shortlisted for the Orange Broadband Prize for Fiction. In 2003, Cusk was chosen as one of Granta’s Best of Young British Novelists. She lives in Brighton, England.
Cusk's searing, incisive novels have earned comparisons to Virginia Woolf's for their astute recreations of women's inner lives as they collide with society's expectations. Unfortunately, most critics concluded that Cusk's seventh novel does not live up to the sum of its parts. Despite vivid characters, crisp prose, and sharp psychological insights, the plot lacks tension, while subplots and minor characters drop from the narrative without explanation, and the Bradshaws seem strangely unconvincing. "Really," argues the Boston Globe, "how deeply can we care about a family whose defining characteristic is a lack of warmth toward one another?" Despite these shortcomings, Cusk's fans may pick up The Bradshaw Variations for her eloquence and wry humor. Others may wish to steer clear of her latest.
The Bradshaw family of suburban London is discontent. Thomas Bradshaw has taken a sabbatical from his job to learn to play the piano; his wife, Tonie, has become head of a university English department; their eight-year-old daughter, Alexa, watches as father and mother begin to suffocate under the failure of their expectations. The Bradshaws' brothers, sisters, parents, and in-laws, though sometimes faintly amusing, are no better off. Sister-in-law Claudia, a painter, never paints, blaming her nonproductivity on husband Howard, Thomas's older brother. Little brother Leo and his uneducated wife, Susie, drink too much—public knowledge because their children tattle on them—and the older generation of parents disapproves of them all. Cusk (Arlington Park) dissects her characters with a surgical precision, and all can be diagnosed with the same bourgeois malady: acute but indeterminate angst about the nature of existence. Cusk is a gifted writer who has a knack for razor-sharp characterizations, but the lack of plot—everyone is sad, little is done—is a serious detriment. (Apr.)
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Cusk’s novel revolves around three middle-class English brothers and their families. Howard, the eldest brother, is a successful entrepreneur whose impulsive lifestyle and long work hours are straining his marriage. Leo, the youngest, is the black sheep of the family and struggles to keep his head above water with his alcoholic wife. Thomas, the middle brother—whose narrative carries most of the story—has left his job to take care of his young daughter while his wife is promoted to the head of the English department at the local university. Outside of their traditional roles, both husband and wife grapple with the implications of their decisions and confront obstacles that will change their relationships with each other and perception of themselves. Like Franzen’s The Corrections (2001), Cusk’s narrative captures the emotional life of its characters, complete with downfalls and compromises. While the chapters move swiftly, Cusk takes time to pause over and unravel intimate moments and uncover the illogical paths of human relationships. --Heather Paulson
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