Reviews for Marriage Plot


Booklist Reviews 2011 August #1
"*Starred Review* In Eugenides' first novel since the Pulitzer Prize-winning Middlesex (2002), English major and devotee of classic literature Madeleine Hanna is a senior at Reagan-era Brown University. Only when curiosity gets the best of her does she belly up to Semiotics 211, a bastion of postmodern liberalism, and meet handsome, brilliant, mysterious Leonard Bankhead. Completing a triangle is Madeleine's friend Mitchell, a clear-eyed religious-studies student who believes himself her true intended. Eugenides' drama unfolds over the next year or so. His characteristically deliberate, researched realization of place and personality serve him well, and he strikes perfectly tuned chords by referring to works ranging from Barthes' Lovers' Discourse to Bemelmans' Madeline books for children. The remarkably à propos title refers to the subject of Madeleine's honors thesis, which is the Western novel's doing and undoing, in that, upon the demise, circa 1900, of the marriage plot, the novel "didn't mean much anymore," according to Madeleine's professor and, perhaps, Eugenides. With this tightly, immaculately self-contained tale set upon pillars at once imposing and of dollhouse scale, namely, academia ("College wasn't like the real world," Madeleine notes) and the emotions of the youngest of twentysomethings, Eugenides realizes the novel whose dismantling his characters examine. HIGH-DEMAND BACKSTORY: The publisher will be cashing in on the popularity of Middlesex, especially with public library users, by targeting much of their publicity campaign in that direction." Copyright 2011 Booklist Reviews.

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BookPage Reviews 2011 October
Love in the modern world

When you only publish a book once every decade or so—and your last novel won the Pulitzer Prize, to boot—expectations for your next work are bound to be excessively high. Oh, and when that last book was a weird and wonderful mega-seller like Middlesex, well, that’s the dilemma for Jeffrey Eugenides. What do you do for an encore?

Probably the smartest thing for any writer to do under these daunting circumstances is to go in a very different direction, and with The Marriage Plot, Eugenides does just that. Less epic in proportion than Middlesex, and far more conventional in narrative, this much-anticipated novel uses the traditional device of a love triangle to explore questions of religion, identity, mental illness and, of course, love. Its title is a play on the term often applied to 19th-century Regency and Victorian novels (by the likes of Austen, the Brontv´s and Mrs. Gaskell) that center on the attainment of a suitable marriage.

Because he borrows peripheral details from his own life for his fiction, it might seem that Eugenides is a writer of thinly veiled autobiography, but he assures readers that The Marriage Plot is an invention. “I’ve had to pare down the autobiography in order to find the fiction,” he confessed to his editor Jonathan Galassi in an interview on FSG’s Work in Progress blog. “Autobiography is a largely fraudulent exercise. People don’t understand their lives or what happened to them; they only think they do. . . . Autobiography (or life) is artless.”

Still, in some ways it seems hard to separate one of The Marriage Plot’s central characters from his creator. Like Eugenides, Mitchell Grammaticus is a Greek-American from Detroit who graduates from Brown University in 1982. Like the author, Mitchell spends some time in Calcutta, working as an orderly at Mother Teresa’s Home for Dying Destitutes (this section of the novel was excerpted in the New Yorker’s summer fiction issue under the title “Asleep in the Lord”). In an interview with the New Yorker, Eugenides conceded that this part of the book is the most autobiographical thing he has ever published, while holding fast to the assertion that, “Almost everything I’ve ever written, and especially Middlesex, is made up.”

The pivot on whom The Marriage Plot revolves is Madeleine Hanna, a newly minted English major who, alas, like many English majors, finds herself cast into post-college life without a practical rudder to help her navigate the real world. Madeleine and Mitchell have been close friends since the beginning of freshman year and, as is so often the case in these collegiate pairings, Mitchell is madly in love with Madeleine, but she does not share his feelings and prefers to remain “just friends.” Their inevitable schism is painful, especially for Mitchell, who continues to pine for what might have been. Madeleine, though, has turned her full attention to Leonard Bankhead, a student in her semiotics seminar  who is brilliant, moody and widely reputed to be oversexed.

 

Eugenides takes us deep inside the hearts and minds of this trio of intelligent young people.

