Reprinted by permission from:
"Tales from the Scriptorium" (crazy4novels.blogspot.com)
Angry words hide fear
The loudest bird feels smallest
Seek one another.
When is the last time that you willingly spent an entire week with someone you didn't like, even though you were free to escape at any moment without the slightest penalty? Never? Neither had I, until I picked up Elizabeth Strout's Pulitzer prize winning book, "Olive Kitteridge," last month, and discovered that the longer I lingered with the book's abrasive main character, the less I wanted to leave her house.
Caustic, judgmental, and "honest" to a fault, Olive Kitteridge resembles the scary aunt that children run away from at family reunions -- the one who informs you that your legs are too fat to wear shorts and that you have Grandpa's nose. Even her body is a force of nature. Olive is unusually tall, and not in a willowy way. She slices through the small Maine town of Crosby like a sturdy ship of state, leaving battered feelings in her wake like so much hurricane flotsam.
Olive Kitteridge is a woman to be reckoned with, a fact that is not lost on her long suffering husband, Henry. He's a bespectacled, tentative man who loves his job as a pharmacist and awakens each morning with the belief that the world is a good place filled with good people. His workplace is a refuge where he can satisfy his hunger to make everyone happy. No one can make Olive happy, however, and the hairs on the back of Henry's neck tingle each evening as he drives home in anticipation of Olive's inevitable irritation with him or with Christopher, their only child.
Olive may be easy to dislike, but she's also fascinating. She delivers one-liners that are rude and yet strangely satisfying to read; they're the kind of remarks that we've all secretly wished we could say at some time. Olive: "How I hate a grown woman who says 'the little girls' room.' Is she drunk?" Further example: When Christopher leaves Olive alone with his recent (and many-times divorced) bride, Olive looks about and casually asks, "Where is your newest husband?" Her thoughts aren't something to be proud of, but we've all had them ("More gratifying, however, was the fact that . . . the story of Bill and Bunny's offspring was worse than their own.")
Olive isn't all bad, however, and the author is brilliant in her ability to elicit compassion from the reader as the complexity of Olive's personality is gradually developed. Olive's years with her son are filled with impatience and discord, but she is devastated and profoundly lonely when he chooses to move to California; "Pain, like a pinecone unfolding, seemed to blossom beneath her breastbone." She observes her future daughter-in-law gently stroke the hair of a young flower girl at Christopher's wedding, and acknowledges to herself that something is deeply wrong with her own inability to express physical affection. She is mortified when, after an evening dinner, she realizes that Christopher and Ann never informed her that she had food on her blouse, a "courtesy" extended to an aging old woman. Olive's former students (she was a junior high math teacher) remember her with respect and admiration. "Don't be scared of your hunger," she told one of them, "If you're scared of your hunger, you'll just be one more ninny like everyone else." These moments help the reader to empathize with, if not admire, Olive. In doing so, the reader expands his/her ability to realize that the complex mystery of others is never fully knowable.
This book is technically a series of short stories that are all connected in some way to Olive, but it reads more like a novel. In addition to being a character-driven tour de force, it is also a wise commentary on domestic relations, the ways of small towns, and the human condition in general. Take a trip to Crosby, Maine and spend the week with Olive. I think you'll be glad you did.
