Alison Lurie's new novel is set in Key West, territory she first explored in "The Truth About Lorin Jones." "The Last Resort" centers on Jenny Walker, age 46, and her septuagenarian husband, Wilkie Walker, a celebrated nature writer and environmental advocate. Wilkie is convinced he's dying of cancer, a conviction he keeps from Jenny, ostensibly to spare her pain. He agrees to a vacation in Key West because he decides it's a good place to make his suicide by drowning look like an accident. Despondent over his predicament, Wilkie withdraws from Jenny and treats her with increasing callousness while he waits for his chance with the Key West tides. Jenny, interpreting his behavior as the withdrawal of his love, finds solace with Lee Weiss, a woman she encounters on the beach, and begins a love affair with her.
In the book's major subplot, another character facing death - Perry Jackson (Jacko) - deals with his family's reactions to his HIV-positive status. In the wake of a visit by his sympathetic mother, he is descended upon first by his hapless cousin, Barbie, who is in retreat from a failing marriage to a philandering right-wing Congressman, and Barbie's homophobic mother, Myra Mumpson, who is a sort of minor league Phyllis Schafly, bristling with bad faith and bad motives toward her family members. Jenny and Jacko's worlds intersect through Lee, Jenny's lover, who runs a women-only guest house in Key West and is an old friend of Jacko's.
"The Last Resort" is not Lurie's best novel. The satire isn't as pointed as in her other books, perhaps because she isn't quite sure what she wants to satirize. Wilkie is somehow too bland a character and his offenses are not quite bad enough to merit much of our scorn. Myra is too easy a target and Lurie seems to lose interest in her. Still, the book is a pleasure to read and has many of the virtues that Lurie's readers are familiar with: the ability to convey complex attitudes and emotions in a few deft words; a sharp e! ye for self-serving gestures and mixed motives; and a fine sense of social reality, of who people are in the world and how that affects the way they behave and what they can perceive and can't perceive in themselves and others. Lurie is the master of the small ironies that connect our lives. ( In addition, for old Lurie fans, there is the pleasure of spotting the connections between characters in this book and her previous books.)