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Synopsis: When the famous Dutch painting "Jewess on a Street in Amsterdam" arrives at a museum in Halifax, a disturbed young woman abandons her life in favor of the one she imagines for the painting's subject--even as being a Jew in Amsterdam becomes more perilous as the clouds of World War II gather in Europe.
Review: On September 5, 1938, DeFoe Russet helps hang a new show at a tiny Nova Scotia museum. He doesn't even pay much attention to the eight new paintings from Holland; he'll have time enough to take them in later on. After all, the buttoned-down 25-year-old is one of two people at Halifax's Glace Museum paid to watch out for the art, to stop people from getting too close to it. But DeFoe also knows that "as a guard you had emotions. You got to know paintings better than you got to know the people in your life. Speaking for myself."
The other guard--and the man who raised him after his parents died in a zeppelin crash when he was 9--is his Uncle Edward. Edward is certainly not the steadiest fellow employee or familial influence. He devotes his nights to drinking, poker, and charming women at the Lord Nelson, the hotel where both men live, and his days to hangovers, somnolence, and generally harassing museumgoers. DeFoe, at least, is a model employee. Yet his personal life cannot be quite so regulated, and for the last two years he has been frustrated in his relationship with a caretaker at the local Jewish cemetery. He seems to expend most of his energy anticipating Imogen Linny's moods, assessing the power of her headaches, and banging his head against her nocturnal mixed messages and philosophizing. As the novel progresses, Imogen also grows increasingly obsessed with one of the newly arrived paintings, Jewess on a Street in Amsterdam.
Soon, DeFoe puts his career in jeopardy for Imogen, stealing the picture for her--though this is only one of the mysteries at the heart of Howard Norman's strange and startling third novel, The Museum Guard. Through DeFoe's eyes, we, too, begin to understand the allure of the painting, in which a woman pushes a bicycle and holds a loaf of bread, the shop window behind her filled with toothbrushes. "The toothbrushes made me laugh. They quickly put me in a good mood," he recounts. "But then I looked close up at the Jewess's face; I was sunk from that mood in a second. Because it struck me as a face of desperate sadness. Those are my own words. I stood as close to the painting as I could without touching it. Me--a guard. I reached out then and touched the woman's face. And I did not flinch back my hand or warn myself."
Howard Norman's protagonist would probably be able to pull himself back; this is a man who calms himself down by ironing endless white shirts. And he fully intends to keep the same job for the next 30 years. But those around him lack his instinct for order and seem to be pushing him toward the grand, self-destructive gesture. News of Hitler's advances on Europe also make him realize "how small Halifax had become." Imogen, too, feels her life a confinement, but her reaction is more extreme. She literally wills herself to become the woman in the painting. In one bizarre scene--and Norman has a knack for turning the extreme into the everyday--DeFoe finds her filling in for the usual museum guide. Speaking in an unconvincing Dutch accent and dressed as the Jewess, Imogen tells a group of increasingly puzzled women her version of events. "While he painted me, we fell in love. Just weeks before, with my parents' death, I had become estranged from my very soul. My marriage to Joop Heijman helped me to reconcile. And now you know my deepest secrets." Edward's assessment is as wry as ever, and spot-on: "Life in Halifax used to be so simple, didn't it, DeFoe?"
As Imogen's identification grows, she is resolved to go to Amsterdam and "reunite" with the painter. Howard Norman writes with such persuasive oddity that it's no surprise when those closely allied to the Glace Museum find themselves moving this futile, intrusive, and dangerous plan along. The Museum Guard is an unsettling examination of a group of people (with very odd names) who let themselves get too close to art--and perhaps to life. --Kerry Fried
Title: Museum Guard
Publisher: Farrar Straus Giroux
Publication Date: 1998
Book Condition: Used: Good
Book Description Farrar Straus Giroux, 1998. Book Condition: Very Good. 1st. Former Library book. Great condition for a used book! Minimal wear. Bookseller Inventory # GRP80110831
Book Description Farrar Straus Giroux, 1998. Book Condition: Very Good. 1st. Great condition for a used book! Minimal wear. Bookseller Inventory # GRP95917219
Book Description Farrar Straus Giroux. Hardcover. Book Condition: GOOD. Gently used may contain ex-library markings, possibly has some light highlighting, textual notations, and or underlining. Text is still easily readable. Bookseller Inventory # 2748708232
Book Description Hardcover. Book Condition: Good. This item is in good condition. All pages and covers are readable. There are no stains or tears. Dust jacket is present if applicable. May contain small amounts of writing and/or highlighting. Spine and cover may show signs of wear. May not contain supplementary items such as CD's or DVD's. We ship within 1 business day. Bookseller Inventory # 34FA2M000TEA
Book Description Farrar Straus Giroux. Book Condition: Very Good. . Very Good dust jacket. Bookseller Inventory # E10A-00352
Book Description Farrar Straus Giroux. Book Condition: As New. Like New dust jacket. Bookseller Inventory # D09A-00748
Book Description Farrar Straus Giroux, 1998. Hardcover. Book Condition: Fine. Dust Jacket Condition: Fine. Interior clean and bright with tight binding. Nice dust jacket, no tears or chips. Bookseller Inventory # 1707210133
Book Description Book Condition: Acceptable. No Highlighting, Some visible signs of use to cover and pages. Photo is a catalog stock image so cover may be different, accessories like attached toys, cds, dvds, cassettes may not be present. We ship the same or next business day and provide a tracking number with tracking info. Bookseller Inventory # 48DG3C0001WZ
Book Description Farrar Straus Giroux. Hardcover. Book Condition: VERY GOOD. Very Good copy, cover and pages show some wear from reading and storage. Binding may have light creases. Lots of life left in these pages. Bookseller Inventory # 2792886052
Book Description Farrar Straus Giroux, 1998. Book Condition: VERY GOOD. little to no wear, pages are clean. The cover and binding are crisp with next no creases. Bookseller Inventory # 2792921848