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The Woman Upstairs Hardcover – 30 May 2013
I'm halfway through my life, or maybe more, and I'm finally awake to the fact that it's in my hands alone. I've believed in other people, had faith, been patient, waiting for my moment -- enough, already. Who have I been kidding?
Nora Eldridge has always been a good girl: a good daughter, colleague, friend, employee. She teaches at an elementary school in Cambridge, Massachusetts, where the children and the parents adore her; but her real passion is her art, which she makes alone, unseen. To be an artist is, she is sure, her real destiny.
Then one day Reza Shahid appears in her classroom: eight years old, a perfect, beautiful boy. Reza's parents are on a year-long visit from Paris: Skandar, his father, has a fellowship at Harvard; Sirena, his mother, is a glamorous installation artist apparently on the brink of huge success.
For that magical year, Nora is admitted into their charmed circle, and everything is transformed. Or so she believes. As it turns out, her liberation from the benign shackles of her old life is not quite what it seems, and she is about to suffer a betrayal more monstrous than anything she could have imagined.
- Print length320 pages
- LanguageEnglish
- PublisherVirago
- Publication date30 May 2013
- Dimensions16.2 x 3 x 23.9 cm
- ISBN-10184408731X
- ISBN-13978-1844087310
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Review
Corrosively funny . . . Fifty years ago, Simone de Beauvoir faulted creative women for their unwillingness to 'dare to irritate, explore, explode.' Two generations later, anger this combustible still feels refreshing (Megan O'Grady Vogue US)
Terrifyingly perceptive . . . Nora Eldridge is a kind of Madame Bovary for our time, someone who dreams not of romantic passion but of personal fame, in which the envy of the less fortunate figures importantly. . . . One particular triumph of The Woman Upstairs is that Messud's heroine is so sympathetic, and so eloquent and convincing, that the depth of her illusions is not always apparent. . . . Because Messud has lent Nora her own outstanding gifts as a writer we cannot help believing what she tells us, at least for a while (Alison Lurie The New York Review of Books)
Heartfelt and profound. . . . an absolute page-turner, from its grab-you-by-the-collar opening to its final rumination on the creative uses of anger. . . . it may well be the first truly feminist (in the best, least didactic sense) novel I have read in ages-the novel, candid about sex and the intricacies of female desire, that Virginia Woolf hoped someone would write, given a room and income of her own. An extraordinary novel, a psychological suspense story of the highest sort that will leave you thinking about its implications for days afterward (Bookforum)
Exhilarating velocity, fury, and wit . . . an acid bath of a novel. Messud's scorching social anatomy, red-hot psychology, galvanizing story, and incandescent language make for an all-circuits-firing novel about enthrallment, ambition, envy, and betrayal. A tour de force (Booklist)
"How angry am I?" Nora Eldridge rhetorically asks in her opening sentence. "You don't want to know." . . . An astonishing feat of creative imagination: at once self-lacerating and self-pitying, containing enough truth to induce squirms. Brilliant and terrifying (Kirkus)
Exquisite and immersive . . . Nora Eldridge has to be one of the richest and most fully human characters to come along in years . . . The prose here never calls undue attention to itself, and The Woman Upstairs dazzles without outwardly trying. It also solidifies Messud's place among our greatest contemporary writers (Miami Herald)
That rare work of fiction seemingly destined to become a cultural benchmark, a byword even (Wall Street Journal)
Comedy, pathos, sadness: nothing seems beyond her. Her new book has all this-and more. The Woman Upstairs is not a pretty read, but that is precisely what makes it so hard to put down (Economist)
Addictive . . . wonderfully dark and dynamic (Independent)
Book Description
From the Inside Flap
I'm halfway through my life, or maybe more, and I'm finally awake to the fact that it's in my hands alone. I've believed in other people, had faith, been patient, waiting for my moment -- enough, already. Who have I been kidding?
Nora Eldridge has always been a good girl: a good daughter, colleague, friend, employee. She teaches at an elementary school in Cambridge, Massachusetts, where the children and the parents adore her; but her real passion is her art, which she makes alone, unseen. To be an artist is, she is sure, her real destiny.
Then one day Reza Shahid appears in her classroom: eight years old, a perfect, beautiful boy. Reza's parents are on a year-long visit from Paris: Skandar, his father, has a fellowship at Harvard; Sirena, his mother, is a glamorous installation artist apparently on the brink of huge success.
For that magical year, Nora is admitted into their charmed circle, and everything is transformed. Or so she believes. As it turns out, her liberation from the benign shackles of her old life is not quite what it seems, and she is about to suffer a betrayal more monstrous than anything she could have imagined.
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Product details
- Publisher : Virago (30 May 2013)
- Language : English
- Hardcover : 320 pages
- ISBN-10 : 184408731X
- ISBN-13 : 978-1844087310
- Dimensions : 16.2 x 3 x 23.9 cm
- Best Sellers Rank: 1,728,664 in Books (See Top 100 in Books)
- 129,933 in Contemporary Fiction (Books)
- 130,283 in Literary Fiction (Books)
- Customer reviews:
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Nora does not have a partner or children. She aspires to be an artist, though what she produces doesn't seem to be particularly creative or original. When a foreign family move to Cambridge for a year in connection with the university Nora becomes involved with them: she takes more than a professional interest in the liitle boy Reza, who is in her class; she then agrees to share a studio with his mother Sirena, an artist who creates 'installation'. Her obsession with this family encompasses all three members; Reza, Sirena and her husband Skandar, and seems to take over her life.
There are frequent references to 'the woman on the stairs' whom nobody notices or understand, and the 'fun house', which is meant to be fun but is actually scary and unreal, and which Nora is trying to escape. She frequently laments that she means less to her new friends than they to her, and finally discovers what she actually does mean to them!
I finished this book but found I couldn't really engage with any of the characters or feel sympathetic towards Nora. In the books I love the protagonists usually have far more justification for their anger.
I am still pondering over the ending, which comes as a shock and turns the rest of the book on its head. At first I took against it, because it just didn't seem to be in character. I still find it saddening and disturbing, but at the same time I can see how it flows from some of the book's development. What I don't like, though, is the message that the author seems to be sending in the book's opening and closing sentences that anger can be positive and liberating. Messud would perhaps say that this isn't her message but the narrator's, and if that is the case it could be taken to show that at the end of a painful experience Nora remains deluded.
It's not often that one reads a novel that sets the mind going in so many different directions, in addition to being such an enjoyable book to read. Messud deserves all the praise she gets for her achievement.
This was one book which made me think at the end of it, why did I bother?
The characters are well written. A lot has been said about the main character and how likeable she is. I certainly didn't dislike, I found her very honest and real.
My only issue and it really is a small one. Is that, I didn't really relate to the story. Possible it's my age, maybe it's because the choices I've made in my life have been so different. Maybe we aren't really meant to relate to her. I mean I haven't been to Hogwarts either but I still 'got' Harry Potter.
Either way, I think it's a book worth reading even if I am slightly unsure how I feel about it





