Feast Days
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- USD 15.99
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- USD 15.99
Descripción editorial
A taut, powerful and profound novel about a young woman who follows her husband to Sao Paulo
So. We were Americans abroad. We weren’t the doomed travellers in a Paul Bowles novel, and we weren’t the idealists or the malarial, religion-damaged burnouts in something by Greene; but we were people far from home nevertheless. Our naivety didn’t have political consequences. We had G.P.S. in our smartphones. I don’t think we were alcoholics. Our passports were in the same drawer as our collection of international adapters, none of which seemed to fit in Brazilian wall sockets. My husband was in the chrysalis stage of becoming a rich man, and idealism was never my vice.
I was ancillary – a word that comes from the Latin for ‘having the status of a female slave’. That’s the sort of thing I know, and it tells you something about how I misspent my education. The term among expats for people like me was ‘trailing spouse’ . . .
PUBLISHERS WEEKLY
No one could accuse the heroine of MacKenzie's second novel (after City of Strangers) of leading an unexamined life, and the wit with which she conducts that examination elevates this brilliant work. Emma her name evokes Flaubert's restless housewife is a "trailing spouse" accompanying her investment banker husband to S o Paulo, "a city that reminded you of what Americans used to think the future would look like gleaming and decrepit at once." Possessing a degree in cultural anthropology and dead languages, she interrogates her position in this unfamiliar, stratified society: "There were aspects of the world that, because of my husband, I had the luxury of not paying attention to." Emma gives English lessons, lunches with affluent wives, flirts with adultery, and muses on time as a "confusion of folds," seeing Brazil, her marriage, and language as palimpsests bearing signs of the past, the present, and the future. Her observations are satirical, incisive, and often melancholy. As street protests calling for political change intensify, so too do Emma's anxiousness and aimless desires, beset as she is by an "affliction of vagueness." There is no cataclysm but rather a pervasive sense of unrest, both large and small scale, social and personal, conveyed in MacKenzie's unruffled, discerning prose. With it, MacKenzie has captured one of the most memorable narrative voices in recent fiction.
