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The narrator of Elizabeth Berg's Open House calls divorce "a series of
internal earthquakes ... one after the other." She ought to know. Samantha is
abandoned by her husband in the opening pages of this three-handkerchief
special, and the resultant tremors keep her off-balance for most of the novel.
There are practical problems aplenty, of course, including a shortage of money
and an 11-year-old son to raise. But Sam's sense of emotional bereavement is far
worse, despite the fact that her husband had been giving her the conjugal cold
shoulder for years:
I miss David so much, yes I do, I miss the presence of another
person in my bed at night, even if he doesn't touch me; the reliability of
someone else being there in the morning, even if they only shave and stare
straight ahead into the mirror while you lean against the bathroom doorjamb with
your cup of coffee, chatting hopefully. The loneliness in her "as
constant and as irrefutable" as circulating blood, Sam begins to rebuild her
life. She finds herself a job and takes in a couple of boarders to help meet her
mortgage payments. (One of them, a depressed student named Lavender Blue,
informs her that "life was nothing but one major disappointment after the
other"--the sort of homily that Sam is understandably reluctant to hear these
days.) She also starts dating, with disastrous results. Yet this comically
kvetching heroine does manage to find love in the ruins, and by the time Open
House winds down, it's hard not to believe that she's much better off.
Throughout, Berg alternates her snappy and sappy registers like a real pro. And
the conclusion, which most readers will be able to spot a mile off, seems just
right--the light at the end of the post-matrimonial tunnel. --Anita
Urquhart |