I was another person back then," people are apt to say when explaining past deeds or ideologies. It is interesting to explore this idea of who we are and how we are ever changing, sometimes radically, over time. Through the course of our lives we have many roles, we often feel or seem like very different people than we once were. But there is a constant, an essence of who we truly are. Gabrielle Zevin, in her amazing debut novel MARGARETTOWN, explores this theme from three different angles --- by looking at how one man understands the woman he loves, how that woman understands her emotionally fractured self, and how their daughter will use the story of her parents, especially her mother, in her own life.
When N. meets Maggie Towne, he is a graduate student teaching assistant and she is a mysterious undergrad. N. is both frustrated and entranced with Maggie and will continue to feel that way the rest of his life. Their relationship moves fast and soon N. is on his way to upstate New York to visit Margaret's family in a town called Margarettown. There, instead of her parents, he meets Margaret's "family," the women who occupy her life. Old Margaret, Marge, Mia and May all live together in a house called Margaron. There is one other, Greta, who went crazy and killed herself. Still, Greta's ghost, her presence, is strong in the house. N. comes to realize that all these women are Maggie, or better said, Maggie is all these women. May is the carefree child she was, Mia the pouty and artistic teenager. Marge is the disappointed middle-aged woman she may become and Old Margaret the peaceful, reflective old woman. Greta is the dark side of Maggie, her fragile self barely under the surface.
How is N. to navigate a life with Maggie when she is ever changing and unpredictable? Can he love the bitter Marge and the damaged Greta? In examining these questions N. examines the nature of partnership and unconditional love. He examines his own successes and failures with Maggie and tries to understand fully the complex woman he is in love with.
Here the reader understands that Zevin is writing broadly about the complexity of all women and the challenges of all loves.
N. is not merely recalling his life with Maggie, reminiscing about the past and their love. He is dying and Maggie is already dead, and he is compelled to share the story with their daughter, Jane. For Jane, this story --- the story of N., Maggie and Margarettown --- will become the story, full of contradictions and metaphors, of her family and the mythology of the mother she grew up without. For Jane, N. tries to capture the elusive nature of Maggie and the magic of their love.
Zevin's prose is lyrical, funny, simple, elegant and bittersweet. The plot is interesting, original and magical, although verging on being overly contrived at moments. N.'s tale is part truth and part fairy tale, and he admittedly bends or reinterprets the truth as he writes for Jane (N.'s sister Bess, while demonstrating Zevin's point about the evolution of a woman through her lifetime and the transformative power of love, also serves as a voice of reason asserting itself from time to time throughout the novel). The Truth, Zevin seems to say, is subjective and often not as essential as the details.
MARGARETTOWN is a lovely short novel, a new type of love story: filled with classic romanticism and postmodern cynicism and introspection. Zevin is clearly talented and her first novel is highly recommended.
--- Reviewed by Sarah Rachel Egelman