Madeleine and Leonard fall intensely in love in a kind of hyper-intellectualized, collegiate way (they share a passion for the arcane lit-crit of Roland Barthes). What Madeleine doesn’t realize at first, though, is that Leonard’s charismatic brilliance (and bedroom stamina) can be attributed to his manic depression. When she breaks off their relationship, Leonard spirals down into madness. With a foreboding navØvetv©, Madeleine skips her graduation ceremony to race to his side in the psych ward. Reunited, they become the doomed lovers of the piece, and like their counterparts in 19th-century fiction, wedded to their tragedy. Mitchell, meanwhile, sets off for a year in Europe and India, intent on forgetting Madeleine while fulfilling a spiritual quest.

The novel deals with issues that obsess young intellectuals—the nature of love, religious truths, the meaning of life—which would explain why the 51-year-old Eugenides has chosen to set it among college students. “To me, college doesn’t seem that long ago,” he told the New Yorker. “It wasn’t hard to remember the music we listened to or the films we watched, or the way I felt back then. Much of the novel is written from the point of view of a young woman graduating from college. So, as with any book, it was more of a labor of imagination than recollection.”

It makes perfect sense that this story of intense love originates on campus, because for many, the university years are marked by a geographical and emotional intimacy unmatched in the outside world. Eugenides does a terrific job capturing a certain kind of college experience during a distinct era, and for those of us who shared that experience, there is instant recognition. A convincing novel can capture an age and cement it in memory, and The Marriage Plot does so, achieving something halfway between amusement and nostalgia.

By borrowing both title and conceit from the Victorian marriage plot novel as the basis for his own, Eugenides dares to make a bold literary statement. The seminal novels of the 19th century, even those that highlight the domestic, are predominately about society rather than the individual. The Marriage Plot, though, has narrower concerns, focusing as it does on three characters whose dilemmas are based in decidedly late 20th-century solipsism. Madeleine, most of all, remains an[Thu Apr 24 14:17:54 2014] enhancedContent.pl: Wide character in print at E:\websites\aquabrowser\IMCPL\app\site\enhancedContent.pl line 249. enigma—a highly intelligent, fortunate rich girl, who casts aside everything her education has taught her to enter what she herself disdainfully calls a “Stage One” marriage (“traditional people who marry their college sweethearts, usually the summer after graduation”). It is no wonder disaster looms. All three of the characters, though, are well drawn and pertinent, advancing the plot equally through action and inaction, and Eugenides takes us deep inside the hearts and minds (really inseparable here) of this trio of intelligent young people in order to dissect some basic truths about the unpredictable nature of love.

A gifted writer, Eugenides does so much well. He has a great talent for zeroing in on the perfect delineating detail—he describes Madeleine’s well-bred WASP mother, for instance, as “all hairdo and handbag”—and the intelligent, self-deprecating humor that percolates beneath the characters’ adolescent angst endears them to us, despite their lapses into self-indulgence. 

Perhaps the greatest strength in the novel is Eugenides’ depiction of Leonard’s manic depression. Readers are convincingly led though the trenches with him as he repeatedly relapses and rebounds. Whereas Leonard may not be the easiest character to like (the blogosphere is abuzz with rumors that he is based on the late writer David Foster Wallace), Eugenides helps clarify his misunderstood affliction with compassion and insight. 

It will be interesting to see if Eugenides’ fans embrace The Marriage Plot with the same fervor they showed for Middlesex (which has sold more than 3 million copies). It is certainly an ambitious novel and, in the end, after some woolgathering, its exploration of the vagaries and frailties of the human heart wins the day. Whatever critics and readers say, don’t expect a reaction from the famously circumspect writer himself. “If you want to write fiction, you have to be congenitally deaf to readerly murmurs about your character,” Eugenides told the New Yorker. “The trick to fiction-writing is to get the reader to believe what you’ve written. The greater your success at that, the more you deform yourself in certain literal minds.” 

Copyright 2011 BookPage Reviews.

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Kirkus Reviews 2011 August #1

A stunning novel—erudite, compassionate and penetrating in its analysis of love relationships.

Eugenides focuses primarily on three characters, who all graduate from Brown in 1982. One of the pieces of this triangle is Madeleine Hanna, who finds herself somewhat embarrassed to have emerged from a "normal" household in New Jersey (though we later find out the normality of her upbringing is only relative). She becomes enamored with Leonard, a brilliant but moody student, in their Semiotics course, one of the texts being, ironically, Roland Barthes' A Lover's Discourse, which Madeleine finds disturbingly problematic in helping her figure out her own love relationship. We discover that Leonard had been diagnosed with bipolar disorder during his first year at Brown, and his struggle with mood swings throughout the novel is both titanic and tender. The third major player is Mitchell, a Religious Studies major who is also attracted to Madeleine but whose reticence she finds both disturbing and incomprehensible. On graduation day, Leonard has a breakdown and is hospitalized in a mental-health ward, and Madeleine shows her commitment by skipping the festivities and seeking him out. After graduation, Leonard and Madeleine live together when Leonard gets an internship at a biology lab on Cape Cod, and the spring after graduation they marry, when Leonard is able to get his mood swings under temporary control. Meanwhile Mitchell, who takes his major seriously, travels to India seeking a path—and briefly finds one when he volunteers to work with the dying in Calcutta. But Mitchell's road to self-discovery eventually returns him to the States—and opens another opportunity for love that complicates Madeleine's life.

Dazzling work—Eugenides continues to show that he is one of the finest of contemporary novelists.

 

Copyright Kirkus 2011 Kirkus/BPI Communications.All rights reserved.

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Library Journal Reviews 2011 May #2

A Pulitzer Prize winner for Middlesex, which has sold more than three million copies, and of the darkly delicious The Virgin Suicides (catch the Sofia Coppola film), Eugenides doesn't necessarily need me to rave about him. But I'm so taken with the idea behind this novel. Madeleine Hanna, a conscientious, neatly dressed English major in the early 1980s, blissfully reads Austen while everyone else studies Derrida. (Yes, I remember it well.) She finally decides to get hip by taking a semiotics class, where she meets irresistible loner Leonard Morten, who teaches her about more than signs and symbols. Meanwhile, the wittily named Mitchell Grammaticus, a voice from Madeleine's past, demands that they spend their lives together. A novel of ideas and triangular love from the brilliantly off-kilter Eugenides; with a one-day laydown, a national tour, library marketing, and a reading group guide. Get multiples.

[Page 66]. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Library Journal Reviews 2011 August #1

"The way of true love never works out, except at the end of an English novel." So says Trollope in Barchester Towers, one of those English novels where "the marriage plot" thrived until it was swept aside by 20th-century reality. Now Roland Barthes's contention that "the lover's discourse is today of an extreme solitude" better sums up the situation. Or so English literature-besotted Madeleine, 1980s Brown graduating senior, comes to discover. Giving in to the zeitgeist, Madeleine takes a course on semiotics and meets Leonard, who's brilliant, charismatic, and unstable. They've broken up, which makes moody spiritual seeker Mitchell Grammaticus happy, since he pines for Madeleine. But on graduation day, Madeleine discovers that Leonard is in the hospital--in fact, he is a manic depressive with an on-again, off-again relationship with his medications--and leaps to his side. So begins the story of their love (but does it work out?), as Mitchell heads to Europe and beyond for his own epiphanies. VERDICT Your standard love triangle? Absolutely not. This extraordinary, liquidly written evocation of love's mad rush and inevitable failures will feed your mind as you rapidly turn the pages. Highly recommended. [See Prepub Alert, 4/11/11.]--Barbara Hoffert, Library Journal

[Page 83]. (c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

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Publishers Weekly Reviews 2011 August #1

Eugenides's first novel since 2002's Pulitzer Prize-winning Middlesex so impressively, ambitiously breaks the mold of its predecessor that it calls for the founding of a new prize to recognize its success both as a novel--and as a Jeffrey Eugenides novel. Importantly but unobtrusively set in the early 1980s, this is the tale of Madeleine Hanna, recent Brown University English grad, and her admirer Mitchell Grammaticus, who opts out of Divinity School to walk the earth as an ersatz pilgrim. Madeleine is equally caught up, both with the postmodern vogue (Derrida, Barthes)--conflicting with her love of James, Austen, and Salinger--and with the brilliant Leonard Bankhead, whom she met in semiotics class and whose fits of manic depression jeopardize his suitability as a marriage prospect. Meanwhile, Mitchell winds up in Calcutta working with Mother Theresa's volunteers, still dreaming of Madeleine. In capturing the heady spirit of youthful intellect on the verge, Eugenides revives the coming-of-age novel for a new generation The book's fidelity to its young heroes and to a superb supporting cast of enigmatic professors, feminist theorists, neo-Victorians, and concerned mothers, and all of their evolving investment in ideas and ideals is such that the central argument of the book is also its solution: the old stories may be best after all, but there are always new ways to complicate them. (Oct.)

[Page ]. Copyright 2011 PWxyz LLC

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